In effect, the Time Constant offers six ‘preset’ attack and release settings (although, of course, the unit’s operation is far more complex than this might suggest), moving between a relatively fast limiting setting and something considerably smoother. The two main controls, therefore, are input gain and threshold, both of which can be used to coax a variety of tones from the Fairchild thanks to the distinctive movement of the compressor and the colouration of the amplifier circuitry.Īs well as lacking a ratio control, you’ll also find attack and release omitted in favour of a unique Time Constant control. Instead, the Fairchild uses a form of ultra-wide knee, so that the ratio effectively becomes harder the more you work the compressor.
The most notable omission is the lack of the traditional ratio control you’d expect to find on a VCA or FET compressor.
UAD FAIRCHILD SOFTWARE
The new Fairchild Tube Limiter Plug-in Collection actually comes as two plug-ins: the ‘refreshed’ Fairchild 670 and the new ‘mono’ Fairchild 660, available for both mono and stereo operation.Īs well as demonstrating a completely revised approach to modelling, the new Fairchild plug-ins include additional controls, taking them well above and beyond the scope of both the original hardware and software versions.Īs you’d expect from a variable-mu compressor, the controls on the Fairchild 670 aren’t entirely conventional. ’Child of our Time Having seen updates to the Urei 1176 and LA-2A plug-ins, it seemed only a matter of time before Universal Audio turned its attention to its venerable Fairchild compressor.
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