@mthines/reaper-mcp 0.1.0

package/knowledge/plugins/neural-dsp/helix-native.md

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+---
+name: Line 6 Helix Native
+fx_match: ["Helix Native", "VST3: Helix Native (Line 6)", "VST: Helix Native (Line 6)", "Line 6 Helix Native"]
+category: amp-sim
+style: character
+vendor: Line 6
+preference: 82
+---
+
+# Line 6 Helix Native
+
+## What it does
+
+Helix Native is Line 6's flagship guitar and bass amp modeling plugin, the software version of the Helix hardware floor unit. It models over 70 amplifiers, 37 speaker cabinets, 16 microphones, and 100+ effects including drives, modulation, delays, reverbs, and pitch effects. It processes guitar and bass tracks with complete signal chains — drive pedals, preamp, power amp, cabinet, microphone placement, and post-processing effects. It is used on DI-recorded guitar and bass tracks to create a production-ready tone without a physical amp. Cannot be used as a traditional insert EQ/compressor; it is an end-to-end guitar tone processor.
+
+## Key parameters by name
+
+Helix Native has a complex internal signal chain. Parameters are accessed per block in the chain:
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Amp Drive | 0–10 | Preamp gain — how hard the amp is being pushed |
+| Amp Bass | 0–10 | Low frequency content |
+| Amp Mid | 0–10 | Midrange — crucial for tone character |
+| Amp Treble | 0–10 | High frequency brightness |
+| Amp Presence | 0–10 | Upper midrange and definition |
+| Amp Master | 0–10 | Power amp saturation level |
+| Cab Model | list | Speaker cabinet model — changes tone dramatically |
+| Mic Type | list | Microphone model (SM57 for bright, R121 for warm, etc.) |
+| Mic Distance | 0.5–12 inches | Distance from speaker affects proximity effect and frequency response |
+| Mic Position | Center to Edge | On-axis = brighter, off-axis = darker, warmer |
+| Output Level | -60 to +6 dB | Block output trim |
+
+## Recommended settings
+
+### Clean electric guitar tone (Fender-style)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Amp Model | Fender-style (e.g., Litigator, Archetype Cle@n) | Clean headroom |
+| Amp Drive | 2–3 | Just at the edge of breakup, or below |
+| Amp Bass | 4–5 | Moderate — avoid muddiness |
+| Amp Mid | 5–6 | Present and musical |
+| Amp Treble | 5–6 | Bright but not harsh |
+| Amp Presence | 4–6 | |
+| Cab Model | 2x12 or 4x12 Fender-style | |
+| Mic Type | SM57 | Industry standard guitar mic |
+| Mic Position | Slightly off-center | |
+
+### Crunch / classic rock guitar
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Amp Model | Marshall-style (e.g., Placater, Revv) | Mid-focused crunch |
+| Amp Drive | 5–7 | Saturated but not full gain |
+| Amp Bass | 4 | Tight — avoid boomy rock tones |
+| Amp Mid | 6–7 | Marshall "vowel" mid character |
+| Amp Treble | 5–6 | Bright enough to cut |
+| Amp Presence | 5–7 | Clarity and definition |
+| Cab Model | 4x12 Marshall-style | |
+| Mic Type | SM57 on/off axis blend | |
+
+### High gain metal guitar
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Amp Model | Mesa/Rectifier-style or Friedman | Full gain, tight |
+| Amp Drive | 7–9 | High gain |
+| Amp Bass | 3–4 | Tight — high gain bass is easy to overdo |
+| Amp Mid | 4–5 | Scooped sound or boosted for modern metal |
+| Amp Treble | 5–6 | |
+| Amp Presence | 6–8 | Crucial for high gain clarity |
+| Cab Model | 4x12 with tight speakers | |
+| Post-EQ | HPF at 100 Hz, cut 200–300 Hz | Use ReaEQ or Pro-Q after Helix to further tighten |
+
+### Bass amp simulation
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Amp Model | Ampeg SVT-style (e.g., Amptweaker, Agua) | Classic bass amp |
+| Amp Drive | 3–5 | Mild overdrive for warmth |
+| Amp Bass | 6–7 | More bass than guitar settings |
+| Amp Mid | 5 | Mid-present |
+| Amp Treble | 4–5 | |
+| Cab Model | 8x10 or 4x10 bass cabinet | |
+| Post HPF | 30–40 Hz | Remove sub rumble after cab sim |
+
+## Presets worth knowing
+
+Helix Native ships with a large factory preset library organized by genre/style:
+- Look in the **Snapshots** section for pre-configured full-chain tones
+- **Factory Clean** presets — starting points for clean tones across amp styles
+- **Factory Dist** presets — various gain levels and amp characters
+
+The agent can load presets via `set_fx_preset` if the user has named presets saved.
+
+## When to prefer this
+
+- When guitar or bass was recorded direct (DI) with no amp — Helix Native is the amp
+- When re-amping is needed (changing the tone of a tracked guitar part)
+- When the guitarist is using a Helix floor unit live — use Native to match the sound in the box
+- For bass simulation on synth-bass or DI bass tracks
+
+Do not use Helix Native for effects-only processing on a non-guitar track — it is designed specifically for guitar/bass signal chains. For guitar tracks already recorded through a real amp, consider whether the tone needs re-processing before adding Helix Native.

package/knowledge/plugins/stock-reaper/js-1175-compressor.md

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+---
+name: JS 1175 Compressor
+fx_match: ["JS: Dynamics/1175_compressor", "1175_compressor", "1175 compressor"]
+category: compressor
+style: vintage
+vendor: Cockos (JSFX)
+preference: 50
+replaces: []
+---
+
+# JS 1175 Compressor
+
+## What it does
+
+The JS 1175 is a free FET compressor emulation included with REAPER's JSFX library. It models the behavior of the classic Universal Audio 1176 compressor — a FET (field-effect transistor) design known for fast attack times, aggressive character, and a distinctive "pushed" quality that adds grit and presence. Unlike ReaComp (which is neutral), the 1175 adds saturation-like harmonic coloration and responds dynamically in a musical way. The "all buttons in" mode (All ratio) creates a heavily compressed, harmonically rich sound favored on rock vocals, drums, and bass.
+
+## Key parameters by name
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Input | 0–100 | Input gain (gain reduction increases with higher input) — no dB scale |
+| Output | 0–100 | Output gain (makeup gain) |
+| Attack | 1–7 (inverted) | 1 = slowest attack, 7 = fastest (20 µs) — NOTE: scale is inverted |
+| Release | 1–7 (inverted) | 1 = slowest release, 7 = fastest — inverted like original hardware |
+| Ratio | 4 / 8 / 12 / 20 / All | 4:1, 8:1, 12:1, 20:1, or All-buttons-in (≈ 12:1 with heavy harmonic content) |
+
+Important: Attack and Release parameters on the 1175 are inverted — higher numbers mean faster times, matching the original 1176 hardware where the pots worked backwards.
+
+## Recommended settings
+
+### Lead vocals — FET character (4:1, moderate)
+
+Adds presence and "glue" without killing dynamics. Classic rock/pop vocal sound.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Ratio | 4 | Moderate FET compression |
+| Attack | 5–6 | Fast enough to catch consonants without fully killing them |
+| Release | 3–4 | Musical release that follows phrase rhythm |
+| Input | Set for 6–8 dB GR | Drive it into the FET character |
+| Output | Match perceived loudness | Makeup gain |
+
+### Lead vocals — heavy FET (All buttons in)
+
+The "1176 in all-in" mode. Heavy, characterful, slightly distorted. Works on rock and alternative vocals where aggression is desired.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Ratio | All | All-buttons mode |
+| Attack | 4–5 | Let a little transient through |
+| Release | 3–4 | |
+| Input | Set for 8–12 dB GR | Push hard |
+| Output | Pull back to match level | The all-in mode is loud |
+
+### Snare drum — attack/presence
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Ratio | 8 or 12 | Aggressive snare compression |
+| Attack | 3–4 | Slightly slower — let the crack through |
+| Release | 5–6 | Fast release, snappy |
+| Input | 6–10 dB GR | |
+
+### Bass guitar DI
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Ratio | 4 or 8 | Tighten the dynamic range |
+| Attack | 4–5 | Preserve pick attack |
+| Release | 3–4 | Fast enough for fast passages |
+| Input | 4–8 dB GR | |
+
+### Room mics / overhead parallel compression
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Ratio | 20 or All | Crush the peaks |
+| Attack | 6–7 | Very fast — kill transients |
+| Release | 2–3 | Slower release for pumping effect |
+| Input | 10–20 dB GR | Blend 30–50% in parallel |
+
+## Presets worth knowing
+
+No factory presets. Settings are all by ear using the GR meter.
+
+## When to prefer this
+
+- When you need FET compressor character on vocals and no Pro-C 2 is available
+- On snare and drum room mics when aggression is wanted
+- When adding harmonic excitation to bass without a dedicated saturator
+- The "All" ratio mode is uniquely this style of compressor — use it when the mix needs character
+- Prefer over ReaComp whenever character > transparency
+
+When FabFilter Pro-C 2 (preference: 85) is available with its FET mode, prefer that for its better parameter control and metering. But the JS 1175 outperforms ReaComp for FET-style use cases.

package/knowledge/plugins/stock-reaper/rea-comp.md

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+---
+name: ReaComp
+fx_match: ["ReaComp", "VST: ReaComp", "ReaComp (Cockos)"]
+category: compressor
+style: transparent
+vendor: Cockos
+preference: 35
+---
+
+# ReaComp
+
+## What it does
+
+ReaComp is REAPER's built-in compressor. It is clean and transparent with no harmonic coloration. Supports standard compressor parameters plus sidechain input, lookahead (up to 1000ms), soft-knee, and RMS/Peak detection. Best used as a utility compressor when no third-party compressors are available. It lacks the character of FET, optical, or VCA designs, but is accurate and predictable.
+
+## Key parameters by name
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Threshold | -60 to 0 dB | Level above which compression begins |
+| Ratio | 1:1 to inf:1 | Compression amount — 4:1 is moderate, 10:1+ is limiting |
+| Attack | 0.1–1000 ms | Time to reach full compression after signal exceeds threshold |
+| Release | 1–5000 ms | Time for gain reduction to recover after signal drops below threshold |
+| Knee | 0–24 dB | Hard knee (0) vs soft knee (higher values) — soft knee is more transparent |
+| Pre-comp (lookahead) | 0–1000 ms | Lookahead time — adds latency but allows reaction before transient hits |
+| RMS Size | 0–1000 ms | 0 = peak detection; higher = RMS averaging |
+| Dry Mix | 0–100% | Parallel compression blend (wet signal remains at 100%) |
+| Wet | -inf to 0 dB | Output level of compressed signal |
+| Auto makeup | checkbox | Automatically apply makeup gain based on ratio and threshold |
+
+## Recommended settings
+
+### Vocals — general purpose (transparent)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -18 to -24 dB | Catch the louder phrases |
+| Ratio | 3:1 to 4:1 | Moderate control |
+| Attack | 10–15 ms | Let transient consonants through |
+| Release | 50–100 ms | Fast enough not to pump |
+| Knee | 6 dB | Soft knee for transparency |
+| RMS Size | 30–50 ms | Smooths out peak response |
+| GR target | 3–6 dB | Adequate control without squashing |
+
+### Drum bus glue
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -18 to -24 dB | Hit moderately |
+| Ratio | 4:1 | Moderate glue |
+| Attack | 10–30 ms | Preserve transient attack |
+| Release | 50–100 ms | Slightly pumpy can work on drums |
+| Knee | 3 dB | Slight soft knee |
+| GR target | 2–4 dB | Light glue |
+
+### Parallel drums ("New York compression")
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -30 to -40 dB | Hit very hard |
+| Ratio | 20:1 to 100:1 | Near limiting |
+| Attack | 0.1–1 ms | Kill all transients |
+| Release | 50–200 ms | Some breathing |
+| Dry Mix | 40–60% | Blend with uncompressed signal |
+| GR target | 10–20 dB | Heavy squash, blended back in |
+
+### Bass guitar
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -18 to -24 dB | Control dynamic range |
+| Ratio | 4:1 | Consistent output |
+| Attack | 5–20 ms | Allow pick attack to come through |
+| Release | 50–150 ms | Musical release |
+| Knee | 3–6 dB | Smooth |
+| GR target | 2–4 dB | Tighten without killing feel |
+
+### Master bus glue (light)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -6 to -12 dB | Catch only peaks |
+| Ratio | 2:1 | Very light |
+| Attack | 10–30 ms | Preserve transients |
+| Release | 100–300 ms | Auto-feel |
+| Knee | 6–12 dB | Maximum transparency |
+| GR target | 1–2 dB | Glue only |
+
+## Presets worth knowing
+
+No notable factory presets. Build from settings above.
+
+## When to prefer this
+
+- When no third-party compressor is available — ReaComp is always present
+- When pure transparency and accuracy are needed over character
+- When you need lookahead compression (sibilance control, brick-wall peaks)
+- When doing parallel compression (Dry Mix knob is very convenient)
+
+Prefer FabFilter Pro-C 2 (preference: 85) when available for its modeling modes (FET, Optical, VCA, etc.), better visualization, and program-dependent release. For vocal FET character, the JS: 1175 Compressor is preferred over ReaComp despite lower overall quality.

package/knowledge/plugins/stock-reaper/rea-delay.md

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+---
+name: ReaDelay
+fx_match: ["ReaDelay", "VST: ReaDelay", "ReaDelay (Cockos)"]
+category: delay
+style: transparent
+vendor: Cockos
+preference: 38
+---
+
+# ReaDelay
+
+## What it does
+
+ReaDelay is REAPER's multi-tap delay with up to 8 independent taps. Each tap can have independent time, level, feedback, panning, and filtering. Supports tempo-sync delay times and both stereo and mid/side processing. It is a clean, transparent delay without tape saturation or modulation by default. Excellent for utility delay tasks — slapback, doubling, echo — but lacks the warmth and character of vintage tape delay emulations.
+
+## Key parameters by name
+
+Each of up to 8 taps has its own parameter set. Tap 1 parameters:
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Tap N Enabled | 0 or 1 | Enable this tap |
+| Tap N Length | 0.01–4000 ms (or beat divisions) | Delay time |
+| Tap N Length mode | ms / beats | Whether to use tempo-sync or absolute time |
+| Tap N Volume | -inf to +6 dB | Level of this tap's output |
+| Tap N Pan | -100 to +100% | Stereo position of tap |
+| Tap N Feedback | 0–100% | How much of the tap feeds back into itself |
+| Tap N LPF | 20–20000 Hz | Low-pass filter on the tap |
+| Tap N HPF | 20–20000 Hz | High-pass filter on the tap |
+| Dry | -inf to 0 dB | Dry signal level |
+| Wet | -inf to 0 dB | Wet signal level |
+
+## Recommended settings
+
+### Vocal slapback (rockabilly / country)
+
+Single tap with very short delay to add depth without an audible echo.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Tap 1 Length | 60–120 ms | Short enough to sound like "thickening" |
+| Tap 1 Volume | -6 to -12 dB | Tap should sit under the dry |
+| Tap 1 Feedback | 0% | No repeats, just one echo |
+| Tap 1 LPF | 8000 Hz | Soften the echo, sit behind dry |
+| Tap 1 HPF | 100 Hz | Keep it from muddying the low end |
+| Dry | 0 dB | Full dry level |
+| Wet | -6 dB | Subtle echo |
+
+### 1/4 note tempo-sync delay (classic rock/pop)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Tap 1 Length mode | beats | Sync to project tempo |
+| Tap 1 Length | 1 beat (quarter note) | Classic rhythmic delay |
+| Tap 1 Feedback | 30–50% | 3–5 repeats |
+| Tap 1 Volume | -6 dB | Prominent but not dominant |
+| Tap 1 LPF | 6000 Hz | Darker repeats, more natural |
+| Tap 1 HPF | 200 Hz | Keep repeats from muddying bass |
+
+### Ping-pong stereo delay
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Tap 1 Length | 1 beat | First tap — left |
+| Tap 1 Pan | -80% | Hard left |
+| Tap 1 Volume | -6 dB | |
+| Tap 2 Length | 1.5 beats (dotted quarter) | Second tap — right |
+| Tap 2 Pan | +80% | Hard right |
+| Tap 2 Volume | -9 dB | Slightly quieter |
+| Both taps Feedback | 20–35% | Gentle repeats |
+| Both taps LPF | 8000 Hz | Soften |
+
+### Pre-delay for reverb (parallel chain)
+
+Place ReaDelay before reverb to separate dry signal from reverb onset.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Tap 1 Length | 15–40 ms | Pre-delay time |
+| Tap 1 Feedback | 0% | No repeats |
+| Tap 1 Volume | 0 dB | Full level |
+| Dry | -inf dB | No dry signal (reverb takes over) |
+
+## Presets worth knowing
+
+No notable factory presets. ReaDelay is flexible enough that custom settings are standard practice.
+
+## When to prefer this
+
+- When no third-party delay is available
+- When you need multi-tap delays (up to 8 taps with independent settings)
+- When you need clean, uncolored delay without tape saturation
+- When you need tempo-sync with custom feedback filtering
+
+For vintage tape echo character, look for Valhalla Delay or similar tape emulations when available.

package/knowledge/plugins/stock-reaper/rea-eq.md

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+---
+name: ReaEQ
+fx_match: ["ReaEQ", "VST: ReaEQ", "ReaEQ (Cockos)"]
+category: eq
+style: transparent
+vendor: Cockos
+preference: 40
+---
+
+# ReaEQ
+
+## What it does
+
+ReaEQ is REAPER's built-in parametric equalizer with up to 64 bands. It is phase-linear capable (zero-latency linear phase mode available), sounds clean and transparent, and has no coloration of its own. It is the universal fallback when no third-party EQ is installed. Supports multiple filter types per band including Bell, Low Shelf, High Shelf, Low Pass, High Pass, Band Pass, and Notch. Does not have per-band saturation or dynamic EQ capabilities.
+
+## Key parameters by name
+
+ReaEQ parameters are addressed by band index and parameter type. With the MCP `set_fx_parameter` tool, parameters are normalized 0.0–1.0. The following describes the conceptual ranges:
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Band N Enabled | 0 or 1 | Enable/disable the band |
+| Band N Frequency | 20–20000 Hz | Center or cutoff frequency |
+| Band N Gain | -36 to +36 dB | Boost or cut amount (Bell, Shelf) |
+| Band N Bandwidth | 0.1–4.0 octaves | Width of Bell band |
+| Band N Type | 0–7 | 0=Low Shelf, 1=High Shelf, 2=Band, 3=Low Pass, 4=High Pass, 5=All Pass, 6=Band Pass, 7=Notch |
+
+Note: ReaEQ shows raw parameter indices in REAPER's FX window. Band 1 occupies the first 4 parameters, Band 2 the next 4, etc.
+
+## Recommended settings
+
+### High-pass filter on vocals
+
+Remove sub-rumble and handling noise below the vocal fundamental.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band 1 Type | High Pass (4) | Steep roll-off below cutoff |
+| Band 1 Frequency | 80–100 Hz | Below lowest chest-voice fundamentals |
+| Band 1 Bandwidth | 0.5 octave | Creates gentle 12 dB/oct slope |
+
+### High-pass filter on acoustic guitar / electric guitar
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band 1 Type | High Pass | Remove body resonance and handling |
+| Band 1 Frequency | 80–120 Hz | Below lowest guitar fundamental (82 Hz open low E) |
+
+### Mud reduction on full mix (250–400 Hz)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band N Type | Bell | Surgical cut, not shelf |
+| Band N Frequency | 250–400 Hz | Low-mid mud zone |
+| Band N Gain | -2 to -4 dB | Gentle — broad cuts are subtle |
+| Band N Bandwidth | 1.5–2.0 octaves | Wide reduction clears the whole mud zone |
+
+### Presence boost on vocals (3–5 kHz)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band N Type | Bell | Targeted boost |
+| Band N Frequency | 3000–4000 Hz | Presence peak, cuts through a mix |
+| Band N Gain | +1.5 to +3 dB | Careful — this zone causes harshness |
+| Band N Bandwidth | 1.0 octave | Moderate — too narrow sounds phasey |
+
+### Air boost (10–16 kHz shelf)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band N Type | High Shelf | Smooth broadband boost |
+| Band N Frequency | 10000–12000 Hz | Start of air band |
+| Band N Gain | +1 to +3 dB | Add sparkle without harshness |
+
+### Kick drum low-end punch
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Band 1 Type | High Pass | Remove sub rumble |
+| Band 1 Frequency | 30–40 Hz | Below kick fundamental |
+| Band 2 Type | Bell | Boost the punch |
+| Band 2 Frequency | 60–80 Hz | Kick punch zone |
+| Band 2 Gain | +2 to +4 dB | Reinforce fundamental |
+| Band 3 Type | Bell | Reduce click box if needed |
+| Band 3 Frequency | 300–500 Hz | Cardboard/boxy zone |
+| Band 3 Gain | -2 to -4 dB | Tighten the tone |
+| Band 4 Type | Bell | Add click/attack |
+| Band 4 Frequency | 3000–5000 Hz | Beater click zone |
+| Band 4 Gain | +2 to +4 dB | Help kick cut through |
+
+## Presets worth knowing
+
+No notable factory presets. Build from the recommended settings above.
+
+## When to prefer this
+
+- When no third-party EQ is installed — ReaEQ is always available
+- When you need phase-linear processing (enable linear phase mode) for mastering
+- When you need more than 8 bands — ReaEQ supports up to 64
+- When transparency is the priority and coloration is unwanted
+- When CPU budget is tight — ReaEQ is extremely lightweight
+
+Prefer FabFilter Pro-Q 3 (preference: 90) when available for its per-band dynamic EQ, better visualization, and mid/side processing.

package/knowledge/plugins/stock-reaper/rea-gate.md

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+---
+name: ReaGate
+fx_match: ["ReaGate", "VST: ReaGate", "ReaGate (Cockos)"]
+category: gate
+style: transparent
+vendor: Cockos
+preference: 40
+---
+
+# ReaGate
+
+## What it does
+
+ReaGate is REAPER's noise gate and downward expander. It silences or reduces signal that falls below a threshold, used to eliminate bleed between microphones, remove noise floor during silent passages, and tighten drum recordings. Supports sidechain input (filter another signal to trigger the gate), hysteresis (different open/close thresholds), and range control (how much to attenuate rather than full silence). Fully featured and reliable as a stock gate.
+
+## Key parameters by name
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Threshold | -80 to 0 dB | Level below which gating occurs |
+| Hysteresis | 0–40 dB | Difference between open (threshold) and close threshold — prevents chattering |
+| Attack | 0.1–1000 ms | Time to open the gate after signal exceeds threshold |
+| Hold | 0–5000 ms | Minimum time gate stays open after signal drops |
+| Release | 1–5000 ms | Time to close the gate after hold expires |
+| Range | -inf to 0 dB | How much attenuation when gate is closed — 0 dB = no gating, -inf = full silence |
+| Sidechain | checkbox | Use external sidechain signal for triggering |
+| Pre-open | 0–10 ms | Lookahead: open gate slightly before threshold crossing to preserve attack |
+
+## Recommended settings
+
+### Snare drum gate (eliminate hat bleed)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -30 to -40 dB | Just above the noise floor / bleed level |
+| Hysteresis | 5–10 dB | Prevent chattering on ghost notes |
+| Attack | 0.5–2 ms | Fast enough not to clip the snare crack |
+| Hold | 50–100 ms | Keep gate open through the full snare hit |
+| Release | 50–150 ms | Smooth closing |
+| Range | -inf or -60 dB | Full or near-full silence between hits |
+
+### Kick drum gate (eliminate bleed, tighten tail)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -40 to -50 dB | Above room bleed, below kick |
+| Attack | 0.1–1 ms | Preserve attack |
+| Hold | 100–200 ms | Full kick tail |
+| Release | 50–100 ms | Natural close |
+| Range | -inf dB | Silence between hits |
+
+### Noise gate on recorded guitar (amp hum between notes)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -50 to -60 dB | Just above amp hum level |
+| Hysteresis | 10–15 dB | Prevent chattering as note decays |
+| Attack | 1–5 ms | Let pick attack through |
+| Hold | 200–500 ms | Keep open through note sustain |
+| Release | 100–300 ms | Natural decay feel |
+| Range | -60 to -80 dB | Heavy attenuation without full silence (more natural) |
+
+### Vocal gate (studio noise between phrases)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -50 to -60 dB | Above noise floor, below breath sounds |
+| Hysteresis | 8–12 dB | Stable operation |
+| Attack | 2–5 ms | Don't clip word starts |
+| Hold | 100–300 ms | Stay open through short pauses |
+| Release | 100–200 ms | Smooth close |
+| Range | -60 dB | Attenuate heavily, not full silence (sounds more natural) |
+
+Note: For vocals, prefer manual editing or volume automation over gating. Gates can cause unnatural artifacts on expressive performances.
+
+### Tom gate using kick sidechain (sidechain gating)
+
+Use the kick sidechain to trigger tom gates during kick hits — keeps toms open in busy sections.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Threshold | -35 to -45 dB | Set for the sidechain signal level |
+| Sidechain | enabled | Route kick drum to sidechain input |
+| Attack | 1–3 ms | |
+| Hold | 200–400 ms | Full tom ring |
+| Release | 100–200 ms | |
+
+## Presets worth knowing
+
+No notable factory presets. Gate settings are highly recording-dependent.
+
+## When to prefer this
+
+- Eliminating microphone bleed between drum kit mics (snare, toms)
+- Removing noise floor hiss/hum from guitar amps between phrases
+- Tightening tracks recorded in less-than-ideal acoustic environments
+- Use Hysteresis liberally — it prevents the chattering/stuttering that makes gates sound unnatural
+
+Avoid gating on mix bus, master bus, or as a creative effect (use a transient shaper instead for tightening attacks without silencing).

package/knowledge/plugins/stock-reaper/rea-limit.md

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+---
+name: ReaLimit
+fx_match: ["ReaLimit", "VST: ReaLimit", "ReaLimit (Cockos)"]
+category: limiter
+style: transparent
+vendor: Cockos
+preference: 38
+---
+
+# ReaLimit
+
+## What it does
+
+ReaLimit is REAPER's brickwall limiter. It prevents signal from exceeding a set ceiling, used as the final stage before export to prevent intersample clipping and true peaks exceeding 0 dBFS. It uses lookahead limiting to catch transients before they clip. Clean and transparent — appropriate for protecting individual buses and as a last-resort master limiter when better options are not available. Lacks the loudness maximization algorithms of dedicated mastering limiters like FabFilter Pro-L 2.
+
+## Key parameters by name
+
+| Parameter | Range | Description |
+|-----------|-------|-------------|
+| Ceiling | -inf to 0 dBFS | Maximum output level — true peak will not exceed this |
+| Threshold | -inf to 0 dBFS | Where limiting begins — set equal to ceiling for brickwall |
+| Release | 1–2000 ms | How quickly gain recovers after a peak |
+| Lookahead | 0–100 ms | How far ahead ReaLimit reads to catch transients |
+| Stereo link | checkbox | Link L/R gain reduction so stereo image is maintained |
+
+## Recommended settings
+
+### Track bus protection (prevent clipping on buses)
+
+Prevents a bus from clipping even with extreme processing. A safety net, not a loudness tool.
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Ceiling | -0.3 dBFS | Slight safety margin for intersample peaks |
+| Threshold | -0.3 dBFS | Same as ceiling — brickwall |
+| Release | 100–200 ms | Transparent release |
+| Lookahead | 5–10 ms | Catch fast transients |
+| Stereo link | on | Preserve stereo image |
+
+Target: no more than 1–3 dB of gain reduction on average. If seeing 6+ dB GR, the mix needs adjustment upstream.
+
+### Master bus limiter (for streaming delivery)
+
+For Spotify/YouTube delivery at -14 LUFS integrated, -1 dBTP true peak:
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Ceiling | -1.0 dBFS | -1 dBTP to account for intersample peaks in MP3/AAC encoding |
+| Threshold | -1.0 dBFS | |
+| Release | 150–300 ms | Transparent for mastering |
+| Lookahead | 10 ms | |
+| Stereo link | on | |
+
+Note: ReaLimit is a simple brickwall. For competitive loudness (loudness maximization), FabFilter Pro-L 2 with its ISP-detected true peak and LUFS metering is strongly preferred.
+
+### Live recording safety limiter (insert on input)
+
+| Parameter | Value | Why |
+|-----------|-------|-----|
+| Ceiling | -3 dBFS | Safety headroom for unexpected peaks |
+| Threshold | -6 dBFS | Catch sustained hot recordings |
+| Release | 50–100 ms | Fast enough to not affect performance |
+| Lookahead | 1–3 ms | Minimal latency |
+
+## Presets worth knowing
+
+No factory presets needed — settings are project-specific.
+
+## When to prefer this
+
+- As a safety net on individual buses when a bus is clipping during a session
+- As a final protection pass on tracks before committing recordings
+- As a master limiter placeholder when Pro-L 2 is not installed
+
+Prefer FabFilter Pro-L 2 (preference: 92) for mastering. Pro-L 2 offers true peak limiting, LUFS metering, multiple limiting algorithms (Transparent, Punchy, Dynamic), and a much better loudness maximization result. ReaLimit for mixing safety; Pro-L 2 for delivery masters.