Waves modeled both 50Hz power current and 60Hz power current. This is identical to the original hardware performance, and should not be a cause for concern. This might cause short looped passages to sound different during successive playbacks, because the Release never returns to unity. The Fairchild includes settings which use long time constants of several seconds. The original Fairchild has four transformers, so if you encounter a low or extremely high frequency loss, this is due to the modeled transformers.
In earlier days, transformers did not have a flat frequency response, and often introduced low and super-high frequency roll offs.
Some hardware uses transformers to stabilize or change Input/Output loads and signal levels. THD can also change peak output gain, usually by no more than +/- 0.2-0.3 dB. THD is usually caused by amplification, and changes signal shape and content by adding odd and even harmonics of the fundamental frequencies, which can change the overall tonal balance. Perhaps the most important analog behavior is Total Harmonic Distortion or THD, which is defined as the ratio of the sum of the powers of all harmonic components to the power of the fundamental frequency. These are some of the most important elements of analog behavior: Waves painstakingly modeled and incorporated these elements into the PuigChild in order to fully capture and replicate the sound and performance of the original equipment. Many different elements contribute to the unique sonic characteristics of analog gear such as the Fairchild 670. After his stint at Fairchild, Narma relocated to the San Francisco Bay Area and became vice president of Ampex, pioneers of multitrack recording equipment. Shortly after Paul asked Narma to build a limiter, Sherman Fairchild caught wind of the project, licensed the design, and hired Narma to come onboard as the company's chief engineer. Prior to the 660 and 670, Narma’s Gotham Audio Developments had built consoles and components for such luminaries as Rudy Van Gelder and Les Paul. Compression takes place directly in the audio path, rather than being routed to a separate circuit. Both variable-mu limiters are unique in that they use tubes for gain reduction as well as amplification. (They originally cost less than $1000.) With 20 vacuum tubes and 11 hand-wired transformers in a hefty 6 rack-space chassis, these hard-to-find units weigh in at a robust 65 lbs.ĭesigned by Estonian-born Rein Narma in the early 1950s, both the stereo 670 and its mono counterpart the Fairchild 660 use single push-pull amplification stages with extremely high control voltages. ĪPPENDIX A – PUIGCHILDCONTROLS.Īmong gear aficionados, the stereo Fairchild 670 is considered the most coveted of all compressors, not only because of its pristine sound, but also its rarity and price: 670s routinely go for tens of thousands of dollars on the vintage market. Saving Presets and Setups.ĭeleting Presets. ģ.2 P UIGC HILD C ONTROLS.ĬHAPTER 4 – THE WAVESYSTEM.Ĥ.1 T HE W AVES YSTEM T OOLBAR. ĬHAPTER 3 – INTERFACE AND CONTROLS.ģ.2 P UIGC HILD I NTERFACE.
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