If you examine any monophonic or stereo record or tape available today, from any major labels throughout the world, it undoubtedly uses a FAIRCHILD limiter in its production somewhere along the line. More and more companies throughout the world specify and use the FAIRCHILD limiters, Model 660 or 670 for the following reasons:
1. Complete absence of audible thumps normally associated with other limiter designs and a complete absence of distortion or noise normally associated with conventional limiters.
2. Extremely fast attack time, the FAIRCHILD 660 or 670 can produce full limiting in the first 5.000th of a second.
3. Variable release time. The FAIRCHILD 660 or 670 allow a variable from .3 of a second to 25 seconds, conveniently available on the front panel in the form of a 6-position switch.
4. Can be used as a limiter or a compressor depending on the program material and personal preference.
5. Reliability and stability
6. Two models available: single channel Model 670 or the unique stereo model 670.
...Product area but I think the 500 Fans will kinda dig this idea. I can't wait to hear it. Anamod Audio The Fairchild 660 limiter is arguably one of the most famous and sought-after compressors ever made. The magical way it adds density and dimension to a track or a mix has been demonstrated on many...
...designed by Mr. Ian Sefchick (mastering engineer at Capitol Records), this tube compressor’s circuit is loosely based on a Fairchild 660. It’s a variable mu compressor that sounds just as great on your mastering bus as on your individual tracks. Nothing is smashed here, everything breathes and shines while the MagicDeathEye will smoothly glue...
...be added to the guitar mix bus later on with the New York Parallel setting for some glue. Or a Fairchild 660 sounds great on the mix bus if you have it. - Finally do you volume automation, this is key: do the overall guitars first, have them huge as you like and drop them...
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