And if you've had the privilege of using an original hardware Fairchild, you'll definitely get a familiar feeling from this pair, delivering full, assured and musical tones that can ultimately add up to a great mix. Apollo Twin Mk II QUAD allows you to: Record with the same world-class Apollo A/D and D/A conversion as the next-generation Apollo range in a desktop form factor - as heard on hundreds of hit records Mix with UAD plug-ins like the included Teletronix LA-2A, 1176LN, and Fairchild compressors, Pultec EQs, and 610-B Preamp Control. Those with good ears will appreciate the broader palette of saturation colours. The new models look much more like the original hardware, too, and give more detailed control than the Legacy version. Yes, each time I've demo'd the mkII Fairchild I've been straining to discover a clear and obvious improvement over the legacy version. Each has its own vibe and both sound amazing. it's useful for sure but the legacy still sounds special to me (tweaked Ocean Way Preset is awesome). Its also the most used UAD plugin that I have.
KVRist 148 posts since 8 Jul, 2004 Post by Parisongs » Tue 10:33 pm The Fairchild 670 is an indespensible mix bus compressor for me. The 670 is the easier of the two on transients, making it slightly more aggressive, while the 660 has more total gain on the input, allowing lower thresholds to be set for more colourful compression artifacts. UAD Fairchild 670 or LA-2A VST, AU, AAX, CLAP, etc. You could call it glue, but that doesn't cover it fully either.Įssentially, it imparts more fullness, substance and - dare we say it - 3D space. anyways i was wondering if anyone has tried out some of the newer alternatives like ADL 670 or 660 or mercury recording 66. Time constant settings for the Fairchild 670: Attack: 0.2 ms, Release: 0.3 sec. Hello, Fairchild 670s are expensive last one i ofund was 33,000. it's not necessarily "warmth", although vocals seem fatter. The UAD Fairchild 670 adds a slight touch of harmonics. Where the new ones differ sonically is in their colouration. The Legacy 670 is a favourite with many producers for its smooth and invisible level control, particularly on vocals and basses, and A/B-ing it with the new models reveals that they're all remarkably similar in that capacity. Both also offer a selection of six preset Attack/Release times, the first four going from fast to slow, and the last two with fixed attack times and automatic release dependent on the envelope of the input signal. Apart from the dedicated stereo ones, the 660 has a very similar control set.
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