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PuigChild Compressor
User Guide
17 pgs831.23 Kb0
Table of contents
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Waves Audio PuigChild Compressor User Guide

Waves PuigChild
User Manual
TABLE OF CONTENTS
CHAPTER 1 – INTRODUCTION...........................................................................................................................................3
1.1 WELCOME ..........................................................................................................................................................................3
1.2 PRODUCT OVERVIEW .........................................................................................................................................................4
1.3 ABOUT THE MODELING ......................................................................................................................................................5
1.4 COMPONENTS.....................................................................................................................................................................5
CHAPTER 2 – QUICKSTART GUIDE..................................................................................................................................7
CHAPTER 3 – INTERFACE AND CONTROLS...................................................................................................................8
3.2 PUIGCHILD INTERFACE ......................................................................................................................................................8
3.2 PUIGCHILD CONTROLS.......................................................................................................................................................9
CHAPTER 4 – THE WAVESYSTEM...................................................................................................................................12
4.1 THE WAVESYSTEM TOOLBAR ..........................................................................................................................................12
4.2 PRESET HANDLING...........................................................................................................................................................12
4.3 INTERFACE CONTROLS .....................................................................................................................................................14
APPENDIX A – PUIGCHILDCONTROLS..........................................................................................................................17
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Chapter 1 – Introduction

1.1 Welcome

Thank you for choosing Waves! In order to get the most out of your Waves processor, please take the time to read through this manual.
In conjunct an extensive Answer Base, the latest Tech Specs, detailed Installation guides, new Software Updates, and current information on Authorization and Registration.
By signing up at www.wavesupport.net products, reminders when updates are available, and information on your authorization status.
ion, we also suggest that you become familiar with www.wavesupport.net
, you will receive personalized information on your registered
. There you will find
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1.2 Product Overview

About the Fairchild 670
Among gear aficionados, the stereo Fairchild 670 is considered the most coveted of all compressors, not only because of its pr thousands of dollars on the vintage market. (They originally cost less than $1000.) With 20 vacuum tubes and 11 hand-wired transformers in a hefty 6 rack-space chassis, these hard-to-find units weigh in at a robust 65 lbs.
Designed by Estonian-born Rein Narma in the early 1950s, both the stereo 670 and its mono counterpart voltages. Both variable-mu limiters are unique in that they use tubes for gain reduction as well as amplification. Compression takes place directly in the audio path, rather than being routed to a separate circuit.
Prior to the 660 and 670, Narma’s Gotham Audio Developments had built consoles a such lumina Sherman Fairchild caught wind of the project, licensed the design, and hired Narma to come onboard as the company's chief engineer. After his stint at Fairchild, Narma relocated to the San Francisco Bay Area and became vice president of Ampex, pioneers of multitrack recording equipment.
the Fairchild
ries as Rudy Van Gelder and Les Paul. Shortly after Paul asked Narma to build a limiter,
istine sound, but also its rarity and price: 670s routinely go for tens of
660 use single push-pull amplification stages with extremely high control
nd components for
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1.3 About the Modeling

Many different elements contribute to the unique sonic chara Fairchild 670. Waves painstakingly modeled and incorporated these elements into the PuigChild in order to fully capture and replicate the sound and performance of the original equipment.
These are some of the most important elements of analog behavior:
•
Total Harmonic Distortion
Perhaps the most important analog behavior is Total Harmonic Distortion or THD, which is defined as the ratio of the sum of the powers of all harmonic compon frequency. THD is usually caused by amplification, and changes signal shape and content by adding odd and even harmonics of the fundamental frequencies, which can change the overall tonal balance. THD can also change peak output gain, usually by no more than +/- 0.2-0.3 dB.
•
Transformers
Some hardware uses transformers to stabilize or change Input/Output loads and signal levels. In earlier days, transformers did not have a flat frequency response, and oft super-high frequency roll offs. The original Fairchild has four transformers, so if you encounter a low or extremely high frequency loss, this is due to the modeled transformers.
•
Long Release Times
The Fairchild includes settings which use long time constants of several seconds. This might cause short looped passages t returns to unity. This is identical to the original hardware performance, and should not be a cause for concern.
•
Hum
Waves modeled both 50Hz power current and 60Hz power current. If you listen closely, you will hear that there is a diffe region and dependent upon the local electrical conditions, you may find that the modeled hum is different than the hum already present in your studio, and may not be suitable for your particular use.
o sound different during successive playbacks, because the Release never
rence in hum level between 50Hz and 60Hz. Since hum is unique to each
cteristics of analog gear such as the
ents to the power of the fundamental
en introduced low and

1.4 Components

WaveShell technology enables us to split Waves processors into smaller plug-ins, which we call components. Having a choice of co choose the configuration best suited to your material.
The PuigChild has two component processors:
mponents for a particular processor gives you the flexibility to
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PuigChild 670 Stereo – Two channel compressor, with two separate sets of detectors and compression paths.
PuigChild 660 Mono – One channel compressor, based on t
he left channel of the 670.
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