If you’re a recording engineer or producer, you’ve probably heard of the Fairchild 660/670 compressor. This iconic piece of recording equipment has been used on countless hit records since its introduction in the 1950s. Despite its age, the Fairchild 660/670 remains one of the most sought-after, rare, and expensive compressors on the market today.
In this article, we’ll be taking a look at how to use the Fairchild 660 compressor. We’ll cover its history, controls, and modes, as well as provide some tips for getting the most out of this classic piece of gear. Whether you’re a seasoned pro or just starting out, the Fairchild 660 is a compressor that every recording engineer should have in their arsenal. So, let’s dive in and explore the world of the Fairchild 660 compressor.
History and Origins
The Fairchild 660 is a tube-based single-channel audio compressor that was invented by Rein Narma and manufactured by the Fairchild Recording Equipment Corporation beginning in 1959. The 660 was the first intelligent automatic volume control limiter, and the Fairchild 670, introduced shortly after the 660, is a dual-channel version.
The Fairchild 660/670 compressor has become one of the most sought-after, rare, and expensive compressors in the recording industry. The compressor was a staple of recording and broadcasting since the early 1950s and has been used by legendary recording engineers like Rudy Van Gelder and Geoff Emerick.
The origins of the Fairchild 660/670 design come from Estonian-born immigrant Rein Narma. Narma developed the original Fairchild in the early 1950s and constructed mixing consoles for the likes of Rudy Van Gelder and Les Paul. The latter, the famous guitarist and inventor, may have provided the impetus to design the compressor.
Sherman Fairchild, the founder of the Fairchild Recording Equipment Corporation, was a pioneer in the development of aviation and photography technologies. He founded the corporation in 1947 and was instrumental in developing the Fairchild 660/670 compressor.
The Fairchild 660/670 compressor has been used in many famous recordings, including the Beatles’ Abbey Road album, produced by Chris Thomas. The compressor has also been used on Pete Townshend’s solo albums and by Jack Joseph Puig at Capitol Records.
Today, vintage Fairchild 660/670 compressors are highly sought after by recording engineers and producers. They are rare and expensive, with prices ranging from tens of thousands of dollars to over $100,000. Vintage King and Olmsted Sound Studios are two of the most well-known sellers of vintage Fairchild compressors.
the Fairchild 660/670 compressor is a legendary piece of recording equipment that has been used on countless classic recordings. Its origins lie with Rein Narma and the Fairchild Recording Equipment Corporation, and it has been used by many famous recording engineers and producers. Today, vintage Fairchild compressors are highly sought after and are considered a valuable addition to any recording studio.
Technical Specifications
Model 660 Specifications
The Fairchild 660 compressor-limiter is a tube-based, peak limiter that is designed to provide transparent gain reduction without any audible thumps or distortion. It features a single channel that can be used for mono sources, and its compression curves are adjustable to provide a range of dynamic control options.
The Model 660 is built with 20 tubes and 2 inductors, and it weighs in at 65 pounds. Its tube-driven gain control and transformer sections provide a warm and natural sound that is highly sought after by audio engineers and producers.
The Model 660 includes presets and time constants that can be adjusted to suit a wide range of recording and mixing scenarios. It also features a sidechain filter and a d.c. threshold control for added flexibility and control.
Model 670 Specifications
The Fairchild 670 compressor-limiter is a stereo model of the Model 660 and is considered by many to be the most iconic of all dynamics processors. It features two channels that can be used for stereo sources, and its compression curves are identical to those of the Model 660.
Like the Model 660, the Model 670 is built with 20 tubes and 2 inductors, and it weighs in at 65 pounds. Its tube amp and transformer sections provide a warm and natural sound that is highly sought after by audio engineers and producers.
The Model 670 includes presets and time constants that can be adjusted to suit a wide range of recording and mixing scenarios. It also features a sidechain filter and a d.c. threshold control for added flexibility and control.
The Model 670 also offers improved headroom and separation compared to the Model 660, making it an ideal choice for mastering and other high-end applications.
the Fairchild 660 and 670 are revered for their ability to provide transparent gain reduction and dynamic control, while imparting a warm and natural sound that is highly prized by audio professionals. With the advent of modern digital emulations like the UAD-2 Fairchild Tube Limiter Collection, these iconic compressors are more accessible than ever before.
Controls and Settings
When it comes to using the Fairchild 660, understanding the controls and settings is crucial. Here’s a breakdown of what each control does and how it affects the sound.
Amplification
The Amplification knob controls the amount of gain applied to the signal. It’s important to note that the Fairchild 660 is a variable-mu compressor, which means that the gain reduction is achieved by varying the amount of gain applied to the signal. This is in contrast to other types of compressors that use a fixed gain reduction circuit.
Control Voltage
The Control Voltage knob adjusts the level of the control voltage that determines the amount of gain reduction. The higher the control voltage, the more gain reduction will be applied to the signal.
Time Constant
The Time Constant switch selects the time constant for the attack and release times. The time constant determines how quickly the compressor reacts to changes in the signal level. The Fairchild 660 has four time constants to choose from: 0.3 seconds, 0.7 seconds, 1.5 seconds, and 2.2 seconds.
Threshold
The Threshold knob sets the level at which the compressor starts to apply gain reduction. If the signal level goes above the threshold, the compressor will reduce the gain to bring the level back down.
Attack Time
The Attack Time knob sets the time it takes for the compressor to start applying gain reduction once the signal level goes above the threshold. The faster the attack time, the quicker the compressor will react to changes in the signal level.
Release Time
The Release Time knob sets the time it takes for the compressor to stop applying gain reduction once the signal level goes below the threshold. The slower the release time, the longer the compressor will continue to apply gain reduction after the signal level drops below the threshold.
Ratio
The Ratio knob sets the amount of gain reduction that will be applied to the signal once it goes above the threshold. The higher the ratio, the more gain reduction will be applied.
Distortion
The Distortion knob adjusts the amount of harmonic distortion added to the signal. This can be used to add warmth and character to the sound.
Compression
The Compression switch engages the compressor. When the switch is off, the Fairchild 660 functions as a preamp with no gain reduction.
Gain
The Gain knob adjusts the output level of the compressor. This can be used to make up for any gain reduction applied by the compressor and to match the level of the compressed signal to the rest of the mix.
understanding the controls and settings of the Fairchild 660 is essential to getting the most out of this legendary compressor.
Usage in Recording and Mixing
The Fairchild 660 is a versatile compressor-limiter that can be used in a variety of recording and mixing situations. Its ability to add warmth, character, and depth to audio signals makes it a popular choice for many engineers.
Usage in Vocal Recording
When recording vocals, the Fairchild 660 can help smooth out transients and add warmth to the sound. It can also help control the dynamics of the vocal performance, making it easier to mix with other instruments in the track.
To use the Fairchild 660 in vocal recording, start by setting the input gain to an appropriate level. Then, adjust the threshold and ratio controls to achieve the desired amount of compression. Finally, use the makeup gain control to bring the level of the compressed signal back up to match the original level.
Usage in Guitar Recording
The Fairchild 660 can also be used to add character and warmth to guitar recordings. It can help smooth out the dynamics of the performance and add a sense of depth to the sound.
To use the Fairchild 660 in guitar recording, start by setting the input gain to an appropriate level. Then, adjust the threshold and ratio controls to achieve the desired amount of compression. Finally, use the makeup gain control to bring the level of the compressed signal back up to match the original level.
Usage in Drums Recording
The Fairchild 660 can be used to add punch and depth to drum recordings. It can help control the dynamics of the drum performance and add a sense of warmth to the sound.
To use the Fairchild 660 in drums recording, start by setting the input gain to an appropriate level. Then, adjust the threshold and ratio controls to achieve the desired amount of compression. Finally, use the makeup gain control to bring the level of the compressed signal back up to match the original level.
Usage in Bass Recording
The Fairchild 660 can help add warmth and depth to bass recordings. It can also help control the dynamics of the bass performance, making it easier to mix with other instruments in the track.
To use the Fairchild 660 in bass recording, start by setting the input gain to an appropriate level. Then, adjust the threshold and ratio controls to achieve the desired amount of compression. Finally, use the makeup gain control to bring the level of the compressed signal back up to match the original level.
Usage in Piano Recording
The Fairchild 660 can be used to add warmth and depth to piano recordings. It can help control the dynamics of the piano performance and make it easier to mix with other instruments in the track.
To use the Fairchild 660 in piano recording, start by setting the input gain to an appropriate level. Then, adjust the threshold and ratio controls to achieve the desired amount of compression. Finally, use the makeup gain control to bring the level of the compressed signal back up to match the original level.
the Fairchild 660 is a reliable and stable compressor-limiter that can be used in a variety of recording and mixing situations. Its ability to add warmth, character, and depth to audio signals makes it a valuable addition to any studio gear collection.
Unique Features and Sophistication
The Fairchild 660 is a rare and highly sought-after compressor-limiter that has a unique dimension to its sound. Its sophisticated design allows for a range of controls that can be used to shape the sound of any audio source.
One of the most notable features of the Fairchild 660 is its ability to eliminate audible thumps from recordings. This is thanks to its advanced circuitry that detects and removes any unwanted low-frequency noise that may be present in the signal.
Another unique feature of the Fairchild 660 is its use of 11 transformers, which contribute to its warm and rich sound. These transformers are responsible for adding a subtle coloration to the audio, which can be particularly effective when used on a drum bus.
The Fairchild 660 is also known for its sophisticated controls, which allow for precise adjustments to be made to the compression and limiting settings. The unit features a range of knobs and switches that can be used to adjust parameters such as attack time, release time, threshold, and ratio.
the Fairchild 660 is a highly sophisticated compressor-limiter that offers a range of unique features and capabilities. Its warm and rich sound, combined with its advanced circuitry and precise controls, make it a valuable tool for any audio engineer or producer looking to add depth and character to their recordings.
Comparison with Other Models
When it comes to vintage tube compressors, the Fairchild 660 and 670 are among the most iconic models. However, there are many other models available on the market, so how does the Fairchild 660 compare to them?
Firstly, it’s important to note that the Fairchild 670 is essentially just a stereo version of the 660. So, if you’re looking for stereo operation, the 670 may be a better option for you. However, if you only need a mono compressor, the 660 is a great choice.
In terms of sound, the Fairchild 660 has a unique character that is hard to replicate with other compressors. While there are many emulations available from companies like Universal Audio, Waves, and others, the Fairchild 660 has a warmth and richness that is hard to match.
One of the key features of the Fairchild 660 is its tube-driven gain control. This allows the compressor to add a subtle harmonic distortion that can help to add warmth and character to your recordings. While some other compressors may offer similar features, the Fairchild 660 is often considered the gold standard in this regard.
Another thing to consider is the build quality of the Fairchild 660. These compressors were built to last, and many vintage units are still in use today. While there are many modern compressors that offer similar features, they may not have the same level of durability and reliability as the Fairchild 660.
if you’re looking for a vintage tube compressor that offers warmth, character, and reliability, the Fairchild 660 is a great choice. While there are many other models available on the market, few can match the unique sound and features of this iconic compressor.
