ROB WARMOWSKI: We are going to add a new send and we’re going to tell it to go to the effects bus and close that off. Now, double checking that we’ve got, that the effect is sitting and waiting for input. Let’s go ahead and hit play and watch the meters jump.

[ROB WARMOWSKI PLAYING A PROJECT IN THE COCKOS REAPER]

And we can hear the chorus effect is all over the total of these two tracks, but it’s if we solo them up, we can hear a little chorus. If we unsolo them and solo the Bouzouki instead, we hear no chorus at all. That’s because we didn’t send any Bouzouki bus to the effects bus.

Now, as far as manipulating the amount of chorus that is heard back from this arrangement, we can do a variety of things. First of all, we can adjust the effects parameters themselves in the effects window for the bus. In this case , I can lower the amount of wet signal that’s in the mix. So, let’s give that a try.

[ROB WARMOWSKI PLAYING A PROJECT IN THE COCKOS REAPER]

Drop the wet a little bit. It seems to tame it a little bit. We can return it there though. We could also, in order to show you a different way to affect the relationship between the sent audio and the processing going on in the bus, we can also go to guitar body, for example, and simply send less of guitar body into the effects bus, and this is done by adjusting the send fader, which is right here.

[ROB WARMOWSKI PLAYING A PROJECT IN THE COCKOS REAPER]

Yeah. We can duplicate that over at the guitar neck as well.

[ROB WARMOWSKI PLAYING A PROJECT IN THE COCKOS REAPER]

Let’s just reduce the amount of the tracks here that are being sent to the effects bus for chorus processing and so have naturally reduced the amount of chorus that we’re hearing, but let’s go ahead and undo that.

[ROB WARMOWSKI PLAYING A PROJECT IN THE COCKOS REAPER]

Oops. Wrong button. Let’s go ahead and decrease those sends back to where they were, and show yet another way of manipulating this. The third way that you can change the relationship of chorus to your track is you can display the routing settings for effects bus itself and adjust the receive levels for either one of the tracks because if you have a send and then you got to receive, so let’s take a look at the -- what’s under the I/O for the effects bus track itself, and you can see there are receives here. There’s one from track 1 and one from track 3 so we can simply say, “Hey. Not so much for new track 1 and not so much for new track 3.” Okay. That is the third way to manipulate effects under this send scheme.

And then the fourth way is to adjust the output volume fader for the track called effects bus, and that’s just this guy right here.

[ROB WARMOWSKI PLAYING A PROJECT IN THE COCKOS REAPER]

Not so much chorus, a lot more chorus.

[ROB WARMOWSKI PLAYING A PROJECT IN THE COCKOS REAPER]

So, that is a pretty good overview on how to use effects busses in REAPER. I just showed you how to take two tracks and share their processing by dumping them onto a single bus, and you will find that this is an invaluable way to go about your projects in REAPER, especially if you’re using lots of live recording, live drums, and various other conditions and situations where you’re going to want to share processing, dynamics processing, compression among a bunch of tracks but let’s say you have five tracks that you wanna process but you are smart and you do not want to use five plugins at five different ways, five different times, you want to share that processing among all five tracks. This is how you do it in REAPER. So thanks a lot for watching, and keep it on Gearwire in the future.