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Mixing with BFD
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Mixing with BFD
Contents
4
1. Introduction
4
1:1.Processedvsunprocessedsounds
5
1:.Originalityandcreativity
6
2. Programming Techniques
6
:1.‘Theobviousstuff’
7
:.VelocitylayersandDynamicscontrols
8
:3.Articulations
9
:4.Damping
10
:5.Layering
11
:6.Keymappingtricks
11
:7.Creatingpatterns
13 3. Mic channels, outputs, mixing levels and panning
13
3:1.Micchannelsandcontrollingambiencelevels
13
3:.Outputrouting
14
3:3.Bleed
15
3:4.Panning
16
3:5.Phase
17
3:6.Levelsandmixingheadroom
18
3:7.Themixingenvironment
20 4. Processing techniques
0
4:1.Important:learnhowtouseyourgear!
1
4:.EQ
4:3.EQandcompressorrouting
4:4.Compression
25 5. How to approach mixing each part of the kit
5
5:1.Kicks
5
5:.Snares
6
5:3.Hihats
6
5:4.Toms
7
5:5.Cymbals
Mixing with BFD
28 6. Creative processing
8
6:1.Otherdynamicsprocessors
8
6:.Artiicialreverb
9
6:3.Recreatingretrosounds
9
6:4.Resamplingandre-sequencing
9
6:5.Distortionandre-amping
30
6:6.Noise
31 7. A demonstration of getting a good drum sound
Apracticalguidetodrumprocessing,withaudioexamplesandpicturesof
processorsettings.
35 8. How to approach mixing a song
Aroughguidetotacklingafullmix.
WrittenbyGarethGreenandMayurMaha
WiththankstoPaulChana,AndySimper,SKoTMcDonald,AngusHewlett,SteveDuda
andJohnBradshaw.
ThankstoSSLforpermissiontouseSSLDuendepluginsandtore-printtheirgraphical
interfaces.
©FXpansionAudio006
3
Mixing with BFD
1. Introduction
ThisguideisorientedaroundFXpansion’sBFDacousticdrumsoftware,althoughmuch
ofitisveryusefulforallmethodsofproductionandmixing.Ifyoudon’townBFD,you
maywanttodownloadthedemoversionfrom www.fxpansion.com -workingthrough
thisguidealongsideBFDpluggedintoyourfavouritesequencing/mixingsoftwarecanbe
averyeducationalandrewardingexperience.
1:1. Processed vs unprocessed sounds
BFD’ssoundsareunprocessed,inordertogiveyoutheutmostlexibilitywhenmixingthe
drumstoityoursong.
Thinkaboutifyoubookedsomeexpensivestudiotimeandconductedadrumrecording
session.Whetheryouwererecordingthedrumsforaparticularsong,orgettingtogether
alibraryofdrumsoundstouseonfutureprojects,wouldyourecordthedrumswith
processingalreadyplacedirrevocablyinthesignalpath?Thechancesarethatyou
wouldn’t:there’saveryrealpossibilityofotherelementsintheinalmixneedingsome
partsofthefrequencyspectrumanddynamicrangethatyouhadnotaccountedfor.
Ifyourecordthedrumsinunprocessedform,youwillalwayshavethefreedomtotreat
thedrumsexactlyasrequiredduringinalmixing.Otherwise,you’dhavetotrytoremove
certaineffectsoftheprocessingtogetthingstositwellinamix.It’sobviouslyeasierto
addthesequalitiesfromscratchthantotakethemawayfromthedrumssothattheycan
bere-shaped.
Ofcourse,youmaychoosetorecordadditionalprocessedversionsofsomechannels.
TherearepartsoftheBFDexpansionpackrangewhichcontainsomeprocessing,asa
resultofaconsciousdecisionmadebytheengineersresponsibleforthesessions.The
maincaseis 8 Bit Kit .Onsomechannels,certainprocessingtechniquesareapplied,
whichcanbeusedinavarietyofways:mixedinatminimallevelstogiveasubtleedge,
athigheramountsformoreexperimentalsounds,ormutedcompletely.Themethods
usedaresimilartothe‘re-amping’techniquesdescribedlaterinthisguide.
BFD Deluxe Collection containsaverysmallamountofsubtleprocessing,althoughitis
veryminimalandnowherenearanydegreethatwouldinterferewithamix.Infact,this
collectionfeaturesanumberofrecordingtechniqueswhichmakethesoundsparticularly
suitableformixingintoarrangementswithlittleornoadditionalprocessing.Forexample,
cymbalandhihatdirectmicsareslightlyfurtherbackthanusual,resultinginlesslow
frequenciesintherecordings.Thisallowsthemtositinthemixwellwithoutrequiringyou
toilteroutexcessivelowfrequencies.Also,theinsidekickmicisonthebeatersideofthe
frontskin,tocapturemoreofthe‘click’ofthebeater.Comparedtotechniqueslikethis,
theprocessingusedisinsigniicant,andshouldbeconsideredasaddingsubtlenuances
tothesoundratherthanshapingthedrumsintoalimitingpre-processedformat.
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Mixing with BFD
1:2. Originality and creativity
It’simportanttorealisethatdrumproductionissomethingofa‘darkart’,andpeople
whoaregoodatit,suchastheguyswhomixedyourfavouriterecords,havespentmany
yearsacquiringtheknowledgeandtheskillstodoitwell.Itisacreativeprocess,andas
dependentonexperienceandpracticeasanyothercreativeprocess.Acquiringgood
engineeringandmixingskillscantakeyearsandbeneitsfromfreshideasandcreativity,
justlikeplayinganinstrumentorwritingsongs.
It’simpossibleforustogiveadeinitiveguidetomixingdrumsforeverypossiblesituation,
butthefollowingguidelinesonprogrammingandprocessingtechniquesshouldget
youstarted.Evenso,alwaysrememberthattherearenorules,andthatyourearsand
yourcreativityareyourmostvaluabletools.Youwillnoticethatwerepeatthissentiment
frequentlyduringthecourseofthisguide,andthereisaverygoodreasonforthis:
originalityisoftheutmostimportance!It’strivialtocopyaformulaicprocessforgetting
‘asound’.Thereismuchmorevalueinbringingsomethingnewtothetable.Therefore,
studythesetechniquestoaddtoyourskillsandcapabilities,butdon’tdogmaticallystick
tothemorusethemasaformula!
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