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Post by EmRR on May 18, 2024 15:58:29 GMT -6
Just thinking about how to properly gain stage this thing. So the input is an attenuator, right? So let’s say I’m coming in at -35/40 db on the 1073 and it’s peaking around -6 db on the meter. I know I’m not overloading the input, so should I start the input wide open? Shouldn’t I be seeing -6 db if it’s not attenuating anything? I guess the short question is: how do you calibrate a 660? It’s not hard to dial in, I just want to know the proper way to do it. If it's like an original, max gain with no compression is 7dB. Transformers and tube types may change this slightly. You can leave the gain wide open and drive it into compression with source level if you want. More level into it and gain turned down shouldn't sound different, really, unless the input controls vary response for complex reasons I won't get into - some do, but usually only at more extreme attenuation - so maybe don't run so hot into it that you have to crank gain down really low. Party on. |
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Post by Johnkenn on May 18, 2024 16:15:05 GMT -6
Just thinking about how to properly gain stage this thing. So the input is an attenuator, right? So let’s say I’m coming in at -35/40 db on the 1073 and it’s peaking around -6 db on the meter. I know I’m not overloading the input, so should I start the input wide open? Shouldn’t I be seeing -6 db if it’s not attenuating anything? I guess the short question is: how do you calibrate a 660? It’s not hard to dial in, I just want to know the proper way to do it. If it's like an original, max gain with no compression is 7dB. Transformers and tube types may change this slightly. You can leave the gain wide open and drive it into compression with source level if you want. More level into it and gain turned down shouldn't sound different, really, unless the input controls vary response for complex reasons I won't get into - some do, but usually only at more extreme attenuation -s o maybe don't run so hot into it that you have to crank gain down really low. Party on. Awesome - that’s really helpful! Thanks! This is maybe a dumb question ( I didn’t go to school for this stuff) but what’s the thought on level into a compressor…? Right now I’m coming out of the 1073 at around -6. But I’m lacking a little volume (I can always just use clip gain)…so maybe I should be a little hotter on the pre as long as I’m not clipping? I’m kindve getting the feeling that it doesn’t really matter how you get in, it pretty much sounds the same. |
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Post by EmRR on May 18, 2024 17:55:08 GMT -6
If it's like an original, max gain with no compression is 7dB. Transformers and tube types may change this slightly. You can leave the gain wide open and drive it into compression with source level if you want. More level into it and gain turned down shouldn't sound different, really, unless the input controls vary response for complex reasons I won't get into - some do, but usually only at more extreme attenuation -s o maybe don't run so hot into it that you have to crank gain down really low. Party on. Awesome - that’s really helpful! Thanks! This is maybe a dumb question ( I didn’t go to school for this stuff) but what’s the thought on level into a compressor…? Right now I’m coming out of the 1073 at around -6. But I’m lacking a little volume (I can always just use clip gain)…so maybe I should be a little hotter on the pre as long as I’m not clipping? I’m kindve getting the feeling that it doesn’t really matter how you get in, it pretty much sounds the same. Drive it 'till you get the compression and output level you want, using AC threshold to set compression amount once you've set DC threshold for the slope/ratio you like the sound of - that will change where the AC control gets into compression since it also acts as a kind of threshold. When DC threshold gives you higher output, it's also higher ratio, and vice versa. +27dBm is described as the clipping point, so +20 into it gets you there, then AC and DC thresholds bring that level down through compression. As example of MAX. If you put +16 into it you should be cool. Though.... "predetermined threshold factory adjusted to +2dBm" The 670 manual is available online, worth a read for the way they say to set it up, shows the slopes and threshold points of the AC DC combos. |
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Post by stam on May 19, 2024 9:18:03 GMT -6
Quick question guys, I am cooking another batch of 50 units for July Do you prefer an output attenuator or a dry wet knob? I only have room for one on the faceplate. Thank you for your input! PD: We have the last 5 available on the website in stock: stamaudio.com/shop/compressors/stamchild-sa-660/ |
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Post by niklas1073 on May 19, 2024 11:48:18 GMT -6
Quick question guys, I am cooking another batch of 50 units for July Do you prefer an output attenuator or a dry wet knob? I only have room for one on the faceplate. Thank you for your input! PD: We have the last 5 available on the website in stock: stamaudio.com/shop/compressors/stamchild-sa-660/Since i use the hardware for tracking only and a dedicated 2bus comp i’d always go for attenuator on mono units like 660. A stereo/dual mono bus/mastering comp I can see some wanting a mix knob but even there I would opt for attenuator. The attenuator is great to keep the gain structure. Most parallel stuff I do itb. So I vote attenuator |
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Post by Johnkenn on May 19, 2024 12:32:19 GMT -6
Yeah - I’d rather have an output knob for non-bus units.
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Post by Ward on May 19, 2024 15:38:11 GMT -6
Quick question guys, I am cooking another batch of 50 units for July Do you prefer an output attenuator or a dry wet knob? I only have room for one on the faceplate. Thank you for your input! PD: We have the last 5 available on the website in stock: stamaudio.com/shop/compressors/stamchild-sa-660/Mix knobs are great for guys who are uncertain of how compression works or how to operate a complicated device, but may not reflect the needs of the target market. An output attenuator is a GREAT idea! |
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Post by Johnkenn on May 19, 2024 19:32:28 GMT -6
Quick question guys, I am cooking another batch of 50 units for July Do you prefer an output attenuator or a dry wet knob? I only have room for one on the faceplate. Thank you for your input! PD: We have the last 5 available on the website in stock: stamaudio.com/shop/compressors/stamchild-sa-660/Mix knobs are great for guys who are uncertain of how compression works or how to operate a complicated device, but may not reflect the needs of the target market. An output attenuator is a GREAT idea! Yeah. Come to think of it…I rarely use a mix knob these days. |
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Post by stam on May 20, 2024 6:30:21 GMT -6
Noted, thanks!!
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ericn
Temp
Balance Engineer
Posts: 16,083 
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Post by ericn on May 20, 2024 7:50:09 GMT -6
Mix knobs are great for guys who are uncertain of how compression works or how to operate a complicated device, but may not reflect the needs of the target market. An output attenuator is a GREAT idea! Yeah. Come to think of it…I rarely use a mix knob these days. I shall dare to repeat myself, you really need a small console😁 |
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Post by Johnkenn on May 22, 2024 17:18:04 GMT -6
So, I’ve sung a few things and have a little more experience with it. You gotta be careful with this thing because like a Sta, you can hit -15 + gain reduction and not even realize it. I do wish it had and output stage/makeup gain. Don’t know if I see a scenario where I’d use the Wet/Dry knob on this mono unit. Maybe mono OH, but I don’t use mono OH. I’m sure there’s something I’m not thinking about…
The DC Threshold (basically a knee/ratio knob) is killer. I’ve found a couple times when the GR was a little hot, I could click up one on the DC TH and it was perfect.
This thing is freaking great for vocals. While it definitely imparts a tone, it’s not overbearing. It does NOT add sheen (yay). The thing I notice is it just seems effortless. You could say that about the Sta or the 176 too - it’s the thing I love about Vari-Mu’s.
Here’s a TRUE statement - this thing would be $5299 if anyone else made it. So I sooo appreciate the opportunity to buy at these prices. I’m sure it doesn’t do this or should do that like a real vintage 660…but I don’t really care. This thing is a beast on its own.
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Post by stam on May 23, 2024 6:29:48 GMT -6
So, I’ve sung a few things and have a little more experience with it. You gotta be careful with this thing because like a Sta, you can hit -15 + gain reduction and not even realize it. I do wish it had and output stage/makeup gain. Don’t know if I see a scenario where I’d use the Wet/Dry knob on this mono unit. Maybe mono OH, but I don’t use mono OH. I’m sure there’s something I’m not thinking about… The DC Threshold (basically a knee/ratio knob) is killer. I’ve found a couple times when the GR was a little hot, I could click up one on the DC TH and it was perfect. This thing is freaking great for vocals. While it definitely imparts a tone, it’s not overbearing. It does NOT add sheen (yay). The thing I notice is it just seems effortless. You could say that about the Sta or the 176 too - it’s the thing I love about Vari-Mu’s. Here’s a TRUE statement - this thing would be $5299 if anyone else made it. So I sooo appreciate the opportunity to buy at these prices. I’m sure it doesn’t do this or should do that like a real vintage 660…but I don’t really care. This thing is a beast on its own. Thanks for your kind words John!! I have a few clients (around 20) with original Fairchild's 660. They are pretty close! |
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Post by Ward on May 23, 2024 6:44:45 GMT -6
This unit sounds like it is an absolute killer and should be on the MUST HAVE list! Like Johnkenn, I've grown somewhat tired or disappointed with the Sta-Level type of "damn that's nice but can I please have some more, it's almost there". Every vocal I've heard recorded with a 660/670 has that special something beyond anything else. |
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Post by Johnkenn on Jul 31, 2024 19:31:38 GMT -6
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