DigiDesign Bomb Factory, Manual

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Bomb Factory Plug-ins Guide 72
LA-2A originally had sidechains, many were put
under drill presses to accommodate the wishes
of audio engineers. Both the Bomb Factory BF76
and Bomb Factory BF-3A offer sidechain capabil-
ity.
How Compression is Used
Restrict Dynamic Range
The simplest use of a compressor involves tam-
ing the louder peaks of an input signal. The
1176 and LA-2A are very easy to use—set the
Output Level (“Gain” on the LA-2A) to a com-
fortable setting, then adjust Input Level (“Peak
Reduction” on the LA-2A) until you clearly hear
the compression action.
If the sound is too quiet, muffled, or dead
sounding, you’re probably using too much com-
pression. But if you notice motion around the
louder peaks in the program material (either a
“squashed” sound or a “pumping” effect),
you’re getting close.
Because the compression action decreases the
overall signal level, adjust the Input/Gain con-
trol to smooth out the level differences. Then re-
adjust Peak Reduction as necessary for the de-
sired sound.
To get a better understanding of what’s going
on, look at the meter. The typical setting is
“Gain Reduction” (“GR” on the 1176). In this
mode, the compressor’s VU meter moves back-
ward from 0 VU to show the amount of gain re-
duction being applied to the signal. To get a feel
for each compressor, adjust so the needle
bounces backward about 10 dB on each peak,
and listen for the effect.
Breathe Life Into Lame Tracks
What is the correct way to use compression? It
depends on the desired effect and the problem
at hand. Smoothing the overall dynamics of a
performance often increases the strength and
presence of a track in the final mix. On the other
hand, misuse of compression can suck all the
life out of a performance, making highly mar-
ketable recordings for radio airplay in certain de-
cades. Which is to say that there’s no wrong way
to use compression, just wrong ways right now.
Let’s suppose it’s 3:00 AM and your mix just
isn’t happening. The CD burner blinks omi-
nously, waiting to be fed the shiny master disc
due at 9:00 AM. You solo each track one more
time. And there it is: the bass. It sucks. Undeni-
ably, it sucks. Never has a bass sucked like this
bass sucks.
Depressed, you analyze the situation. In addi-
tion to being incredibly lame, the bass has too
much high end, the attack doesn’t cut through,
and the tail end of long notes disappears into
the mix. A perfect candidate for the LA-2A com-
pressor! The LA-2A is slow enough to respond
that the attack will beef up and the tails will
smooth out. Plus, if you squash it hard and
crank up the gain, the LA-2A fattens up the
sound. Problem solved. (But don’t forget to fire
the bass player.)