That turned into having to purchase a satellite octo unit to run along with my Quad core interface so I can run them all to my hearts content. They are just that great. I was kinda miffed on the proprietary system running these plugs cause it's expensive and I have a brand new top of the line laptop that has the power to run them just fine, but once I got into using it, I totally get it now. It's really nice having the dsp chips run everything they way they want it This Fairchild plug in is really head and shoulders above most of the other brands and I have them all.
When I popped it on some sources I was blown away at just how phat, powerful, and musical the tone was.
Doesn't matter what it is either, do a bass and you get phat oomph Smashy powerful drums that just sound right. It has a bit of a vintage flavor, but people LOVE that sound Vocals are creamy goodness. It just has BEEF! Gain you can really dial into and get a commercial sounding powerful mix. I like to mix loud and this thing delivers without giving me crap about gain staging plug ins etc.
I love it Would buy again. It's one of those heavy hitters you just love It's an MVP, Take my, and every other person on here's word for it!
I love this compression even in default it sounds fantastic and I dont even really know what im doing. Fairchild plug-in very professional!!! Great sounding plug in, it really adds magic like no other but I get the dreaded , device code errors. This will be my last purchase from UAD until this, known issue, gets sorted out. Simply brilliant. I was very much looking forward to it and I was happy.
Beautiful sound. After days of learning how to use the plug-in it became my go-to for basses, drums and guitars. Overview Overview Features Customer Reviews. Add to Wishlist.
Photo: Hannes Bieger. These s compressors are probably the most revered — and imitated — processors in the world. But what is it that makes them so special? A decent plug-in emulation can now be considered pretty much a standard tool, and there are quite a few to choose from. There are also, in current production, quite a few hardware units that are inspired in some way by these legendary limiters, and a few manufacturers even offer precise clones of the original circuitry.
But why? Just what is it that has bestowed such an enviable reputation on this legendary processor? Its age certainly plays a role; its decades of deployment in control rooms across the globe, and on such a range of commercial material, have contributed to its mystique. A well-maintained Fairchild sounds fantastic, even by modern standards, and if you know how to use it — or one of its many software or hardware imitators — it remains a very useful and great-sounding studio tool today.
Earlier in his career, Narma had constructed mixing consoles for the likes of Rudy Van Gelder and Les Paul, and history has it that the latter, the famous guitarist and inventor, may have provided the impetus to design the compressor. One way or another, the work was finally carried out under the roof of the Fairchild Equipment Corporation, with Narma as the lead engineer overseeing the project.
Fairchild offered both a mono version, the shown here , and the dual-channel All of the design characteristics of the Fairchild were conceived for maximum level control and minimum artifacts — its development took place in an era when pretty much all engineers tried their best to record sources as naturally and pristine-sounding as was possible.
They were typically deployed for fairly mundane tasks: radio transmitter valves and cutting styli could be damaged by unwanted high levels, and dynamic tools like the Fairchild were used to keep those dangerous peaks in check, thus helping to maintain a healthy programme level for the following devices in the signal chain. Furthermore, the Fairchild was designed at a time when stereophonic recording techniques and the stereo vinyl record were becoming established.
Virtually twice the amount of information as on a mono LP needed to be stored on the same size surface for a stereo record. To maintain parameters like programme length and level, dynamic shaping of the audio material was essential.
The Mid-Sides M-S process helped to save lacquer real estate during the cutting process, and an equally important benefit at the time it retained mono compatibility. It was for this very reason the two-channel Fairchild was designed for use either as a dual-mono unit with unlinked stereo channels or in M-S mode. The mono version and the dual-channel were released almost at the same time. Yet the Fairchild was not only conceived as a protective device in front of a cutting lathe.
It was also advertised — and used — as a broadcast limiter. There may have been plenty of alternatives available — including but by no means not limited to the Gates Sta-Level — but the Fairchild was a huge success indeed. The dual-channel The background vocals needed just a little love, mostly by using moderate compression to keep them at a consistent volume. I decreased Headroom for a hint of grit, and set the Time Constant at one, and used about -5 dB of gain reduction.
First, the background vocals dry: First, the background vocals dry And then the background vocals with the Fairchild And then the background vocals with the Fairchild The did a great job of leveling out all the differing harmonies to help blend them all together.
The guitar sound is a mix of close mics and a room mic placed in a bathroom for a nice, natural slapback effect. But I wanted to exaggerate that echo even more, while also smoothing the overall tone out. Here is the room guitar without the Fairchild Here is the room guitar without the Fairchild And here it is with the Fairchild And here it is with the Fairchild Using this method and a Time Constant setting of one, I was able to keep the direct sound in the forefront while the Farfisa was being played.
But as soon as the player released the keys, the ambience from the RE would come surging in like a rising tide to take the place of the direct sound.
First, the Farfisa track dry. And here is the Farfisa with the Fairchild Cranking the Threshold and having the Time Constant set to one on the Fairchild produced a very tough, in your face sound on the piano, allowing all the intricacies of the performance to cut through the mix.
I used heavy gain reduction — averaging dB, decreased the Headroom , and set the D. Threshold control all the way to the left. Here is the dry piano track: Here is the dry piano track: Then, the piano running through the Fairchild plug-in: Then, the piano running through the Fairchild plug-in:.
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