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 am-
plifier, 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 deter-
mine the amount and sound of the compres-
sion.
Peak Reduction controls the amount of signal
entering the side-chain. The more Peak Reduc-
tion you dial in, the more “squashed” and com-
pressed the sound will be. Too little peak reduc-
tion and you won’t hear any compression
action; too much and the sound becomes muf-
fled and dead sounding.
Output Gain provides makeup gain to make the
signal louder after passing through the peak re-
duction.
BF-3A
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