C670 Compressor Question

[Wobbleburger]

I love the c670 as it's very transparent and works well for a master bus. I'm wondering how the "Time Constant" knob works. Is lower a quicker compression (more aggressive)? I've seen attack, release, threshold and ratio but some compressors use other terminology. So, I'm wondering about "Time Constant" and any other verbiage compressors may use.

I heard MooTube is also good for master busses. How is the SoftTube FET for mastering chains? I'm also curious what everybody uses and when they use it.

[selig]

I love the c670 as it's very transparent and works well for a master bus. I'm wondering how the "Time Constant" knob works. Is lower a quicker compression (more aggressive)? I've seen attack, release, threshold and ratio but some compressors use other terminology. So, I'm wondering about "Time Constant" and any other verbiage compressors may use.

I heard MooTube is also good for master busses. How is the SoftTube FET for mastering chains? I'm also curious what everybody uses and when they use it.

Faster to the left, slower to the right. Not sure how closely they followed the original, but if you're interested you can read up on the original Fairchild to better understand the concept:
http://thehistoryofrecording.com/Manual ... matics.pdf
https://www.soundonsound.com/reviews/fairchild-660-670
https://www.barryrudolph.com/recall/man ... 70info.pdf

(just noticed the original factory was three block from where I'm living in Long Island City, NY - cool neighborhood!)

[Wobbleburger]

Faster to the left, slower to the right. Not sure how closely they followed the original, but if you're interested you can read up on the original Fairchild to better understand the concept:
http://thehistoryofrecording.com/Manual ... matics.pdf
https://www.soundonsound.com/reviews/fairchild-660-670
https://www.barryrudolph.com/recall/man ... 70info.pdf

(just noticed the original factory was three block from where I'm living in Long Island City, NY - cool neighborhood!)

Thanks! This helps a lot and is quite fascinating. Side note: I got the Selig Leveler in the Mix/Master 3 bundle and I'm watching tutorials on it right now, actually. What an amazing bit of kit! I'm excited to test it out on some drums.

[jlgrimes]

Faster to the left, slower to the right. Not sure how closely they followed the original, but if you're interested you can read up on the original Fairchild to better understand the concept:
http://thehistoryofrecording.com/Manual ... matics.pdf
https://www.soundonsound.com/reviews/fairchild-660-670
https://www.barryrudolph.com/recall/man ... 70info.pdf

(just noticed the original factory was three block from where I'm living in Long Island City, NY - cool neighborhood!)

Thanks! This helps a lot and is quite fascinating. Side note: I got the Selig Leveler in the Mix/Master 3 bundle and I'm watching tutorials on it right now, actually. What an amazing bit of kit! I'm excited to test it out on some drums.

I use the UAD Fairchild.

If this emulation is similar, it is a great coloring compressor, works great for mix bus fattening, and a good "finishing" compressor on vocals.

[Marco Raaphorst]

Thanks! This helps a lot and is quite fascinating. Side note: I got the Selig Leveler in the Mix/Master 3 bundle and I'm watching tutorials on it right now, actually. What an amazing bit of kit! I'm excited to test it out on some drums.

I use the UAD Fairchild.

If this emulation is similar, it is a great coloring compressor, works great for mix bus fattening, and a good "finishing" compressor on vocals.

670 does't saturate. So no tube simulation.

[selig]

Faster to the left, slower to the right. Not sure how closely they followed the original, but if you're interested you can read up on the original Fairchild to better understand the concept:
http://thehistoryofrecording.com/Manual ... matics.pdf
https://www.soundonsound.com/reviews/fairchild-660-670
https://www.barryrudolph.com/recall/man ... 70info.pdf

(just noticed the original factory was three block from where I'm living in Long Island City, NY - cool neighborhood!)

Thanks! This helps a lot and is quite fascinating. Side note: I got the Selig Leveler in the Mix/Master 3 bundle and I'm watching tutorials on it right now, actually. What an amazing bit of kit! I'm excited to test it out on some drums.

The key with the leveler on drums is to keep the Blend low, around 25%, so you don't get obvious dropoff when audio falls outside of the curve. This compressor can apply so much more gain than most so it's important to keep the amount of GR within similar levels to other compressors for transparent operation. Also, try a curve setting between 6-12 dB, which will allow you to easily bring up the sustain of the drums without increasing the transients. Another "trick" you can try with drums is to intentional lower the target 3-6 dB BELOW the highest peak, which allows you to retain these peaks and "lift" the sustain below the peaks (so you won't loose the effects of the pure transients. When using this approach you can often use a higher blend amount, since you're no longer bringing the audio up to match the level of the highest peak. Make sense?

[Wobbleburger]

Thanks! This helps a lot and is quite fascinating. Side note: I got the Selig Leveler in the Mix/Master 3 bundle and I'm watching tutorials on it right now, actually. What an amazing bit of kit! I'm excited to test it out on some drums.

The key with the leveler on drums is to keep the Blend low, around 25%, so you don't get obvious dropoff when audio falls outside of the curve. This compressor can apply so much more gain than most so it's important to keep the amount of GR within similar levels to other compressors for transparent operation. Also, try a curve setting between 6-12 dB, which will allow you to easily bring up the sustain of the drums without increasing the transients. Another "trick" you can try with drums is to intentional lower the target 3-6 dB BELOW the highest peak, which allows you to retain these peaks and "lift" the sustain below the peaks (so you won't loose the effects of the pure transients. When using this approach you can often use a higher blend amount, since you're no longer bringing the audio up to match the level of the highest peak. Make sense?

Yes, this makes sense. Thanks for the detailed explanation, as well. Cheers.