Hey guys
I own BFD Deluxe which is a stunning piece of work.
However, I am not a Music Producer nor a Sound Engineer by trade.
This presents problems for me when it comes to using BFD effectively as it is designed apparently as a simulation of a pro studio environment.
Is there ANY tutorial video or TIPS page on how to use PLUGINS and EQ's etc to give BFD the treatment it deserves?
I do BIG FAT HARD ROCK
BFD Deluxe Production Advice
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Jason Brian Merrill Jason Brian Merrill https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=87372
- KVRAF
- 2694 posts since 11 Nov, 2005 from http://maps.google.com/maps?oi=map&q=Massena,+NY --(on the Canadian border)
you could probably look at any tips on eqing or compressing drums on the net, it probably all applies. but if you search within this forum, there is a thread somewhere where steve duda gives some tips, as well as other kvrers
check my profile for contact info.
msn messenger is my email as well.
msn messenger is my email as well.
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- KVRist
- 461 posts since 12 Jan, 2003 from Kyoto
I had trouble wrapping my head around it for a while too.
I can't match the advice that others are capable of giving, but here's a quick tip that has made things easier for me: I start by working with only the overheads, and get the best sound I can out of that. At this time I'm also tweaking the velocities of the drums in the MIDI score, not just messing around with BFD itself. That becomes my basic drum sound. Then, if I need to (which I guess I always do), I use the close mics to augment that basic sound. Most important effects here are gates & EQs, closely followed by compressors, and sometimes reverb.
Usually I only use the close mics on the kick & snare; I figure if I need to start micing the toms or cymbals (shudder), then I haven't done a good enough job with the basic sound (from the overheads).
I sometimes, but not always, add some PZM & room sound after this, but at this point the mix tells me what to do.
If you're going for a more modern sound, you might end up using a more complex setup with more close micing, PZM, etc., but you can get a really tight sound with the "less is more" approach too.
I can't match the advice that others are capable of giving, but here's a quick tip that has made things easier for me: I start by working with only the overheads, and get the best sound I can out of that. At this time I'm also tweaking the velocities of the drums in the MIDI score, not just messing around with BFD itself. That becomes my basic drum sound. Then, if I need to (which I guess I always do), I use the close mics to augment that basic sound. Most important effects here are gates & EQs, closely followed by compressors, and sometimes reverb.
Usually I only use the close mics on the kick & snare; I figure if I need to start micing the toms or cymbals (shudder), then I haven't done a good enough job with the basic sound (from the overheads).
I sometimes, but not always, add some PZM & room sound after this, but at this point the mix tells me what to do.
If you're going for a more modern sound, you might end up using a more complex setup with more close micing, PZM, etc., but you can get a really tight sound with the "less is more" approach too.
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Jason Brian Merrill Jason Brian Merrill https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=87372
- KVRAF
- 2694 posts since 11 Nov, 2005 from http://maps.google.com/maps?oi=map&q=Massena,+NY --(on the Canadian border)
thats a really good idea peel!!! I havent thought of that!!!
check my profile for contact info.
msn messenger is my email as well.
msn messenger is my email as well.
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- KVRer
- 14 posts since 12 Jan, 2006 from Los Angeles, CA
I can probably answer any specific questions you have about EQ and compression. Or micing drum sets.
For drums, compression is often used to "even out" the level of the drums, particularly the snare and kick. That's the typical use of compression here.
But maybe this may help you. Try and think of compression as something that shapes waveforms. You can control the attack. A fast attack blunts the initial transient peak, or, in other words, flattens the attack, making it sound less "pokey". A slow attack, on the other hand, allows the initial transient to poke through before the compressor "clamps down" on the sound.
Does this make sense?
EQ: Uh, well, like compression, you can write whole books on this. Not sure where to begin.
Think about EQing as not just boosting, but also cutting. Use the EQ to sweep around, especially around the low mids, which tend to make drums "cardboardy". Low mids are approximately from 150-500Hz. Approximately. Boost using a fairly narrow "Q" (bandwidth), then sweep around. If anything sounds awful, ugly, especially cardboardy - cool. Dip your EQ right there. Listen back. Your audio should sound better. Check it in the mix. It should sound better. If not, try something else. Use this technique for numerous things. This works for EQs, whether hardware or software.
Use high-pass filters to filter all the rumbly garbage on stuff that doesn't need all that bottom end. This includes vocals, guitars, many keyboards (use your common sense here), brass, whatever. Quite frequently, you can carve away at anything below 100-120Hz on most of your tracks EXCEPT your bass and kick tracks (be careful at carving away too much with your other drums, although you can usually get away with it). Do this and your mixes will most likely sound much better.
Carve away at low mids. Low mids are the enemy. Declare war on the low mids. Cut instead of boost if possible to preserve headroom.
I gotta go run. Ask if you need any more help, and I'll be happy to try and offer opinions.
For drums, compression is often used to "even out" the level of the drums, particularly the snare and kick. That's the typical use of compression here.
But maybe this may help you. Try and think of compression as something that shapes waveforms. You can control the attack. A fast attack blunts the initial transient peak, or, in other words, flattens the attack, making it sound less "pokey". A slow attack, on the other hand, allows the initial transient to poke through before the compressor "clamps down" on the sound.
Does this make sense?
EQ: Uh, well, like compression, you can write whole books on this. Not sure where to begin.
Think about EQing as not just boosting, but also cutting. Use the EQ to sweep around, especially around the low mids, which tend to make drums "cardboardy". Low mids are approximately from 150-500Hz. Approximately. Boost using a fairly narrow "Q" (bandwidth), then sweep around. If anything sounds awful, ugly, especially cardboardy - cool. Dip your EQ right there. Listen back. Your audio should sound better. Check it in the mix. It should sound better. If not, try something else. Use this technique for numerous things. This works for EQs, whether hardware or software.
Use high-pass filters to filter all the rumbly garbage on stuff that doesn't need all that bottom end. This includes vocals, guitars, many keyboards (use your common sense here), brass, whatever. Quite frequently, you can carve away at anything below 100-120Hz on most of your tracks EXCEPT your bass and kick tracks (be careful at carving away too much with your other drums, although you can usually get away with it). Do this and your mixes will most likely sound much better.
Carve away at low mids. Low mids are the enemy. Declare war on the low mids. Cut instead of boost if possible to preserve headroom.
I gotta go run. Ask if you need any more help, and I'll be happy to try and offer opinions.
Ken
