BFD Tutorial

BFD Explained

28 Tutorials (2hr 47min 18sec)
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    Tutorial 1

    Introduction

    1:52

    Welcome to BFD 2! This tutorial provides an overview of what will be covered in this video series.

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    Tutorial 2

    Installation

    6:21

    Learn how to point your installer to a custom location in order to place the installed samples on a separate hard drive. Also learn where all the important user, resource, and support files are stored on your system.

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    Tutorial 3

    Data Paths

    3:04

    See how to use the Setup Wizard and the Data Preferences Page to make sure that BFD 1 Expansion pack content is recognized properly.

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    Tutorial 4

    Interface Overview

    5:09

    Get familiar with the main interface elements, including the page buttons, control bar, load and save menus, and status bar.

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    Tutorial 5

    Working with Presets

    5:34

    Explore how to load, save, and import presets, and how the different elements of the presets chooser work.

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    Tutorial 6

    Working with Kits

    4:17

    Discover how to load and manage kits and how some of the important areas in the kit page and kit chooser panel work.

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    Tutorial 7

    Kits Pieces

    5:32

    Learn how the kit piece slots and kit piece chooser work, as well as the different ways of auditioning and loading kit pieces and their various articulations.

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    Tutorial 8

    Kit Piece Inspector

    9:38

    See how to use the different elements in the kit piece inspector, as well as how the multiple mic'ing for each sample is structured.

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    Tutorial 9

    Kit Page Tools

    4:11

    Explore how to layer, move, and remove sounds. See how to use the MIDI note learn wizard to quickly assign MIDI note triggers to kit piece articulations.

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    Tutorial 10

    Importing Your Sounds

    3:54

    Discover how to bring in your own samples and create multi velocity layered kit pieces that load into the BFD 2 interface.

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    Tutorial 11

    Mixer Page Channel Types

    8:58

    Learn how to navigate through the mixer page interface and how the main areas work.

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    Tutorial 12

    Mixer Page Functions

    7:09

    See how the mixer page tools, mixer channels, and utility panel functions work.

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    Tutorial 13

    Mixer Page Effects

    6:34

    Watch how to control the various parameters and setup send routings in the mixer page effects section.

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    Tutorial 14

    Insert FX & Sidechain

    7:05

    Explore how insert FX work and how to setup sidechain routing between channels.

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    Tutorial 15

    Multiple Outputs

    5:50

    Discover how to set up BFD's mixer page output assignments to work with a multiple output instance of the BFD Audio Unit plug-in inside Logic Pro 9.

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    Tutorial 16

    Exporting as Audio

    2:53

    Learn how to export MIDI tracks programmed in your host sequencer as audio tracks, from within BFD's mixer page.

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    Tutorial 17

    Groove Engine Overview

    6:09

    Get an overview of how the different areas of the Groove Page and Grove Engine work.

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    Tutorial 18

    Loading Palettes

    6:13

    See how to load in palettes, and get an overview of the palette and palette chooser controls.

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    Tutorial 19

    Working with Grooves

    6:50

    Explore how to load single or multiple grooves into an already open palette, and explore the different ways of triggering and controlling the grooves in the different palette slots.

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    Tutorial 20

    Managing Grooves

    4:28

    Discover how to select multiple grooves and edit their actions all at once. Also see how to designate grooves as fills and use the autofill function.

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    Tutorial 21

    Import & Save Grooves

    7:26

    Watch how to import, save, and export BFD and MIDI grooves.

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    Tutorial 22

    The Groove Editor

    6:22

    See an overview of the Groove Editor's interface and how to set it up for efficient editing.

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    Tutorial 23

    Groove Editor Tools

    7:32

    Learn how to use the edit tools to create and edit grooves. Working in the velocity lane, overview of the 'other' functions on top of the grid editor, assigning key commands to editor functions and tools are also covered.

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    Tutorial 24

    Recording & Groove FX

    8:18

    Explore how to record events into a groove via MIDI and then apply non-destructive groove FX.

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    Tutorial 25

    Create a Drum Track

    6:36

    See how the different auto-play modes work and how to assemble a drum track within BFD.

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    Tutorial 26

    Mapping Page Overview

    6:41

    Discover how the different areas of the key / automation mapping window work, as well as how to load and save settings for them either alone or together.

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    Tutorial 27

    Key Mapping

    5:44

    Watch how to map, layer and work with variable articulations in the key-mapping window, as well as how program change mapping works.

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    Tutorial 28

    Automation

    6:58

    Learn how to setup and use MIDI CC, note, and host-based automation, in BFD 2.

Have BFD2? Want to know how to get the most from it? DAW guru Eli Krantzberg shows you how in this in-depth look at the awesome, but very complex BFD2 drum virtual instrument by FXpansion.

Eli takes you from the beginning showing you the basics, such as installation, window overviews, building kits, importing your own sounds, to more advanced topics such as insert effects, using multiple outputs, groove editing, creating drum tracks, automation and much more.

If you use BFD2, you owe it to yourself to learn all of its powerful features and functions. This knowledge will in turn enable you to produce more realistic, better feeling drum tracks for your productions and projects. Set yourself apart from other BFD2 users and beat the most you can out of BFD2!

1. When did you start dabbling in music?

I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.

These great players, along with  drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me. 

2. What training have you had?

I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and  began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music. 

It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.

3. When did you get into recording?

It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior. 

I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools. 

4. People you have worked with/for?

Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!

As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer. 

5. Why are you so good at training people?

I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.

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