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Comp Chan The CompChan (channel compressor) is derived from a classic ‘feedback-based FET limiting amplifier’ design. It is also what is known as a ‘fixed-threshold’ design – the threshold at which compression starts is not adjustable. In practice, this means you may need to adjust the input and output levels when changing ratios. Input & Output This control varies the input level going into the compressor. Once the input level has reached the internal threshold, compression begins. When this happens, use the Output control to turn down the increased input. The Input control ranges from -20 tp +40 dB, while the Output control ranges from -40 dB to +20 dB. Attack The Attack control has a an arbitrary range of 0 to 10, which equates to a real-world range between 0.02 ms and 0.8 ms. Release The Release control has a an arbitrary range of 0 to 10, which equates to a range between 50ms and 1.1 seconds. Ratio Ratios available are 4:1 , 8:1 , 12:1, 20:1 and ‘Nuke’, which is an emulation of the ‘all buttons in’ mode on a classic limiting amplifier design. It results in a particularly brutal type of compression. Comp Bus This compressor is based on a classic bus compressor design from the centre section of a well-known British large-format mixing console. It is most commonly used to add ‘glue’ and power to a drum bus. However, it also works very well as a channel compressor in its own right, offering a different flavour of compression compared to the Comp Chan. Attack Six attack times are available: 0.1 ms, 0.3 ms, 1 ms, 3 ms, 10 ms, 30 ms. Release Five release settings are available: 0.1 ms, 0.3 ms, 0.6 ms, 1.2 ms and Auto. Ratio Three ratio settings are available: 2:1, 4:1 and 10:1. Threshold Unlike the channel compressor, the buss compressor allows you to adjust the threshold, which represents the input level at which the compressor starts to react. Make up gain This control allows you to increase the output gain after the compressor circuit has applied gain reduction to the input signal. Analog limit This button applies analog non-linearities to the input to the compressor’s amplitude detection circuit (while not affecting the input signal itself). This results in a different character to the processing – the compression effect is more transparent on attacks. 1 0
Noise Gate A noise gate is a type of dynamics processor that mutes or attenuates the input signal until its amplitude exceeds an adjustable threshold level, at which time the gate ‘opens’ to allow audio through at its actual level. They are often used during drum mixing in order to isolate drums within signals containing bleed or spill from other drums. Another common use is to reduce the decay of toms and kicks. Noise gates are often referred to simply as ‘gates’. While BFD2 contains bleed in the kick and snare channels, it can easily be turned off rather than having to use gates to minimize bleed. Likewise, the decay of kit-pieces can be adjusted using the damping controls in the kit-piece inspector. However, using gates can be good for creative effects, or simply for recreating the types of techniques used in real drum mixing sessions. BFD2’s Noise gate has a sidechain function, allowing you to create triggered pulsing effects very easily. For example, route any channel such as a hihat or a user sample direct channel to the master channel’s sidechain input and insert a noise gate in one of the master channel’s effect slots. Enable the sidechain button for the gate and adjust the threshold until the sidechain input triggers the audio on the channel. When setting very fast attack and release times, it is common to hear ‘clicks’ in the audio, especially with sounds predominantly comprised of low frequencies such as kicks and toms – this is totally normal and you simply need to increase these times slightly to eradicate the problem. Attack This controls the speed at which the gate opens once the threshold has been exceeded by the input signal’s amplitude. Hold This parameter controls the amount of time the gate remains open after the input signal has dropped below the threshold level. Release This controls the speed at which the gate closes at the end of the hold time. Threshold This control allows you to set the level at which the gate starts to open. When the input signal amplitude exceeds the level specified by the Threshold control, the gate starts to open to allow audio through. SC Like the compressors, the NoiseGate features a sidechain function. By enabling the SC (Sidechain) button, the gate reacts to the channel’s sidechain input rather than the main input, while still applying the gating process to the main input. This allows you to control the gating of the main input signal with another signal entirely. LP Freq & HP Freq These controls allow you to filter the input signal used to trigger the gate, while leaving the actual processed signal unfiltered. This allows you to isolate certain frequencies in the input to improve the gating response – for example, excessive low frequencies in the input can make the gate react more than required. It is important to remember that these filters affect only the key signal used to trigger the gate, whether it is the main input or the sidechain input. They are not applied to the processed signal. Key Listen Enabling the Listen button lets you hear the key input being used to trigger the NoiseGate’s amplitude detection circuit instead of the processed input signal. The key signal can be either the main input or the sidechain input. It is very useful when using the LP and HP filters and/or the sidechain input. Hysteresis Noise gates have a tendency to open and close very quickly when the input signal’s amplitude remains close to the threshold level for longer periods, something that can result in ‘gate chatter’. Increasing the Hysteresis control smooths out the gate response to reduce this problem, although the gate becomes less sensitive to small changes around the threshold level. Mix With the Mix control at 100%, the BFD2 NoiseGate mutes the signal completely when closed. If you want to let the signal through at a low level, decrease the Mix control to allow more of the dry signal through. 1 1
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2.0.1 Dec 2007 www.fxpansion.com
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55 3:4 Mixer toolbar and utility pa
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144 9:5 Positional snare control 14
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1:2 BFD2 Architecture How BFD2 work
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Direct mic channels (mono) Kick In
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1:3 Recording notes BFD2’s sounds
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1:4 Introduction to the BFD2 interf
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Load menu Clicking the Load button
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Controller learn The controller lea
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1:7 Loading BFD2 Presets BFD2 Prese
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Photo & Rating The large photo of t
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When moving a control I like to dra
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2:2 Kit Size You can choose between
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2:3 Loading and saving in the Kit p
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Sorting With this drop-down menu yo
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2:5 Kit display and kit-piece slot
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2:6 Loading Kit-Pieces Overview To
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Import Clicking this button opens t
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2:7 Importing your own sounds into
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2:8 Kit page toolbar The toolbar on
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Next/Previous buttons Clicking thes
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Kit-piece bleed controls In BFD2, b
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2:10 Mini-mixer The mini-mixer allo
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Next slot mode If this mode is enab
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3:2 Loading and Saving in the Mixer
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Saving Mixer presets Using the Save
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Unused direct channels A kit-piece
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3:4 Mixer toolbar and utility panel
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3:5 Mixer channel controls and indi
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Controls/indicators available in Re
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3:6 Using the mixer Selecting chann
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Signal Routing indicators In order
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FX Preset browser The preset browse
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Using sends for parallel processing
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3:10 Mixer preset panel The Mixer p
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Export Sync mode Free The Free Expo
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4:2 Grooves page interface 1. Palet
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4:4 Undo function Every operation p
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chapter 05 GROOVES PAGE part 1 pale
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Audition Preview buttons When a Pal
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5:3 Loading Grooves Using the Groov
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5:4 Playing Grooves in the Palette
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5:5 Working with Grooves in the Pal
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5:6 Groove Actions The Palette area
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End Actions for Grooves Random Groo
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Importing MIDI files into the Palet
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Palette Info inspector The followin
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Using drag & drop to export Grooves
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chapter 06 GROOVES PAGE part 2 edit
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6:2 Editor Grid View controls Kit-p
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Velocity lane The velocity lane und
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6:3 Grooves toolbar To the left of
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6:4 Other Editor functions A number
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6:5 Combining elements of other Gro
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6:7 Groove FX panel Power Quantize
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Swing effect The Swing effect appli
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Current When playback is started th
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7:3 Drum Track display Scrollbar Lo
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Moving selected Parts To move Parts
Page 119 and 120: 7:7 Using BFD2’s MIDI Out In comp
Page 121 and 122: 8:2 Loading in the Mapping page Loa
Page 123 and 124: Loading Automation maps To load an
Page 125 and 126: 8:4 Key mapping view BFD2’s keyma
Page 127 and 128: Single-articulation previews If a k
Page 129 and 130: Layering multiple articulations on
Page 131 and 132: 8:7 Introduction to BFD2 automation
Page 133 and 134: Clear All Auto Click this button to
Page 135 and 136: 8:9 Mapping MIDI notes to BFD2 cont
Page 137 and 138: chapter 09 ELECTRONIC DRUMS AND BFD
Page 139 and 140: 9:3 Variable hihat control Overview
Page 141 and 142: Possible problems Apart from a prob
Page 143 and 144: Hihat choke fade settings The hihat
Page 145 and 146: chapter 10 BFD2 PREFERENCES customi
Page 147 and 148: 10:3 Groove preferences Show Groove
Page 149 and 150: High-accuracy song position display
Page 151 and 152: Session Playback preferences Revert
Page 153 and 154: Key Mapping preferences These setti
Page 155 and 156: RAM buffer This value, in sample fr
Page 157 and 158: Special concerns for hihats Hihats
Page 159 and 160: Mixer GUI Options Show mixer signal
Page 161 and 162: 11:3 Using articulations effectivel
Page 163 and 164: 11:5 Programming patterns A guide t
Page 165 and 166: 12:1 Mixing basics Mic channel usag
Page 167 and 168: 12:2 EQ and filtering EQ BFD2’s E
Page 169: SC Enabling the SC button results i
Page 173 and 174: Dirty & Clean The Dirty control set
Page 175 and 176: Flanger The Flanger effect is a sho
Page 177 and 178: 12:6 Mixing each part of the kit Ki
Page 179 and 180: 12:7 Routing scenarios Creating sub
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