man this dude did a lot for reaper users and even if he used AI to comment he has the knowledge to back it up and is a profesional engineer (i guess with a real degree derived from his deep audio knowledge )using reaper as workhorse and surely knows all other DAWs.


how about u going over to the reaper forum and pitch the devs and users your ideas of converting this hyper optimized workflows into reaper.

PS im not a reaper user

which are ?

 

in my book not but rather used live 9.77 and 10 which may be the reason.
oh forgive me im talkin bout warez ...

 

Last edited: Jan 30, 2025 at 9:21 AM

yep we in the stonemountain lands were also the first making it mandatory to use seat belts in cars

 

I replied to the thread topic. "What do other DAWS have that REAPER doesn't?" It doesn't have most of the things I listed, and/or other DAWs have much better implementations. That's not an opinion, it's a fact. There's nothing to even argue. Anyone can download and see for themselves. Why are people hurt by this?

You too are trying to argue, and mock, but you don't even use Reaper, so why? And why can't I point out some AI bullshit that's completely irrelevant and drifts off into typical AI drivel? Did you even read it?

And I do post on the Reaper forums, there are many users that do who feel the same way. Many of them are scripters themselves. A lot of scripts are born out of frustration of what's ignored or heavily pushed back on by other users that all high five themselves, kind of like what's happening here.

 

Well, it’s not uncommon for modern, sound design heavy electronic music to use lots and lots of effects and considering the fact that stuff like FL Studio’s Patcher or Ableton’s effect rack are a thing and basically allow you to have an infinite amount of effects per channel (same with Reaper), it seems a bit weird to have 14 inserts max in Cubase.

And before you say “well just freeze/bounce the tracks/add a group”, it’s not that easy, because more often than not with these long chains you need to go back to tweak a certain parameter on an effect that’s way earlier than others in the chain, because you’ve applied a new effect that may drastically change the sound, but there’s something earlier in the chain that you need to get rid of, so having to unfreeze or do a bunch of undo actions is a nightmare workflow in that case. I know, I know, kids these days with their dubbin’ n steppin’ and their EDMin’.

 

Last edited: Jan 30, 2025 at 4:23 PM

The max in Cubase Pro currently is 16 insert slots not 14 although that doesn't really make a difference overall. I find it strange as well especially the smaller versions have even less insert slots and it was one of the main reasons why I switched from Artist to Pro a couple of years back. I think I read in the past that this has legacy reasons and is for backwards compatibility.

Personally I don't reach that limit that often even though I produce electronic music. You wrote adding a group would not be sufficient although that's what I do in the rare cases I need more inserts and I never really found it to be a issue other than it being annoying. There are also Plugins like the Waves StudioRack that could be used and that add extra functionality although of course external plugins are not a general replacement for missing functionalities of course.

 

Lifetime free updates I switched to FL

 

I do not begrudge anyone using a workflow that suits them because these days most people do a lot of their music in the privacy of their own spaces.

I have found most of the time if what is already is there is really good before processing, it does not need a lot of inserts, only tweaking. I can understand it certainly if a piece of music is designed purely around effects and modulation within reason, but even then, 14 insert effects on a single track seems excessive? There is an easier way if you need a pile of inserts. Lets say if a track had worse, even less, say as little as five inserts maximum. You can duplicate it as many times as you like and add effects 5x's for each track. All you'd have to do is gainstage each to a -db level where they're manageable. You wouldn't have phasing issues either because you're duplicating the identical track, with each track having its own unique inserts.

The only reason I see to freeze a track is because you are not only happy with it, but more because your DAW is not handling the number of inserts.

P.S. - I see this often that some people use inserts per track instead of stepping back and working out which tracks will use the same FX and simply assigning it to an FX bus, like the old AUX knobs on mixing desks, where the amount can be dialed in per track less and more etc.. It also puts a lower load on your DAW. I get that this is not a one size fits all, but with a lot of tracks, it would be unusual that at least a few tracks are not using the same thing.

 

Last edited: Jan 30, 2025 at 5:12 PM

Because it is. That is fear of commitment, not knowing your tools, reliance on samples not synths, or something along those lines. I've watched an awful lot of production videos from all the various sources, and have never once seen a "track breakdown" of a successful track with that many effects just piled on a single DAW channel, from anyone. Ever. Maybe if you are using single-purpose widget plugins like you might get from Kilohearts, it could make some sense. But that is why we have larger Multi-FX plugins which do many different processing tasks all in the same plugin. The actual 14 count limitation is interesting in actual number, but they probably figure they have already given you more than enough at just 10.

It's also a great way to never finish stuff for a lot of people. Constantly working backwards and tweaking, instead of just printing it to audio files and re-sampling. Or doing a better initial job when selecting starting samples.

 

Last edited: Jan 30, 2025 at 8:22 PM

You’ve never seen a game audio asset/palette prep FX chain, have you? Easily goes up to +20 effects on a single track and there are music genres that use similar amount of stuff, look up Noah Sitrin on YouTube. It has nothing to do with commitment, it’s about the process of actively manipulating large FX chains to achieve a particular result.

I’m not sure what “track breakdowns” you are talking about specifically, since the charts are dominated by trap songs that are very often produced by 20-something year olds on a laptop (look up Nick Mira) who already use heavily processed sounds to begin with (Omnisphere, Elektra, Nexus etc.), so putting more than 15 effects on stuff like that would be an overkill, yes.

But not everyone makes pop/trap/whatever, there are extremely complicated electronic genres that heavily rely on atmosphere, complex mangled textures and weird morphs, which very often are a result of experimentation, that wouldn’t have happened otherwise if it was limited by insert count. You may laugh, you may not like it, but that’s how it is and that’s how thousands of experienced artists make music.

 

Last edited: Jan 30, 2025 at 10:13 PM