.WHAT’S NEW IN BFD 2.


1. General changes
1:1 Important note about backwards-compatibility
BFD 2.1 Presets are NOT backwards compatible with 2.0.x versions.
Once a session has been saved with BFD 2.1, you cannot revert to 2.0.x and reload the settings contained within the session.
This is due to architectural changes between versions, which are discussed below.

1:2 Load menu

Reset BFD2
The Load menu now has a Reset function, which resets the entire state of BFD2 to factory initialized settings. Note that it does
not revert to your default BFD2 Preset if you have specified one in the BFD2 preferences – it resets BFD2 to an entirely blank
state.

Load Program Change Playlist...

This entry is for the new Program Change Playlist feature, discussed in section 5:2 of this document.

1:3 Save menu

Save Program Change Playlist...
This entry is for the new Program Change Playlist feature, discussed in section 5:2 of this document.

1:4 Help menu additions

Check for Updates
This function checks the fxpansion.com website for newer versions.

Launch “What’s New” PDF

This entry launches this PDF document in your system’s default PDF reader.

1:5 Chooser panels

Flow view
All chooser panels now feature a new view mode, called ‘Flow’, which can be accessed using the View Size drop-down menu.
This shows a very large, high-resolution image for each item shown in the choosers.

Search improvements
• The quick-search drop-down menu now features items for each library present in the database, for quick access to kit-pieces in
specific expansion packs.
• The quick-search drop-down also features a Recent searches sub-menu. The last 10 searches are stored. The last search is
always shown at the top, with the rest of the list being sorted according to frequency of use.

1:6 Variable mic channels

BFD 2.1 is not limited to the default mic channel layout configuration – it now supports arbitrary channel configurations, up to a
maximum of 16 channels.
This allows more versatile types of recordings, with different types of direct and ambient mic channels. Various third-party vendors
are preparing a range of expansion packs to take advantage of this new feature.
When BFD 2.1 performs a database scan, it automatically sets itself up to handle as many channels as necessary to support all
available kit-pieces.
When a kit-piece with a special channel layout is loaded, its channels become available in the BFD 2.1 mixer. For example, if a
kit-piece possesses 4 ambience channels, you’ll see 4 ambience channels in the mixer.
If a kit-piece features an ambience channel with the same name as another kit-piece, the signals for this ambience are mixed into
the same channel. Therefore, if more than 1 kit-piece features an overhead stereo pair, their overhead signals are mixed into the
same overhead ambience channel.


Limitations in the Kit page
All the variable ambience functionality occurs only in the Mixer page. Variable ambience channels are not represented in the Kit
page. Therefore, the following limitations apply:
• Ambience send/level controls can only be applied to the standard ambience channels – Overhead, Room and Amb3.
• The Mini-mixer can only control the levels of Overhead, Room and Amb3 channels and the Direct bus.

Limitations in the Mixer page

The Distance and Width controls in the Mic tools panel (in the Utility panel) can only be applied to the standard ambience chan-
nels – Overhead, Room and Amb3.

1:7 New standard articulation for toms

Toms now have 3 standard articulations – hit, alt (alternative) and rim (rim shot).
Note that this articulation is only usable with kit-pieces from expansion packs that support it!

1:8 Special articulations

Another major architectural improvement in BFD 2.1 is support for special articulations – new articulation types that are not part
of the standard range of articulations.
This feature is intended to allow greater diversity in future expansion packs by allowing a greater range of expressive articulations.

Special articulations, MIDI mapping and the Groove engine

Special articulations are not covered in the default key map – they must be mapped before they can be used as MIDI notes!
These articulations can, of course, be used in the Groove engine without mapping them to MIDI notes.
It is important to note the following points when considering special articulations, mapping and Grooves:
1. Special articulations can only be mapped after a kit-piece containing them has been loaded.
2. The Groove engine cannot substitute between special articulations – a special articulation with a certain name from one expan-
sion pack vendor is not automatically substituted for an articulation with the same name from another expansion pack if a new
kit-piece is loaded. Any fall-through substitution that occurs is always to the default articulation (hit, or closed tip for hihats).

Because of the above, if you load a Groove designed for kit-pieces from a certain expansion pack that features special articula-
tions, it will not necessarily translate well when used with kit-pieces from other packs.
See section 5:1 in this guide for details of how to map special articulations in the key mapping page.


2. Kit page
2:1 Kit-piece slot context menu
Right-clicking on a kit-piece slot window displays the kit-piece slot context menu, used for kit-piece management and other Kit
page functions.
The menu is available while using the Select, Note Learn and Move tools.

Kit-pieces
This menu item is used for loading kit-pieces without opening the kit-piece chooser panel.
The item opens a sub-menu that displays the available kit-pieces in the database, arranged into sub-menus according to their
parent library.
Navigate to the required kit-piece and click on it to load it.

Swap with
Move to
Copy to
These menu items allow you to swap, move and copy kit-pieces between slots. All slots in the current kit size are shown in a sub-
menu for each function, with details of their contents if applicable.
Navigate to the required slot in the list and click on it to perform the swap, move or copy operation.
It is also possible to conduct these operations with the Move tool, located in the Kit page toolbar.
If a move or copy operation is attempted on an occupied slot, a warning is shown and asks for confirmation in order to continue.
It is important to consider slot articulation mappings when rearranging kit-pieces using these functions. Many slots, such as toms
and cymbals, only feature 2 or 3 articulation mappings for the slot. Therefore, moving a snare to such a slot means that only the
first 2 or 3 snare articulations can be triggered until the other articulations are mapped to MIDI notes.
Generally, during conventional kit-oriented usage, these functions should generally be used for rearranging toms and cymbals.
Avoid doing this with the snare and hihat slots, as these are fairly specialized in terms of articulation mappings.

Link to
This context menu item performs the same function as the Link tool in the Kit page toolbar, using a list of slots in a sub-menu
instead of dragging one slot on top of another.

Unlink from
This function allows you to unlink slots without using the Link tool. Bring up the context menu for the source slot – any links that
exist are shown as items on the Unlink from sub-menu. Click the item to remove the link.

Start MIDI Learn

This function starts the MIDI Note Learn wizard from the slot. Functionally, this produces the same result as using the Note Learn
tool and clicking on a slot.

Clear slot
This performs the same function as the Clear kit-piece button on each slot – the slot is cleared of any kit-piece it contains.

Next kit-piece
Clicking this item loads the next kit-piece from the available kit-pieces in the database.

Previous kit-piece
Clicking this item loads the previous kit-piece from the available kit-pieces in the database.

Unload artic
This sub-menu displays all the articulations present within the slot’s kit-piece. Unloading any articulation(s) that you don’t need
frees up RAM resources, as the associated precached chunks of audio are unloaded from RAM.


2:2 Kit-piece slot Prev/Next
The Next/Previous buttons appear on slots containing kit-pieces while it is selected.
They perform the same function as the Next/Previous kit-piece functions in the kit-piece slot context menu and in the kit-piece
inspector.
This function can be disabled and enabled in the GUI preferences.

2:3 Toolbar
Info button
Enabling the Info button in the toolbar displays further information of the kit-piece in the Kit display area. As well as background
information about the kit-piece, this display also shows which articulations are loaded, the keys to which they are mapped (if any)
and the amount of RAM utilized by each.
While this mode is enabled, the Kit display can still be used as normal.

MIDI Select button

This function operates in a similar way to the MIDI Select button in the Key mapping page. If the button is enabled, when any keys
that are mapped to kit-piece articulations are played, the relevant kit-piece becomes selected in the Kit page.
The MIDI notes selects slots setting in the GUI preferences specifies the default state of this button.

Move tool
This tool provides an alternative way of moving, copying and swapping kit-pieces between slots.
With the tool enabled, simply drag and drop a kit-piece from one slot to another to move it.
Hold down the ALT key while performing this operation in order to copy the kit-piece.
If the destination slot already contains a kit-piece, a warning is issued and asks for confirmation before the move/copy operation
is performed.
If you hold down the ALT and SHIFT keys when you drag and drop a kit-piece between slots, the contents of the slots are
swapped.

2:4 Improvements to Kit-piece presets

There is now a facility for default kit-piece presets. These can be used in 2 ways:

Kit-piece class presets

Each kit-piece class – kicks, snares, hihats, toms, cymbals and percussion – can possess a default kit-piece preset which applies
its settings whenever a kit-piece of that class is loaded.
The default preset should be saved with a specific filename: default.kppreset

Individual kit-piece presets

If no default kit-piece preset is found within the kit-piece preset locations (sub-folders within <user location>/FXpansion/BFD2/Kit
Pieces), BFD2 tries to locate one next to the kit-piece’s info.xml file, within the audio data paths.
This is primarily for 3rd-party expansion pack vendors to place a preset called ‘default.kppreset’ next to each kit-piece so that
each kit-piece loads with the vendor’s intended settings.
However, users can also take advantage of this feature for saving their own favourite settings for each kit-piece.
In order to do so, navigate to the relevant folder within the data path when using the file save dialog to save a kit-piece preset:.
For example:
BFD2/Audio/Manufacturer/KitPiece/
Maker sure you are in the correct folder – it should contain a file called info.xml which is unique for the kit-piece.
Save the kit-piece preset with this specific filename: default.kppreset

2:5 Kit-piece in-place preview (preview-in-context)

The kit-piece chooser panel now features an in-place preview feature, allowing you to hear a kit-piece playing in a sequence
before you load it.
With the Groove engine or an incoming MIDI stream playing, open the kit-piece chooser for a slot which is being triggered.
Selecting a kit-piece in the chooser results in the selected kit-piece playing in place of the loaded contents of the slot.
This preview is a single velocity layer that is amplitude scaled according to velocity.


2:6 Load-on-demand
This feature is enabled with the Load on demand setting in the Engine preferences. It is intended for conserving RAM by only
loading the velocity layers that you need as they are played.
Before any notes are played, a single velocity layer is cached. When you play a certain velocity layer, the single layer is played
with amplitude scaling while the actual velocity layer is loaded and cached from disk. The next time this velocity layer is triggered,
the actual velocity layer is played.
As more velocity layers are triggered (with different note input velocities), more layers are loaded and cached from disk, and RAM
usage increases. During this ongoing process, when a new layer is played, BFD2 plays the closest layer with amplitude scaling
while the actual layer is loaded.
If you are using any of the following functions, a greater variety of layers are used, therefore increasing the amount of RAM used:
• Kit page Humanize function
• Groove page Humanize velocity FX
• Anti-machinegun mode
If you can live with the approximated audio the first time a layer is triggered, the Load-on-demand feature can save a lot of RAM
– even if you eventually play all layers for an articulation, there are other articulations and kit-pieces which aren’t played as fre-
quently so will not occupy much RAM.

Using Load-on-demand in the studio

Using Load-on-demand may be problematic during composition, because the sound will differ between the first and subsequent
times that a note velocity is played.
It may be more useful after a drum track is programmed and you wish to free up RAM for other tasks in your host.
You should ensure that you play the song fully from beginning to end, in order to load all required velocities. Once this is done, the
velocity layers that are played are consistent upon repeated playback, until further layers are played.

Using Load-on-demand during live performance

This feature can be useful during live performance, when the differences between the initial amplitude-scaled and eventually load-
ed velocity layers may not be such a concern because of noisy, distorted PA systems and less-than-ideal acoustics and listening
conditions.
It is also a very fast way of changing kits during live performance – you don’t have to wait 20-30 seconds or more for a kit to load.

2:7 Summary of added preferences

• Load on demand (Engine prefs)
• MIDI notes select slots (GUI prefs)
• Use Next/Last buttons (GUI prefs)


3. Mixer page
3:1 Variable mic channels
As discussed in section 1:6 above, the mixer can now handle different mic channel configurations, for both direct and ambience
signals.

3:2 New FX
BFD 2.1 introduces several new effects for use in the mixer. See chapter 7 of this document for further details on these effects
and their controls.

3:3 EQ changes
The EQ’s graphical editable display now features individual, coloured, frequency response curves for each EQ band, shown in
yellow (LO), blue (LM), green (HM) and red (HI).
These are displayed in addition to the overall 4-band EQ curve, which is coloured black.


4. Groove page
4:1 Undo improvements
Redo functions
There is now a Redo button to complement the Grooves page toolbar’s Undo function. Clicking it allows you to reverse Undo
operations.

Preserved selections
Event and Groove selections are now maintained during undo and redo operations.

4:2 Loading, importing and exporting

Loading Grooves and Palettes via drag & drop
You can now load Groove and Palette files by dragging and dropping them to the Palette on the BFD2 interface.

Fills in the Groove and Palette choosers

Any Palette containing only fills is now denoted by a ‘(fills only)’ suffix to its name within the Palette and Grooves choosers.
This is primarily to differentiate between BFD1-format Groove Bundles which feature the same name for both the Groove and Fill
Bundles.

New category filters

The following new category filters now exist in order to make it easier to locate Fills or Grooves.

Single Grooves Palettes

Fill Fills only
Groove Grooves only
Both Fills and Grooves

Importing MIDI files

MIDI Import panel
The MIDI import panel now shows the MIDI import map preference which allows you to change the import key map conveniently
whenever importing MIDI files. Note that when the preference is changed in the MIDI import panel, it is also changed in the pref-
erences. See section 10:3 of the BFD2 manual for further details of this preference.

Importing MIDI files via drag & drop

You can now drag and drop multiple MIDI files to the Palette to import them. While this brings up the MIDI import panel, all con-
trols are inaccessible except for the MIDI import map preference (described above).

4:3 Toolbar edit mode functions

Select tool improvements
Clicking in an empty area of the Editor grid while holding down the ALT key (Windows) or Option key (Mac) creates a new event.

Draw tool improvements

With the ALT key (Windows) or Option key (Mac) held down, you can draw a selection box by clicking and dragging on an empty
area of the Editor grid.

New Roll tool

This new tool allows you to ‘paint’ continuous notes into the editor at the current grid resolution. It is very useful for inserting hihat
lines and drum rolls.
• With the Roll tool selected, click on an empty area of the Editor grid and keep the mouse button held down.
• Drag up/down with the mouse button held down to set the velocity of the first event.
• Drag right with the mouse button held down to create a series of continuous events at the current grid resolution
• Drag up/down to increase/decrease the event velocities over the course of the roll.
• Drag up/down while holding down the ALT (Windows) or Option (Mac) keys to increase/decrease the velocity of each second
event.


Tool selections saved between sessions
The left and right mouse button tool selections are now saved between sessions – when BFD2 is reinitialized, the tools in use in
the previous session are still selected.

4:4 Drum Track changes

Changes to the ruler and setting position (blue)/start (white) markers
• Click in the ruler (outside any loop indicator) to set the blue position marker – if the Drum Track is currently playing, the playback
position ‘jumps’ to this new position. This also results in ‘disconnecting’ host sync when playing in sync with a host while running
BFD2 as a plugin.
• This is a change in behaviour since 2.0.x versions – previously, clicking in the ruler resulted in changing the white start marker
position.
• To change the white start marker position in 2.1.x versions, click in the ruler while holding down the ALT (Windows) or Option
(Mac) keys.

Loop start and end markers

Both the loop start and end markers can now be moved simultaneously by click-dragging the red area in the ruler between the
markers.

Part context menu additions

Create variation of Parts
This function creates duplicates of Grooves in the Palette based on the currently selected Drum Track Parts, and changes the
selected Parts to reference the duplicated Grooves.
The duplicated Grooves are created sequentially in the next available Palette slots higher than the original Groove.
If multiple selected Parts reference the same original Groove, only one duplicate Groove will be created and all relevant parts are
changed to reference this Groove.
This functionality is intended to make the creation of variations easier, by avoiding the need to delete Parts and drag new
Grooves back into the Drum Track to replace them.
After performing this operation, simply edit the duplicated Grooves as desired to create the variations you need.

Repeat selected parts

When one or more Grooves are selected, performing this operation results in inserting copies of the selected Parts immediately
after the selection.
If there is an insufficient gap to accomodate the copied Parts between the last selected Part and any subsequent Parts, all Parts
after the selection are moved back by the length of the Groove selection.

4:5 Added keyboard shortcuts

Transport
• Return to start
• Return to loop start

Grid Editor:
• Snap on/off
• Follow on/off
• Focus on/off
• Metronome on/off
• Mute selected events

4:6 Preferences relevant to the Groove engine

• Move/copy slot actions with grooves
If this setting is enabled, a Palette slot’s fill status and start/end actions are transferred with its contained Groove when it is
swapped with or moved/copied to another Palette slot.


5. Mapping page
5:1 Mapping special articulations
As discussed in section 1:8 above, BFD 2.1 now supports additional special articulations.
Once a kit-piece containing special articulations is loaded, these articulations become available for mapping in the key mapping
system.
When a kit-piece is dragged onto a key, the pop-up list of articulations is structured as follows:
• Slot choke note
• Standard articulations
• Special articulations
• All articulations
Each of these groups of articulation types is displayed in separated sections on the list.

5:2 Program Change Playlist view

BFD 2.1 introduces a new view in the Mapping page that allows you to use MIDI program change messages to switch through a
playlist of BFD2 Presets and kits.
Switch to this view using the Prog button in the Mapping page toolbar.
This view contains a table split into 3 columns that represents the playlist.

Prog ID
This column displays the MIDI program change ID. 128 IDs are available, each of which can be assigned to a kit or Preset.
A program change ID cannot be assigned to both a kit and a Preset at the same time.

Kit Name
Preset Name
Clicking in either of these columns for any Prog ID results in displaying a drop-down menu of all available kits or BFD2 Presets in
the database.
Assigning a Prog ID to a kit or Preset is as simple as clicking the desired kit or Preset in the drop-down list that appears.
Each Prog ID can only be assigned to a kit or a Preset – not both at the same time.

Using the Playlist

To change between different Prog IDs, you will need a MIDI controller capable of transmitting program change messages. A good
solution is a footswitch board – these are quite easy to source and are commonly used to send program change messages. Other
possibilities include the preset inc/dec buttons on many keyboards, which often transmit program change messages from the
MIDI output.

Loading and saving Program Change Playlists

Playlists can be loaded and saved in the same way as key and automation maps, using the Load and Save menus in the BFD2
control bar.

10
6. Preferences
6:1 Hihat preferences moved to Session preferences
The following hihat-related preferences have been moved to the Session preferences category:
Base Hihat tip tighten Hihat re-open threshold
Hihat tip tighten amount Hihat transition fade time (seconds)
Base Hihat shank tighten All hihats variable
Hihat shank tighten amount

This change is to enable you to set these preferences on a per-session basis. Note that you can configure a set of session prefer-
ences to use as defaults on new sessions.
See sections 10:6 and 9:4 in the BFD2 manual for details of these settings. More information on session preference defaults can
be found in section 10:4 of the BFD2 manual.

6:2 Grooves preferences

Move/copy slot actions with grooves preference
See section 4:6 of this document for details of this setting.

6:3 MIDI preferences

Use Midi numbers rather than notes
Enabling this preference results in displaying MIDI note numbers rather than note/octave labels in the Mapping page.

Octave numbering scheme

This drop-down menu replaces the -2 octave numbering and -1 octave numbering preferences.

6:4 Engine preferences

Load on demand
See section 2:6 of this document for details of this setting.

6:5 GUI preferences

MIDI notes select slots
Use Next/Last buttons
See sections 2:2 and 2:3 of this document for details of this setting.

Keep selections in sync

Enabling this preference synchronizes the selected kit-piece in the Kit and Mixer page – the last selected kit-piece is selected in
the Kit page, and vice versa.

Keyboard shortcuts
The range of keyboard shortcuts has been expanded. Note that no shortcuts are defined by default, to avoid conflicts with host
applications’ own keyboard shortcuts. The following listing summarizes all possible keyboard shortcuts in BFD 2.1:
Kit page Redo (Grooves)
Mixer page Left tool: Select (Grooves)
Grooves page Left tool: Draw (Grooves)
MIDI page Left tool: Erase (Grooves)
Prefs page Left tool: Mute (Grooves)
Save Preset Left tool: Vel (Grooves)
Load Preset Right tool: Select (Grooves)
Play / Stop Right tool: Draw (Grooves)
Restart Right tool: Erase (Grooves)
Return to Loop Start Right tool: Mute (Grooves)
Select All Right tool: Vel (Grooves)
Cut Snap on/off (Grooves)
Copy Follow on/off (Grooves)
Paste Focus on/off (Grooves)
Delete Metronome on/off (Grooves)
Undo (Grooves) Mute Selected Events (Grooves)

11
7. New effects
7:1 Env Shaper
The Envelope Shaper allows you to adjust transients and change the dynamic shape of a signal in a different way to using a
compressor.

Sensitivity
This sets the sensivity of the Env Shaper’s peak detection circuit. Detected peaks are affected by the Attack and Sustain transient
processing.

Attack
This control adjusts the intensity of the attack phase of transients in the audio.
Increase the control to intensify attack transients, to make drum sounds punch through the mix harder.
Decrease it to soften transients. This can sound particularly good on percussion sounds and on one of two linked kit-pieces.

Sustain
The sustain control adjusts the intensity of release portions of transients in the audio, which increases or decreases the apparent
sustain of sounds in the signal.
Turning up the control for more sustain is good for intensifying the natural reverb in BFD2’s sounds. It is particularly suited to mak-
ing room ambience sound huge.
Decrease the control for less sustain and making ambience more ‘dry’. At higher settings it can produce damping effects for drum
sounds.

Gain
Use this control to adjust the gain of the signal after the Env Shaper’s dynamic processing.

7:2 Overloud Breverb BFD2 edition

This adapted version of Overloud’s Breverb provides high-end artificial reverberation effects within the BFD 2.1 mixer.
The controls are cut down from those available in the full Breverb product, but all 4 algorithms are present with their most impor-
tant controls.

• Breverb Hall
Time (Sec)
Sets the duration of the reverberation tail. It is also influenced by the Size parameter.

Size
Sets the rate of build-up diffusion after the initial period, which is controlled by the
Diffusion parameter. It also acts as a master control for Time and Spread. Despite its name, the apparent size of the space cre-
ated is actually a combination of the settings of the Size, Shape and Spread controls.

Diffusion
Controls the degree to which the initial echo density increases over time.

Shape
Works together with the Spread parameter to control the overall ambience of the reverberation created by the Breverb Room al-
gorithm. It specifically determines the contour of the reverberation envelope. With the Shape control all the way down, reverbera-
tion builds explosively and decays very quickly. As the control is is increased, reverberation builds up more slowly and sustains for
the time set by the Spread parameter.

Spread
Controls the duration of the initial contour of the reverberation envelope. Low Spread settings result in a rapid onset of reverbera-
tion at the beginning of the envelope, with little or no sustain, while higher settings spread out both the build-up and sustain.

Predelay (Sec)
Sets the amount of time that elapses between the input signal and the onset of reverberation. It can be used to create a sense of
distance and volume within an acoustic space.

12
Low
High
The Low and High parameters can be used to tweak the frequency response of the reverb.
• Low (kHz)
Sets the frequency under which the reverberation is attenuated.
• High (kHz)
Sets the frequency over which the reverberation is attenuated.

• Breverb Room
Time (Sec)
Sets the duration of the reverberation tail. It is also influenced by the Size parameter.

Size
Sets the apparent size of the acoustic space being emulated by the algorithm. Values from minimum to half way up are typical of
the ambience of a recording studio.

Diffusion
Controls the degree to which the initial echo density increases over time.

Decay
Balances between the late reverberation and the early reflections. When the Decay control is turned down fully, only the early
reflections are present. When it is increased, late reverberations are gradually added.

Predelay (Sec)
Sets the amount of time that elapses between the input signal and the onset of
reverberation. It can be used to create a sense of distance and volume within an acoustic space.

Low
High
The Low and High parameters can be used to tweak the frequency response of the reverb.
• Low (kHz)
Sets the frequency under which the reverberation is attenuated.
• High (kHz)
Sets the frequency over which the reverberation is attenuated.

• Breverb Plate
Time (Sec)
Sets the duration of the reverberation tail. It is also influenced by the Size parameter.

Size
Sets the apparent size of the plate emulated by the algorithm.

Diffusion
Controls the degree to which the initial echo density increases over time.

Predelay (Sec)
Sets the amount of time that elapses between the input signal and the onset of
reverberation. It can be used to create a sense of distance and volume within an acoustic space.

Shape
Determines the contour of the reverberation envelope. With the Shape control turned all the way down, reverberation builds explo-
sively and decays very quickly. As the control is raised, reverberation builds up more gradually and sustains longer.

13
Low
High
The Low and High parameters can be used to tweak the frequency response of the reverb.
• Low (kHz)
Sets the frequency under which the reverberation is attenuated.
• High (kHz)
Sets the frequency over which the reverberation is attenuated.

• Breverb Inverse
Time (Sec)
Sets the duration of the reverberation. This time, added to the Predelay time, is the time that elapses from the direct sound to the
end of the reverberation process.

Diffusion
Controls the degree to which the initial echo density increases over time.

Predelay (Sec)
Sets the amount of time that elapses between the input signal and the onset of reverberation. It can be used to create a sense of
distance and volume within an acoustic space.

Low
High
The Low and High parameters can be used to tweak the frequency response of the reverb.
• Low (kHz)
Sets the frequency under which the reverberation is attenuated.
• High (kHz)
Sets the frequency over which the reverberation is attenuated.

7:3 PSP Vintage Warmer Lite

Vintage Warmer Lite by PSP is an emulation of an analog-style compressor/limiter. It is designed for warm dynamic limiting, com-
pression and tape saturation effects.

• Processing latency
This effect adds 64 samples of processing latency per instance in each channel within which it is inserted. This equates to ap-
proximately 1.5ms of delay when running at a sample rate of 44.1kHz.
It is not recommended to use PSP Vintage Warmer Lite if you are using BFD2 in a live capacity.
It is highly recommended to only use this effect on the Master channel.

In
This control sets the gain of the signal going into the effect. It ranges from -18dB to +18dB.

Drive
Sets the input level for the limiter. It can range from -24dB to +24dB. The default value is 0dB.

Knee
Sets the knee range of the limiter. The default value is 50%.
The 0% setting indicates that the knee is “bent” at 0dB, (“hard knee”) which is suitable for hard limiting.
Mid range settings can be used to create analog tape-style effects.
The 100% setting provides a wide-range soft knee for deep and fast compression.

Speed
Sets the compressor’s attack and release times. The default value is 50%.
A setting of 0 emulates a very slow tape speed or a slow limiter/compressor setting.
A setting of 100 simulates a high tape speed or a fast limiter/compressor setting.

14
Release
This is a multiplier control that sets the release time of the compressor relative to the Speed setting. The default value is “x1”.

Link (stereo only)

This button enables and disables linking of Vintage Warmer Lite’s left and right channels.
When enabled, each channel is processed identically. When disabled, each channel is processed independently.
Unless the signal requires correction, the Linked setting produces better results for stereo processing.

Low
Adjusts the low shelving or the low-band pre-limiter gain. The default value is 0dB.

High
Adjusts the high shelving or the high-band pre-limiter gain. The default value is 0dB.

Out
This control sets the gain of the signal after being processed by the effect. It ranges from -18dB to +18dB.

15