DigiDesign Bomb Factory Plug-ins, Bomb Factory User Manual
Bomb Factory Plug-ins
Version 8.0
Legal Notices
This guide is copyrighted ©2008 by Digidesign, a division of
Avid Technology, Inc. (hereafter “Digidesign”), with all rights
reserved. Under copyright laws, this guide may not be
duplicated in whole or in part without the written consent of
Digidesign.
003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O,
882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite,
Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS,
Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory,
Bruno, C|24, Command|8, Control|24, D-Command, D-Control,
D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase,
DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign
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DigiRack, DigiTest, DigiTranslator, DINR, D-Show, DV Toolkit,
EditPack, Eleven, HD Core, HD Process, Hybrid, Impact,
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MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF,
OMF Interchange, PRE, ProControl, Pro Tools M-Powered,
Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi,
Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius,
Smack!, SoundReplacer, Sound Designer II, Strike, Structure,
SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL
Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL
MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser,
Trillium Lane Labs, Vari-Fi Velvet, X-Form, and XMON are
trademarks or registered trademarks of Digidesign and/or Avid
Technology, Inc.
Xpand! is Registered in the U.S. Patent and Trademark Office.
“bombfactory,” “Bomb Factory,” BF76, BF2A, BF3A, “Digital
Done Right,” “Classic Compressors,” “BF Essentials,”
“Fairchild,” “Cosmonaut Voice,” “Plutonium Pack,” “Slightly
Rude Compressor,” and “Tel-Ray” are trademarks of
Digidesign, a division of Avid Technology, Inc.
“JOEMEEK” trademarks owned by PMI Audio LTD, used under
license.
“Moogerfooger” trademarks owned by Moog Music, Inc., used
under license.
“SansAmp” and “SansAmp PSA-1” trademarks owned by Tech
21, Inc., used under license.
“Voce” trademarks owned by Amels and Alonso Electronic
Design, used under license.
“Funk Logic” and “Mastererizer” trademarks owned by Derek
Choice dba Funk Logic, used under license.
“Purple Audio” and “MC-77” trademarks owned by Purple
Audio, used under license.
All other trademarks are the property of their respective
owners.
Names of sample settings are intended for descriptive
purposes only and should not be construed as an
endorsement by or affiliation with any company, product, song
title, or artist.
Product features, specifications, system requirements, and
availability are subject to change without notice.
Guide Part Number 9329-59270-00 REV A 11/08
Documentation Feedback
At Digidesign, we're always looking for ways to improve our
documentation. If you have comments, corrections, or
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Contents iv
contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Contents of the Boxed Version of Your Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Registering Your Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Using Bomb Factory Plug-ins with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Using Bomb Factory Plug-ins with VENUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Chapter 2. Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Installing Plug-ins for Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Installing Plug-ins for VENUE Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Authorizing Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Uninstalling Plug-ins for Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Uninstalling Plug-ins for VENUE Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Chapter 3. BF Essentials Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
BF Essential Clip Remover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
BF Essential Correlation Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
BF Essential Meter Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
BF Essential Noise Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Bomb Factory Plug-ins Guidev
Chapter 4. Bomb Factory BF76. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Chapter 5. Bomb Factory BF-3A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Chapter 6. Bomb Factory BF-2A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapter 7. Cosmonaut Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Chapter 8. Fairchild Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Fairchild 660 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Fairchild 670 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Chapter 9. JOEMEEK Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
JOEMEEK VC5 Meequalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
JOEMEEK SC2 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Chapter 10. Moogerfooger Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Moogerfooger Analog Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Moogerfooger Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Moogerfooger 12-Stage Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Moogerfooger Low-Pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Chapter 11. Pultec Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Pultec EQP-1A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Pultec EQH-2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Pultec MEQ-5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Chapter 12. Purple Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Chapter 13. SansAmp PSA-1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
PSA-1 Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Contents vi
Chapter 14. Slightly Rude Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Chapter 15. Tel-Ray Variable Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Chapter 16. Voce Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Voce Chorus/Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Voce Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Appendix A. DSP Requirements for TDM Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
HD Accel Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
HD Core and Process Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Appendix B. DSP Delays Incurred by TDM Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Appendix C. All About Compressors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
What Is Compression? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Chapter 1: Introduction 1
chapter 1
Introduction
Welcome to the Bomb Factory® plug-ins for
Pro Tools|HD
®
, Pro Tools LE®, Pro Tools
M-Powered™ and VENUE systems, brought to
you by Digidesign
®
.
Digidesign Bomb Factory plug-ins include the
following:
Free Bomb Factory Plug-ins
The following plug-ins are installed with
Pro Tools:
• BF Essentials, which includes:
• BF Essential Clip Remover
• BF Essential Correlation Meter
• BF Essential Meter Bridge
• BF Essential Noise Meter
• Bomb Factory BF76
• Bomb Factory SansAmp
Paid Bomb Factory Plug-ins
The following plug-ins are also available:
• Bomb Factory BF-3A
• Bomb Factory BF-2A
• Cosmonaut Voice
• Fairchild 660 and 670
• JOEMEEK SC2 Compressor
• JOEMEEK VC5 Meequalizer
• Moogerfooger Analog Delay
• Moogerfooger Ring Modulator
• Moogerfooger 12-Stage Phaser
• Moogerfooger Lowpass Filter
• Pultec EQP-1A
• Pultec EQH-2
•Pultec MEQ-5
•Purple Audio MC77
• SansAmp PSA-1
• Slightly Rude Compressor
• Tel-Ray Variable Delay
•Voce Spin
• Voce Chorus/Vibrato
References to Pro Tools LE in this guide are
usually interchangeable with Pro Tools MPowered, except as noted in the Pro Tools
M-Powered Setup Guide.
Bomb Factory Plug-ins Guide2
Contents of the Boxed
Version of Your Plug-in
Boxed versions of plug-ins contains the following components:
•Installer disc
• Activation Card with an Activation Code for
authorizing plug-ins with an iLok USB Smart
Key (not supplied)
Registering Your Plug-ins
If you purchased a download version of a plugin from the DigiStore (www.digidesign.com),
you were automatically registered.
If you purchased a boxed version of a plug-in,
you will be automatically registered when you
authorize your plug-in (see “Authorizing Plugins” on page 6).
Registered users receive periodic software update
and upgrade notices.
Please refer to the Digidesign website
(www.digidesign.com) for information on technical support.
System Requirements and
Compatibility
To use Bomb Factory plug-ins you need the following:
• An iLok USB Smart Key
• An iLok.com account for managing iLok licenses
• One of the following:
• A Digidesign-qualified Pro Tools system
• A Digidesign-qualified Pro Tools system
and a third-party software application that
supports the Digidesign TDM, RTAS
®
, or
AudioSuite™ plug-in standard
• A qualified Avid
®
Xpress®, Avid Xpress DV
or Avid DNA
™
system
• A Digidesign-qualified VENUE system
(TDM only)
• DVD drive for Installation disc (boxed version
of plug-in only)
• Internet access for software activation and
registration purposes
Digidesign can only assure compatibility and
provide support for hardware and software it has
tested and approved.
For complete system requirements and a list of
Digidesign-qualified computers, operating systems, hard drives, and third-party devices, refer
to the latest information on the Digidesign website:
www.digidesign.com/compatibility
Chapter 1: Introduction 3
Using Bomb Factory Plug-ins
with Pro Tools
Refer to the Pro Tools Reference Guide for information on working with plug-ins, including:
• Inserting plug-ins on tracks
• Plug-in Window controls
• Adjusting plug-in controls
• Automating plug-ins
• Using side-chain inputs
• Using plug-in presets
• Clip indicators
Using Bomb Factory Plug-ins
with VENUE
Refer to the D-Show Guide that came with your
VENUE system for information on working with
plug-ins.
Conventions Used in This
Guide
All Digidesign guides use the following conventions to indicate menu choices and key commands:
The names of Commands, Options, and Settings
that appear on-screen are in a different font.
The following symbols are used to highlight important information:
Convention Action
File > Save Choose Save from the
File menu
Control+N Hold down the Control
key and press the N key
Control-click Hold down the Control
key and click the mouse
button
Right-click Click with the right
mouse button
User Tips are helpful hints for getting the
most from your Pro Tools system.
Important Notices include information that
could affect your Pro Tools session data or
the performance of your Pro Tools system.
Shortcuts show you useful keyboard or
mouse shortcuts.
Cross References point to related sections in
this guide and other Digidesign guides.
Bomb Factory Plug-ins Guide4
About www.digidesign.com
The Digidesign website (www.digidesign.com) is
your best online source for information to help
you get the most out of your Pro Tools system.
The following are just a few of the services and
features available.
Product Registration Register your purchase online.
Support and Downloads Contact Digidesign
Technical Support or Customer Service; download software updates and the latest online
manuals; browse the Compatibility documents
for system requirements; search the online Answerbase; or join the worldwide Pro Tools community on the Digidesign User Conference.
Training and Education Study on your own using
courses available online or find out how you can
learn in a classroom setting at a certified
Pro Tools training center.
Products and Developers Learn about Digidesign
products; download demo software or learn
about our Development Partners and their plugins, applications, and hardware.
News and Events Get the latest news from
Digidesign or sign up for a Pro Tools demo.
Pro Tools Accelerated Videos Watch the series of
free tutorial videos. Accelerated Videos are designed to help you get up and running with
Pro Tools and its plug-ins quickly.
Chapter 2: Installation 5
chapter 2
Installation
Installing Plug-ins for
Pro Tools
Installers for your plug-ins can be downloaded
from the DigiStore (www.digidesign.com) or can
be found on the plug-in installer disc (included
with boxed versions of plug-ins).
An installer may also be available on the
Pro Tools installer disc or on a software bundle
installer disc.
Installation steps are essentially the same, regardless of the package, system, or bundle.
Free Bomb Factory Plug-ins
The free Bomb Factory plug-ins are installed
when you install Pro Tools. For more information about installing Pro Tools, see the Setup
Guide that came with your system.
Updating Older Plug-ins
Because the Bomb Factory Plug-in installers contain the latest versions of Bomb Factory plugins, use them to update any plug-ins you already
own.
Installation
To install a plug-in:
1 Do one of the following:
• Download the installer for your computer
platform from the Digidesign website
(www.digidesign.com). After downloading,
make sure the installer is uncompressed
(.ZIP on Windows or .SIT on Mac).
– or –
• Insert the Installer disc into your computer.
2 Double-click the plug-in installer application.
3 Follow the on-screen instructions to complete
the installation.
4 When installation is complete, click Finish
(Windows) or Quit (Mac).
When you open Pro Tools, you are prompted to
authorize your new plug-in (see “Authorizing
Plug-ins” on page 6).
Be sure to use the most recent versions of
Bomb Factory plug-ins available from the
Digidesign website (www.digidesign.com).
Bomb Factory Plug-ins Guide6
Installing Plug-ins for VENUE
Systems
Installers for VENUE plug-ins can be downloaded from www.digidesign.com. After downloading, the installer must be transferred to either a USB drive or a CD-ROM. Plugs-ins can be
installed using a USB drive connected to the
UDB ports on any VENUE system, or using a CDROM inserted into the CD drive available on an
FOH Rack or Mix Rack.
Authorizing Plug-ins
Bomb Factory plug-ins are authorized using the
iLok USB Smart Key (iLok), manufactured by
PACE Anti-Piracy, Inc.
The iLok is similar to a dongle, but unlike a dongle, it is designed to securely authorize multiple
software applications from a variety of software
developers.
This key can hold over 100 licenses for all of
your iLok-enabled software. Once an iLok is authorized for a given piece of software, you can
use the iLok to authorize that software on any
computer.
Authorizing Download Versions of
Plug-ins for Pro Tools
If you purchased a download version of a plugin from the DigiStore (www.digidesign.com),
authorize the plug-in by downloading licenses
from iLok.com to an iLok.
Authorizing Boxed Versions of
Plug-ins for Pro Tools
If you purchased a boxed version of a plug-in, it
comes with an Activation Code (on the included
Activation Card). You will need this code to authorize your plug-in.
To authorize a plug-in using an Activation Code:
1 If you do not have an existing iLok.com ac-
count, visit www.iLok.com and sign up for an
iLok.com account.
For complete instructions on installing
plug-ins for VENUE systems, see the documentation that came with your VENUE system.
iLok USB Smart Key
Not all Bomb Factory plug-ins require authorization. For example, no authorization
is required for Free Bomb Factory plug-ins.
The iLok USB Smart Key is not supplied
with your plug-in or software option. You
can use the one included with certain
Pro Tools systems (such as Pro Tools|HDseries systems), or purchase one separately.
For more information, visit the iLok website
(www.iLok.com) or see the
iLok Usage
Guide
.
Chapter 2: Installation 7
2 Transfer the license for your plug-in to your
iLok.com account by doing the following:
• Visit http://secure.digidesign.com/
activation.
– and –
• Input your Activation Code (listed on your
Activation Card) and then your iLok.com
User ID. Your iLok.com User I D is the name
you create for your iLok.com account.
3 Transfer the licenses from your iLok.com ac-
count to your iLok USB Smart Key by doing the
following:
• Insert the iLok into an available USB port
on your computer.
• Go to www.iLok.com and log in.
• Follow the on-screen instructions for transferring your licences to your iLok.
4 Launch Pro Tools.
5 If you have any installed unauthorized plug-
ins or software options, you are prompted to authorize them. Follow the on-screen instructions
to complete the authorization process.
VENUE Systems
After installing a plug-in on a VENUE system,
the system re-creates the list of available plugins. Whenever the racks initialize, the system
checks authorizations for all installed plug-ins.
If no previous authorization for a plug-in is recognized, you will be prompted to authorize the
the plug-in.
VENUE supports challenge/response and iLok
USB Smart Key authorization, including pre-authorized iLoks and Activation Cards.
Challenge/Response Challenge/response authorization is only valid for the VENUE system the
plug-in is currently installed on. Challenge/response codes can be communicated using any
computer with Internet access.
iLok USB Smart Key Plug-ins supporting web authorizations through iLok.com can be authorized for your iLok Smart Key from any computer with Internet access. This lets you take
your iLok and your plug-in authorizations anywhere, to use plug-ins installed on any system.
For complete instructions on authorizing
plug-ins for VENUE systems, see the documentation that came with your VENUE system.
For more information, visit the iLok website
(www.iLok.com) or see the
iLok Usage
Guide
.
Bomb Factory Plug-ins Guide8
Uninstalling Plug-ins for
Pro Tools
If you need to uninstall a plug-in from your system, follow the instructions below for your
computer platform.
Windows Vista
To remove a plug-in:
1 Choose Start > Control Panel.
2 Double-click Programs and Features.
3 Select the plug-in from the list of installed ap-
plications.
4 Click Uninstall.
5 Follow the on-screen instructions to remove
the plug-in.
Windows XP
To remove a plug-in:
1 Choose Start > Control Panel.
2 Double-click Add or Remove Programs.
3 Select the plug-in from the list of installed ap-
plications.
4 Click Remove.
5 Follow the on-screen instructions to remove
the plug-in.
Mac OS X
To remove a plug-in:
1 Locate and open the Plug-ins folder on your
Startup drive (Library/Application Support
/Digidesign/Plug-ins).
2 Do one of the following:
• Drag the plug-in to the Trash and empty
the Trash.
– or –
• Drag the plug-in to the Plug-ins (Unused)
folder.
Uninstalling Plug-ins for
VENUE Systems
Plug-ins installed on VENUE systems can be disabled, uninstalled, or deleted. A plug-in that has
been disabled or uninstalled (but not deleted)
can be reinstalled without the CD-ROM or USB
drive containing the plug-in installers. Deleted
plug-ins, however, must be installed from installers located on either a USB drive or a
CD-ROM.
For complete instructions on uninstalling
plug-ins for VENUE systems, see the documentation that came with your VENUE system.
Chapter 3: BF Essentials Plug-ins 9
chapter 3
BF Essentials Plug-ins
(RTAS and AudioSuite)
This chapter describes the following plug-ins in
the BF Essential series:
• Clip Remover (see “BF Essential Clip Remover” on page 9)
• Correlation Meter (see “BF Essential Correlation Meter” on page 10)
• Meter Bridge (see “BF Essential Meter
Bridge” on page 10)
• Noise Meter (see “BF Essential Noise Meter”
on page 11)
BF Essential Clip Remover
(AudioSuite)
The BF Essential Clip Remover repairs clipped
audio recordings. That red light no longer
means a blown take! You’ll be amazed how
quickly this essential tool can repair clipped recordings. Best of all, it’s much quicker and more
accurate than using the Pencil tool. Set your levels very carefully. But when your signal gets too
excited, try the BF Essential Clip Remover.
BF Essential Clip Remover
Bomb Factory Plug-ins Guide10
BF Essential Correlation
Meter
(RTAS)
Solve tracking and mix problems, and troubleshoot phase coherency with the BF Essential
Correlation Meter. It works on stereo tracks or
stereo submixes. Use it to stop phase problems
before they start.
BF Essential Meter Bridge
(RTAS)
The BF Essential Meter Bridge provides best-ofbreed VU metering on any channel while using
minimal DSP resources. Enjoy the ease of use afforded by a needle, a big meter, and a faithful
emulation of the decades-old standard for meter
ballistics. Select RMS or Peak metering, and calibrate instantly for useful viewing at any signal
level, just like a pro tape machine.
BF Essential Correlation Meter
BF Essential Meter Bridge
Chapter 3: BF Essentials Plug-ins 11
BF Essential Noise Meter
(RTAS)
The BF Essential Noise Meter is three meters in
one:
• Set to “A,” it’s an A-weighted noise meter
(A-weighting is the most commonly used
of a family of curves relating to the measurement of sound pressure level, as opposed to actual sound pressure).
• Set to “R-D,” it’s a Robinson-Dadson equalloudness meter (An equal-loudness contour is a measure of sound pressure, over
the frequency spectrum, for which a listener perceives a constant loudness).
• Set to “None,” it’s a VU meter with 100 DB
of visual range (Volume Unit metering averages out peaks and troughs of short duration to reflect the overall perceived
loudness).
BF Essential Noise Meter
Bomb Factory Plug-ins Guide12
Chapter 4: Bomb Factory BF76 13
chapter 4
Bomb Factory BF76
(TDM, RTAS, and AudioSuite)
Modeled after the solid-state (transistor) 1176
studio compressor, the Bomb Factory BF76 preserves every sonic subtlety of this classic piece of
studio gear.
How the Bomb Factory BF76
Works
The 1176 Compressor, originally introduced in
the late 1970s, uses a FET (field-effect transistor).
The 1176 also uses solid state amplification. The
1176 still provides an extremely high quality audio signal path, but because of these internal differences offers a much different compression
sound than other compressors.
Four selectable compression ratios are provided,
along with controls allowing variable attack and
release times.
Various explanations overheard in the control
room include “its 100:1 compression ratio!” or
equally adept quantitative analysis like “it
makes it super squishy sounding.” Now you can
enjoy this sound—previously only available to
super-serious-pro-engineers working in expensive pro recording studios—in the privacy of
your own cubicle.
How the Bomb Factory BF76 is
Used
The Input control sets the input signal level to
the compressor, which, in the 1176 design, determines both the threshold and amount of
peak reduction.
The Output control sets output level. Use it to
bring the signal back to unity after applying
gain reduction.
The Bomb Factory BF76
Deep inside the 1176
Bomb Factory Plug-ins Guide14
The Attack and Release controls set the attack
and release times of the compressor. Full counterclockwise is slowest, and full clockwise is fastest. Attack times vary between 0.4 milliseconds
to 5.7 milliseconds. Release times vary between
0.06 and 1.1 seconds.
The Ratio Push switches select the compression
ratio from 4:1 to 20:1.
Finally, the Meter Push switches affect the metering.
• GR shows the amount of gain reduction.
• –18 and –24 show the output level (calibrated so that 0VU indicates –18dB FS and
–24dB FS respectively).
• The “Off” switch turns off the meter.
Tips and Tricks
AudioSuite Processing
When using the AudioSuite version of the Bomb
Factory BF76, be sure to select a side-chain input
(normally the track you are processing). The default is “None” and if you leave it set like this,
there’s nothing feeding the detector and you
won’t hear any compression action.
Unexpected Visit from A&R Weevil Yields
Instant Hit Mix
A favorite feature on one megabuck mixing console is its stereo bus compressor. With the flick
of a switch, a punchy 8:1 compressor grabs the
current mix producing “instant radio hit.” Although Bomb Factory strongly disapproves of
anything which adds further chaos to the already opaque A&R decision-making process,
you may find that the Bomb Factory BF76 set to
8:1 ratio on a stereo mix provides a fast, easy alternate mix that can provide fresh ideas. It’s also
a handy way to make quick headphone submixes when tracking overdubs.
Give the Kids What They Want
Shift-click one of the Ratio Push switches to enable the “All Buttons In” mode. The compression ratio is still only 20:1, but the knee changes
drastically and the compressor starts (mis)behaving a little bit like an expander—watch the
meter for details. Hey, try it—sometimes it even
sounds good.
Selecting Proper Attack and Release Times
As on the original unit, setting either the attack
or release time too fast generates signal distortion. Again, this may or may not be the desired
effect. A good starting point for attack and release is “6” and “3” (the defaults), and you can
adjust as follows:
When compressing, use the slowest attack you
can that preserves the desired dynamic range.
Faster attacks remove the “punch” from the performance; slower attacks inhibit the compression you need to smooth things out.
When limiting, use the fastest attack time you
can before you start to hear signal distortion in
the low end. But don’t sweat it too much: on the
Bomb Factory BF76, the attack time ranges from
“incredibly fast” to “really damn fast” by modern standards. It can be hard to hear the difference.
Release times are more critical on the Bomb Factory BF76. To set release times, listen for loud attacks and what happens immediately after the
peaks. Set the release time fast enough that you
don’t hear unnatural dynamic changes, but slow
enough that you don’t hear unnecessary pumping between two loud passages in rapid succession.
Chapter 5: Bomb Factory BF-3A 15
chapter 5
Bomb Factory BF-3A
(TDM, RTAS, and AudioSuite)
Bomb Factory extends its award-winning Classic
Compressors line with the BF-3A, based on the
classic LA-3A. A secret weapon of pros in the
know, the LA-3A adds a smoothness and sonic
texture that makes sounds jump right out of the
mix.
How BF-3A Works
Designed and manufactured in the late 1960s,
the original LA-3A shares many components in
common with the LA-2A compressor.þ Just like
the LA-2A, the heart of the LA-3A is the T4B
Electro-Optical Attenuator.þ This is a device that
converts audio to light and back and is largely
responsible for the compression character of the
unit.
While the LA-2A’s gain comes from a tube amplifier, the LA-3A's gain comes from a solid-state
(transistor) amplifier.þ This gives the LA-3A a
solid midrange and more aggressive tone.þ
Other subtle modifications change the behavior
of the T4B, causing it to respond differently—
particularly in response to percussive material.
How BF-3A is Used
The LA-3A is famous for its unique sonic imprint
on guitar, piano, vocals and drums.þ Because it's
so easy to control, you'll be getting classic tones
in no time with the BF-3A.þ
Setting the Compression Action
The Peak Reduction and Output Gain controls
combine with the Comp/Limit switch to determine the amount and sound of the compression.
Peak Reduction controls the amount of signal
entering the side-chain. The more Peak Reduction you dial in, the more “squashed” and compressed the sound will be. Too little peak reduction and you won’t hear any compression
action; too much and the sound becomes muffled and dead sounding.
Output Gain provides makeup gain to make the
signal louder after passing through the peak reduction.
BF-3A
Bomb Factory Plug-ins Guide16
The Comp/Limit switch affects the compression
ratio. The common setting for audio production
is Comp, which provides a maximum compression ratio of approximately 3:1. In Limit mode,
the unit behaves more like a broadcast limiter,
with a higher threshold and compression ratio
of approximately 15:1.
Metering
Both Gain Reduction and Output metering are
provided.
In GR (Gain Reduction) mode, the needle moves
backward from 0 to show the amount of compression being applied to the signal in dB.
In Out (Output) mode, the needle indicates the
output level of the signal. The meter is calibrated with 0 VU indicating –18 dBFS.
Tips and Tricks
AudioSuite Processing
When using the AudioSuite version of the
BF-3A, be sure to select an auxillary side-chain
input (normally the track you are processing).
The default is “None” and if you leave it set like
this, there is nothing feeding the detector and
you will not hear any compression action.
Line Amp
Turn the Peak Reduction knob full counterclockwise (off) and use the Gain control to increase the signal level. Although the BF-3A does
not compress the sound with these settings, it
still adds its unique character to the tone.
Chapter 6: Bomb Factory BF-2A 17
chapter 6
Bomb Factory BF-2A
(TDM, RTAS, and AudioSuite)
Meticulously crafted to capture every nuance of
the legendary LA-2A tube studio compressor,
the Bomb Factory BF-2A provides the most authentic vintage compression sound available.
How BF-2A Works
Designed and manufactured in the early 1960s,
the LA-2A achieved wide acclaim for its smooth
compression action and extremely high quality
audio signal path.
Originally designed as a limiter for broadcast audio, a Comp/Limit switch was added to LA-2A
compressors after serial number 572. The subsequent addition of a Comp (Compress) setting
made the LA-2A even more popular for use in
audio production. However, the switch was inconveniently located on the back of the unit
next to the terminal strips and tube sockets in
the original version. In the BF-2A plug-in, the
switch has been placed on the front panel,
where you can make better use of it.
The heart of the LA-2A is its patented T4B ElectroOptical Attenuator, which provides the compression action. The T4B consists of a photoconductive cell, which changes resistance when
light strikes it. It is attached to an electro-luminescent panel, which produces light in response
to voltage. Audio (voltage) is applied to the light
source, and what happens as the audio converts
to light and back to voltage gives the LA-2A its
unique compression action. (Yes, the Bomb Factory BF-2A preserves all the subtle characteristics
of this unique electronic circuit.) After compression, gain brings the signal back to its original
level. The LA-2A’s gain comes from a tube amplifier, which imparts further character to the
tone. In fact, it’s common to see engineers using
the LA-2A simply as a line amp, without any
compression applied to the signal.
BF-2A
Bomb Factory Plug-ins Guide18
How BF-2A is Used
One beautiful side effect of the LA-2A’s elegant
design is that it’s easy to hear the compression
action. When the BF-2A’s two knobs are set
properly, you know you got it right. It’s a great
unit for learning the art of compression!
Setting the Compression Action
The Peak Reduction and Gain controls combine
with the Comp/Limit switch to determine the
amount and sound of the compression.
Peak Reduction controls the amount of signal
entering the side-chain, which in turn affects
the amount of compression and the threshold.
The more Peak Reduction you dial in, the more
“squashed” the sound. Too little peak reduction
and you will not hear any compression action;
too much and the sound becomes muffled and
dead sounding.
Gain provides makeup gain to bring the signal
back after passing through peak reduction.
The Comp/Limit switch affects the compression
ratio. The common setting for audio production
is Comp, which provides a maximum compression ratio of approximately 3:1. In Limit mode,
the unit behaves more like a broadcast limiter,
with a higher threshold and compression ratio
of approximately 12:1.
Using the Side-Chain Filter
The BF-2A provides an extra parameter, a sidechain filter, that does not have a control on the
plug-in interface, but that can be accessed onscreen through Pro Tools automation controls.
In addition, the side-chain filter can be adjusted
directly from any supported control surface.
This side-chain filter reproduces the effect of an
adjustable resistor on the back panel of the
LA-2A. This control cuts the low frequencies
from the side-chain, or control signal, that determines the amount of gain reduction applied
by the compressor.
By increasing the value of the side-chain filter,
you filter out frequencies below 250 Hz from the
control signal, and decrease their effect on gain
reduction.
A setting of zero means that the filter is not
applied to the side chain signal.
A setting of 100 means that all frequencies be-
low 250 Hz are filtered out of the side chain signal.
To access the side-chain filter on-screen:
1 Click the Plug-in Automation button in the
Plug-in window to open the Automation Enable
window.
2 In the list of controls at the left, click to select
Side-Chain Filter and click Add (or, just doubleclick the desired control in the list).
3 Click OK to close the plug-in automation win-
dow.
4 In the Edit window, do one of the following:
• Click the Track View selector and select
Side-Chain Filter from the BF-2A submenu.
– or –
• Reveal an Automation lane for the track,
click the Automation Type selector and select Side-Chain Filter from the BF-2A submenu.
5 Edit the breakpoint automation for the BF-2A
side-chain filter. Control range is from 0 (the default setting where no filtering is applied to the
side-chain) to 100% (maximum side-chain filtering).
Chapter 6: Bomb Factory BF-2A 19
To access the side-chain filter from a control
surface:
1 Focus the BF-2A plug-in on your control sur-
face.
2 Adjust the encoder or fader current targeting
the Side-Chain Filter parameter.
Metering
Both Gain Reduction and Output metering are
provided.
In Gain Reduction mode, the needle moves
backward from 0 to show the amount of compression being applied to the signal in dB.
In Output mode, the needle indicates the output
level of the signal. The meter is calibrated with
0 VU indicating –18 dBFS.
Tips and Tricks
AudioSuite Processing
When using the AudioSuite version of the
BF-2A, be sure to select an auxillary side-chain
input (normally the track you’re processing).
The default is “None” and if you leave it set like
this, there is nothing feeding the detector and
you will not hear any compression action.
Line Amp
Turn the Peak Reduction knob full counterclockwise (off) and use the Gain control to increase the signal level. Although the BF-2A does
not compress the sound with these settings, it
still adds its unique character to the tone.
Feed the BF-2A into the BF76
Or vice versa. Glynn Johns (who has worked
with the Stones, the Who, and others) popularized the early ‘70s British trick of combining a
slower compressor with a faster one. The effect
can produce very interesting sounds! Try applying Peak Reduction using the BF-2A, then
squash the missed attacks using the faster BF76.
To automate your adjustments, be sure to
enable automation for that parameter as described above. See the Pro Tools Reference
Guide for complete track automation instructions.
Bomb Factory Plug-ins Guide20
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