Bomb Factory Plug-ins Version 8.
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.
contents Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Contents of the Boxed Version of Your Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Registering Your Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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.
Chapter 14. Slightly Rude Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Chapter 15. Tel-Ray Variable Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Chapter 16. Voce Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Voce Chorus/Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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®. Paid Bomb Factory Plug-ins The following plug-ins are also available: • Bomb Factory BF-3A • Bomb Factory BF-2A 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.
Contents of the Boxed Version of Your Plug-in System Requirements and Compatibility Boxed versions of plug-ins contains the following components: To use Bomb Factory plug-ins you need the following: • Installer disc • An iLok USB Smart Key • Activation Card with an Activation Code for authorizing plug-ins with an iLok USB Smart Key (not supplied) • An iLok.
Using Bomb Factory Plug-ins with Pro Tools Conventions Used in This Guide Refer to the Pro Tools Reference Guide for information on working with plug-ins, including: All Digidesign guides use the following conventions to indicate menu choices and key commands: • Inserting plug-ins on tracks • Plug-in Window controls • Adjusting plug-in controls • Automating plug-ins Convention Action File > Save Choose Save from the File menu Control+N Hold down the Control key and press the N key Control-click
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.
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 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).
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. For complete instructions on installing plug-ins for VENUE systems, see the documentation that came with your VENUE system.
2 Transfer the license for your plug-in to your VENUE Systems 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 ID 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.
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. 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: Windows Vista To remove a plug-in: 1 Choose Start > Control Panel. 2 Double-click Programs and Features. • Drag the plug-in to the Trash and empty the Trash.
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.
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.
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).
12 Bomb Factory Plug-ins Guide
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. enjoy this sound—previously only available to super-serious-pro-engineers working in expensive pro recording studios—in the privacy of your own cubicle.
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.
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. 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.
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.
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. BF-2A 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. next to the terminal strips and tube sockets in the original version.
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.
To access the side-chain filter from a control surface: Tips and Tricks 1 Focus the BF-2A plug-in on your control sur- AudioSuite Processing face. 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. 2 Adjust the encoder or fader current targeting the Side-Chain Filter parameter.
20 Bomb Factory Plug-ins Guide
chapter 7 Cosmonaut Voice (RTAS and AudioSuite) The Cosmonaut Voice plug-in is a radio and shortwave simulator. Use it to add squelch or noise to tracks. How the Cosmonaut Voice is Used Cosmonaut Voice is, in simple terms, an amplitude-driven noise generator with adjustable sensitivity, selectable noise type (beep or squelch), and an additional RFI/static noise generator. Cosmonaut Voice provides controls on-screen for Threshold, Noise, and Beep/Squelch.
Accessing Additional Controls On-Screen Accessing Controls from a Control Surface Cosmonaut Voice also provides a Beep/Squelch Level control to set the balance of the generated noise and dry signal. Beep/Squelch level can be adjusted on-screen by editing Pro Tools breakpoint automation data. When using a control surface, all plug-in parameters are available whenever the plug-in is focused.
chapter 8 Fairchild Plug-ins (TDM, RTAS, and AudioSuite) This chapter describes the following Fairchild plug-ins: • Fairchild 660 (see “Fairchild 660” on page 23) • Fairchild 670 (see “Fairchild 670” on page 25) Fairchild 660 How the Fairchild 660 Works Designed in the early 1950s, the Fairchild 660 is a variable-mu tube limiter. Variable-mu designs use an unusual form of vacuum tube that is capable of changing its gain dynamically.
How the Fairchild 660 is Used Tips and Tricks Input Gain Sets the input level to the unit and the compression threshold, just like the Input control on an 1176. Full clockwise is loudest. 5,6,7,8… Threshold Adjusts the gain to the sidechain, just like the Peak Reduction control on an LA-2A. Adjust the Input Gain and Threshold controls together until you get the sound you want. Like many classic compressors, after a little bit of tweaking, you’ll know immediately when you get it right.
Fairchild 670 (TDM and RTAS) Bomb Factory’s no-compromise replica captures every detail of the Fairchild 670. The Fairchild 670 is a dual-channel unit and, as such, is only available on stereo tracks. Note that the companion Fairchild 660 also supports stereo operation. Bomb Factory modeled both a Fairchild 660 and a Fairchild 670 from scratch using two different hardware units.
26 Bomb Factory Plug-ins Guide
chapter 9 JOEMEEK Plug-ins (TDM, RTAS, and AudioSuite) This chapter describes the JOEMEEK VC5 Meequalizer and the JOEMEEK SC2 Compressor RTAS and AudioSuite plug-ins. How the Meequalizer is Used Operation of the Meequalizer is dead simple, and that’s the whole point. The Bass control adjusts low frequencies ±11. JOEMEEK VC5 Meequalizer (TDM, RTAS, and AudioSuite) The JOEMEEK VC5 Meequalizer offers simple controls and incredibly warm, musical results.
JOEMEEK SC2 Compressor (TDM, RTAS, and AudioSuite) Add a little magic to your mixes with the JOEMEEK SC2 Compressor. In use by top producers the world over, JOEMEEK compression is the secret weapon that gives your sound the character and excitement it deserves! JOEMEEK SC2 Compressor How the JOEMEEK Compressor Works Legendary producer Joe Meek used to say, “If it sounds right, it is right.
Tips and Tricks Not Perfect. Just Right Standard engineering practice says that a compressor should work logarithmically. For a certain increase of volume, the output volume should rise proportionally less, with a result that the more you put in, the more it’s pushed down. The JOEMEEK compressor doesn’t work this way. As volume increases at the input, a point is reached where the compressor starts to work and the gain through the amplifier is reduced.
30 Bomb Factory Plug-ins Guide
chapter 10 Moogerfooger Plug-ins (TDM, RTAS, and AudioSuite) This chapter describes the following Moogerfooger plug-ins: • Moogerfooger Analog Delay (see “Moogerfooger Analog Delay ” on page 31) • Moogerfooger Ring Modulator (see “Moogerfooger Ring Modulator” on page 33) Moogerfooger Analog Delay (TDM, RTAS, and AudioSuite) The Moogerfooger Analog Delay is simply the coolest (and warmest sounding!) delay in the digital domain.
How the Moogerfooger Analog Delay Works A Delay Circuit produces a replica of an audio signal a short time after the original signal. Mixed together, the delayed signal sounds like an echo of the original. And if this mixture is fed back to the input of the delay circuit, the delayed output provides a string of echoes that repeat and die out gradually. It’s a classic musical effect. The Moogerfooger Analog Delay uses Bucket Brigade Analog Delay Chips to achieve its delay.
The HPF Off/HPF On enables or disables the highpass filter (HPF). Moogerfooger Ring Modulator (TDM, RTAS, and AudioSuite) Audio Input and Mixing The remaining controls set the input level and effect mix. The Drive control sets the input gain. The Moogerfooger Ring Modulator provides a wide-range carrier oscillator and dual sine/square waveform LFO.
The Carrier Oscillator is a wide-range sinusoidal oscillator. It’s called the Carrier Oscillator because, like the carrier of an AM radio signal, it’s always there, ready to be modulated by the input. A Ring Modulator takes two inputs, and outputs the sum and difference frequencies of the two inputs. For example, if the first input contains a 500 Hz sine wave, and the second input contains a 100 Hz sine wave, then the output contains a 600 Hz sine wave (500 plus 100) and a 400 Hz (500 minus 100) sine wave.
Moogerfooger 12-Stage Phaser (TDM, RTAS, and AudioSuite) The Moogerfooger 12-Stage Phaser combines a 6- or 12-stage phaser with a wide-ranging variable LFO. Start with subtle tremolo or radical modulation effects, then crank the distortion and resonant filters for unbelievable new tones—all featuring classic MOOG® sound. How the Moogerfooger 12-Stage Phaser Works The Moogerfooger 12-Stage Phaser offers 6 or 12 stages of MOOG resonant analog filters.
How the Moogerfooger 12-Stage Phaser is Used LFO Section Control the LFO using the Amount and Rate knobs and the Lo/Hi selector switch. Amount varies the depth of phaser modulation, from barely perceptible at the full counterclockwise position, to the full sweep range of the phaser (full clockwise or “Kill” setting). Rate determines how fast the LFO oscillates. The LFO light blinks to give a visual indication of the LFO rate. The Lo/Hi switch selects the range of the Rate control.
Tips and Tricks More Harmonics = More Fun The richer the harmonic content of the sound, the more there is to filter and sweep. Try adding distortion using the SansAmp PSA-1 before the phaser–it’s a cool variation on the common signal path used when putting a phaser in front of a guitar amp. Moogerfooger Low-Pass Filter (TDM, RTAS, and AudioSuite) The Moogerfooger Lowpass Filter features a 2pole/4-pole variable resonance filter with envelope follower.
A Lowpass Filter allows all frequencies up to a certain frequency to pass, and cuts frequencies above the cutoff frequency. It removes the high frequencies from a tone, making it sound more mellow or muted. The Moogerfooger Lowpass Filter contains a genuine four-pole lowpass filter.
Resonance changes the way the filter sounds. At low resonance, low frequencies come through evenly. At high resonance, frequencies near the cutoff frequency are boosted, creating a whistling or vowel-type quality. When resonance is maxed out, the filter oscillates and produces its own tone at the cutoff frequency. This oscillation interacts with other tones as they go through the filter, producing the signature Moog sound.
40 Bomb Factory Plug-ins Guide
chapter 11 Pultec Plug-ins (TDM, RTAS, and AudioSuite) This chapter describes the following Pultec EQ plug-ins: • Pultec EQP-1A (see “Pultec EQP-1A” on page 41) • Pultec EQH-2 (see “Pultec EQH-2” on page 42) • Pultec MEQ-5 (see “Pultec MEQ-5” on page 43) How Pultec EQP-1A Works Built in the early 1960s, The Pultec EQP-1A offers gentle shelving program equalization on bass and highs, and offers a variable bandwidth peak boost control.
Tips and Tricks Twelve O’Click Alt-click (Windows) or Option-click (Mac) any knob to reset it to its unity position. “Q” and A You may wonder why the Pultec EQP-1A has separate knobs for boost and cut. The short answer is that they connect to different circuitry in the unit. Use caution, because the Sharp bandwidth setting results in up to 10 dB higher output than Broad bandwidth at maximum Boost, just like on the original. But don’t feel like you’re getting cheated.
How Pultec EQH-2 is Used How Pultec MEQ-5 Works Low Frequency Section The Pultec MEQ-5 offers three equalization sections: low frequency boost, mid frequency boost, and wide-range attenuation. Like all Pultecs, it features quality transformers and a tube gain stage. Adjust low frequencies using the top row of Boost and Atten knobs and the CPS (cycles per second) switch. All low-frequency equalization is a gentle shelving type, 6 dB per octave.
44 Bomb Factory Plug-ins Guide
chapter 12 Purple Audio (TDM, RTAS, and AudioSuite) The Purple Audio MC77 is a spot-on digital replica of Andrew Roberts’s acclaimed MC77 Limiting amplifier, which in turn is an update of his classic MC76 hardware unit. Representing a different take on the 1176-style FET limiter, the Bomb Factory Purple Audio MC77 preserves every audio nuance and sonic subtlety of the classic originals.
46 Bomb Factory Plug-ins Guide
chapter 13 SansAmp PSA-1 (TDM, RTAS, and AudioSuite) SansAmp PSA-1 Punch up existing tracks or record great guitar sounds with the SansAmp PSA-1. Capture bass or electric guitar free of muddy sound degradation and dial in the widest range of amplifier, harmonic generation, cabinet simulation and equalization tone shaping options available! How the PSA-1 Works B. Andrew Barta of Tech 21, Inc. introduced the SansAmp Classic in 1989.
PSA-1 Controls Use the eight knobs to dial in your desired tone or effect. Pre-Amp Determines the input sensitivity and pre-amp distortion. Increasing the setting produces an effect similar to putting a clean booster pedal ahead of a tube amp, overdriving the first stage. For cleaner sounds, use settings below the unity-gain point. Tips and Tricks Buzz Controls low frequency break up and overdrive. Boost the effect by turning clockwise from the center point indicated by the arrows.
chapter 14 Slightly Rude Compressor (TDM, RTAS, and AudioSuite) The Slightly Rude Compressor is Bomb Factory's first completely custom compressor design. Used conservatively, it sounds beautiful on vocals, drums, guitars and piano. Pushed hard, it's unique and aggressive. The stereo version is specifically designed to solve the problems that often plague digital mixes. How the Slightly Rude Compressor Works The Slightly Rude Compressor is not based on any specific piece of vintage hardware.
Tips and Tricks For a classic sound, use the “Slightly Rude” setting and keep the Rudeness control below the half-way point. Settings above 50% will increase the aggressiveness of the compressed sound. To achieve more dynamic effects, switch to the “Super Rude” mode. In this mode, the Rudeness knob controls the amount of overshoot in the compressor. This results in a distinctive processed sound on percussive material, especially on piano and drums.
chapter 15 Tel-Ray Variable Delay (TDM, RTAS, and AudioSuite) Add delay or echo to any voice or instrument using the Tel-Ray Variable Delay. It provides lush delay, amazing echo, and warms up your tracks and mixes. How the Tel-Ray Works In the early 1960s, a small company experimented with electronics and technology. When they came up with something great, they would Tell Ray (the boss).
How the Tel-Ray is Used Tips and Tricks Input/Output Section Variation? Do They Ever! Input sets the signal level to the tuna can echo unit. Each and every Tel-Ray we tested (and Bomb Factory owns more than a dozen) varied drastically in motor and flywheel stability, resulting in different pitch and variation effects. The same unit even sounded different day to day, depending on temperature, warm-up time and other factors. Tone is a standard tone control like those commonly found on guitar effects.
chapter 16 Voce Plug-ins (TDM, RTAS, and AudioSuite This chapter describes the Voce™ Chorus/Vibrato and Voce Spin plug-ins. Voce Chorus/Vibrato Inside every B-3 organ, on the end of the driveshaft that spins the tonewheels, you’ll find a mechanical contraption that delays the sound of the organ. Originally added to make the B-3 sound more like a pipe organ, it imparts frequency variation to the sound.
Electric Pianos How Voce Spin Works Many electric pianos feature built-in vibrato. But if the sound you’re using doesn’t provide a realistic vibrato (perhaps you’re wrestling with a sampler), track dry and apply the effect later. Don Leslie invented the rotating speaker in 1937. His design is simple and elegant: an internal 40-watt tube amplifier feeds a speaker crossover, which splits the signal.
Then, of course, it spins. Separate belts, pulleys and motors drive the upper treble horn and the lower foam drum. Adding to the effect, the upper horn and lower drum spin in opposite directions. Most rotating speakers feature two sets of motors, allowing both slow (“Chorale”) and fast (“Tremolo”) rotation speeds. How Voce Spin is Used Of course, all that motion creates a rich sound— but then you have to capture it using microphones.
Additional Controls Accessing Controls On-Screen Though the Voce Spin plug-in window contains only the Chorale/Off/Tremolo control, the following parameters are also available: All Voce Spin parameters can be adjusted onscreen by editing Pro Tools breakpoint automation data.
Accessing Controls from a Control Surface When using a control surface, all Voce Spin parameters are available whenever the plug-in is focused. You only need to enable plug-in automation (as described previously) if you want to record your adjustments as breakpoint automation. To access additional Voce controls from a control surface: 1 Focus the Voce Spin plug-in on your control surface. All available parameters are mapped to encoders, faders, and switches.
The John Lennon Vocal Thing In what seems like a particularly dangerous Beatles studio experiment, a Leslie speaker cabinet was dismembered, a microphone was affixed to the rapidly spinning upper rotor, and John Lennon attempted to sing into it. Fortunately the deafening wind noise captured by the microphone put a stop to the proceedings before anyone got maimed. Feel free just to run the vocal through the rotating speaker—that’s what they wound up doing.
appendix a DSP Requirements for TDM Plug-ins The number of TDM plug-ins you can use at one time depends on how much DSP power is available in your system. Since the TDM hardware on Pro Tools cards provide dedicated DSP for plugins, plug-in performance is not limited by CPU processing power. The DSP tables on the following pages show the theoretical number of instances of each plug-in that can be powered by a single DSP chip on Pro Tools|HD cards. DSP usage differs according to card type.
HD Accel Card Digidesign TDM plug-ins on HD Accel cards have the following DSP requirements: 44.1/48 kHz (Mono and Stereo) Table 1. Maximum instances of real-time TDM plug-ins per DSP chip for an HD Accel card, at 44.1 or 48 kHz sample rates (mono and stereo). 44.
Table 1. Maximum instances of real-time TDM plug-ins per DSP chip for an HD Accel card, at 44.1 or 48 kHz sample rates (mono and stereo). 44.1/48 kHz Mono Sample Rate Compatible DSP Chips per HD Accel Card 44.
88.2/96 kHz (Mono and Stereo) Table 2. Maximum instances of real-time TDM plug-ins per DSP chip for an HD Accel card, at 88.2 or 96 kHz sample rates (mono and stereo). 88.
Table 2. Maximum instances of real-time TDM plug-ins per DSP chip for an HD Accel card, at 88.2 or 96 kHz sample rates (mono and stereo). 88.2/96 kHz Mono Sample Rate Compatible DSP Chips per HD Accel Card 88.
176.4/192 kHz (Mono and Stereo) Table 3. Maximum instances of real-time TDM plug-ins per DSP chip for an HD Accel card, at 176.4 or 192 kHz sample rates (mono and stereo). Sample Rate 176.
Table 3. Maximum instances of real-time TDM plug-ins per DSP chip for an HD Accel card, at 176.4 or 192 kHz sample rates (mono and stereo). Sample Rate 176.4/96 kHz Mono 176.4/96 kHz Stereo Compatible DSP Chips per HD Accel Card Instances on Chips with SRAM Instances on Chips without SRAM Instances on Chips with SRAM Instances on Chips without SRAM Pultec EQP-1A 1 1 0.5 0.5 6 Pultec MEQ-5 4 4 2 2 9 Purple Audio MC77 2 2 1 1 9 SansAmp 1 1 0.5 0.
HD Core and Process Card Digidesign TDM plug-ins on HD Core and Process cards have the following DSP requirements: Mono and Stereo Table 4. Maximum instances of real-time TDM plug-ins per DSP chip for an HD Core or HD Process card, at different sample rates (mono and stereo). Sample Rate Plug-in 88.2/96 kHz 176.
Table 4. Maximum instances of real-time TDM plug-ins per DSP chip for an HD Core or HD Process card, at different sample rates (mono and stereo). Sample Rate Plug-in 44.1/48 kHz 88.2/96 kHz 176.
For maximum instance counts for plug-ins that are compatible with the most powerful chips on HD Accel, see “HD Accel Card” on page 60. Monitoring DSP Usage The System Usage window (Windows > Show System Usage) shows approximately how much DSP is available in your system and how it is being used in the current Pro Tools session. For more information about DSP usage and allocation, see the Pro Tools Reference Guide.
appendix b DSP Delays Incurred by TDM Plug-ins Virtually all TDM plug-ins incur some amount of signal delay. The following table shows the delays inherent in each type of Bomb Factory TDM plug-in: ≈ If you are working with mono tracks, or are processing all channels with the same plug-in, the signal delays are not long enough to be significant and should not be a concern.
Table 5.
appendix c All About Compressors This appendix provides an overview of dynamics processing for general reference, and for specific examples of how some of the Bomb Factory dynamics plug-ins can be utilized. What Is Compression? The difference between the softest and loudest portion of an audio signal determines its dynamic range. Compressors allow you to control the dynamic range of a signal.
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 capability. How Compression is Used Restrict Dynamic Range The simplest use of a compressor involves taming the louder peaks of an input signal.
De-Essing Pre-Compression Using the compressor’s sidechain, you can remove unwanted sibilance from vocals. Now it’s 8:00 AM and, after a brief nap, you notice that the backing vocals are ripping your ears off. Since you ran out of tracks about six hours into the process, you’ve only got the stereo submix to work from, so there’s no hope for manually fading the “S” sounds on the individual tracks. So fire up the BF76—it’s faster than the BF-2A and more suited to this task.
74 Bomb Factory Plug-ins Guide
index Numerics C 660 (Fairchild Limiter) 23 cabinet simulation 47 Carrier Oscillator 34 clarify 29 Class-B 23 clip remover 9 compensating for DSP delays 69 compound release circuit 29 compression 71 compressor BF-2A 17 BF-3A 15 BF76 13 JOEMEEK SC2 28 Slightly Rude 49 Cosmonaut Voice 21 crunch 48 A Activation Code 6 aggressive tone 15 allpass 35 Amels, Dave 24 amp simulation 47 analog delay (see also delay) 31 analog filters 35 AudioSuite 9 authorizing plug-ins 7 auto wah 39 B beefier 42 BF Essential C
E L echo analog delay 32 variable delay 51 Electronic Memory Unit 51 envelope follower 38 EQ JOEMEEK Meequalizer 27 Moogerfooger LowPass Filter 37 Pultec EQH-2 42 Pultec EQP-1A 41 Pultec MEQ-5 43 see also SansAmp LA-2A 17 LA-3A 15 LFO 33 limiter BF-3A 16 Fairchild 660 23 Fairchild 670 25 lo-fi 33 ring modulation 33 textures 47 F Fairchild 660 23 660 Amels mod 24 670 25 FET 13 filters 37, 38 G glue 50 guitar amp simulators 47 envelope filter 37 EQ for separation 43 H harmonic generation 47 HD-series ca
P package contents 2 Peak 10 phase for EQ 42 metering 10 phaser (phase shifter) 35 plug-ins installing 5 registration 2 working with 3 pre-compression 73 program equalization 41 Pultec EQH-2 42 EQP-1A 41 MEQ-5 43 pumping 24, 73 punch 48 R radio effects 21 ratio 71 registration 2 removing plug-ins 8 resonance filter 37 resonant filters 35 ring modulator 33 RMS 10 Robinson-Dadson 11 Rotor Balance 56 S SansAmp PSA-1 47 separation 43 shortwave simulation 21 side-chain 14, 71 filter in BF-2A 18 signal delay 69
www.digidesign.com DIGIDESIGN 2001 Junipero Serra Boulevard Daly City, CA 94014-3886 USA Tel: 650.731.6300 Fax: 650.731.6399 TECHNICAL SUPPORT (USA) Tel: 650.731.6100 Fax: 650.731.6375 PRODUCT INFORMATION (USA) Tel: 800.333.
