rockettpedals AIRCHILD Six Sixty Compressor Pedal Owner’s Manual
- September 3, 2024
- rockettpedals
Table of Contents
SIX SIXTY COMPRESSOR -“Gets that 660 growl”
AIRCHILD Six Sixty Compressor Pedal
OUTPUT
Controls the overall output but is interactive with the Threshold control
BLEND
Blends the dry signal with the compressed signal which allows you to fine tune
how much effect you would like to hear.
TONE
A unique tilt EQ control that adds treble and reduces bass when turned to the
right and adds bass but reduces treble when turned to the let
THRESHOLD
Controls the amount of compression introduced to the signal
ON/OFF
Engages and disengages the compression effect
The AIrchIld Six Sixty Compressor is our sonic interpretation of the famous
vintage 660 studio compressor. Consistently regarded as the best compressor
ever made. For years we have used the original 660 and 670 (Stereo)
compressors in the studio and decided to try and make that sonic signature
available to the guitar community without the $10-$100k price tag.
The typical iconic guitar compressor has created very recognizable tones
throughout the history of music, especially Country music. That being said we
felt that there were already too many clones of that legendary circuit with
few other variants available.
The typical Iconic circuit tends to crush the sound more like a limiter but
has also cemented that sound into certain genres of music which is a great
sound if so desired. We wanted to make available a compressor that works like
a studio compressor which enhances harmonic richness and evens out transients
without crushing the entire spectrum.
The AIRCHILD Six Sixty simply makes you want to play more, it increases
sustain without crushing your output, it imparts richness to your overall tone
and adds feel to your playing. Our target tones were the slide tones of Lowell
George and the singing lead/rhythm tones of Mark Knopfler.
History/Origins
The original Six Sixty Compressor was designed by Rein Narma, who had worked
with Les Paul to build a recording mixer to use with Les Paul’s Ampex 8-track.
Les Paul asked Narma if he would build a compressor/limiter. Sherman
Fairchild, who was friends with Les Paul, learned of the compressor and
licensed Narma’s compressor design, hiring Narma to be chief engineer at
Fairchild Recording Equipment Corporation. The first 10 Fairchild 660’s were
built by Narma himself. The first unit was sold to Rudy Van Gelder who used it
to cut lacquer masters for Blue Note Records and Vox Records . The second unit
went to Olmsted Sound Studios in New York City and the third 660 built went to
Mary Ford and Les Paul.
Design
The mono 660 and dual-channel 670 can function as a compressor with a ratio of
2 to 1 and a threshold of 5 db below normal program level, as a peak limiter
with a compression ratio of 30 to 1 and a threshold of 10 db above normal
program level, or can operate anywhere between those two extremes. Utilizing a
single push-pull stage of amplification and an extremely high control voltage,
the sound of the 660 and 670 is characterized by the complete absence of
audible thumps, with extremely low distortion and noise. Both feature an
extremely fast attack time that can produce the full limiting effect during the
first 1/10,000 of a second. This extremely fast attack time is combined with
six different variable release timing curves, three of those making the release
time an automatic function of the amount of limiting used, making the 660 the
first compressor/limiter to feature automatic variable release time. The 660
has controls for input gain, threshold, and time constant. The dual-channel
670 has the added flexibility of being able to be used either as two
independent limiters or as a vertical and lateral (sum and difference)
component limiter. At the time of its introduction, the 670 was the only unit
that could independently control both vertical and lateral with a minimum loss
of separation.
Notable users
Abbey Road Studios purchased 12 660s ater staff engineer Peter Bown heard it
during a visit to Capitol Records in America and used it on recording sessions
for the Beatles, primarily for vocals. Beginning in 1966, Geoff Emerick began
using the 660 on Ringo Starr’s drum tracks as well as piano and guitar tracks.
As of 2014, Abbey Road still had 8 of the original 660s purchased in the
1960s.
“We put the drum sound through 660 valve limiters and compressors. It became
the sound of Revolver and Sgt Pepper really. Drums had never been heard like
that before.”
Compressors are probably the most misunderstood effect that also have
incredible impact on the delivery of music. There is not a professional
recording in history that does not have some sort of compression. Gain is a
form of compression, even EQ is a form of compression.
A compressor is used to reduce a signal’s dynamic range—that is, to reduce the
difference in level between the loudest and quietest parts of an audio signal.
Compression is commonly used to attenuate loud transient peaks (e.g., when a
singer suddenly belts out a high note or a guitar player digs in to a note
with muscle) compression helps maintain a consistent level.
Compression essentially causes distortion in a signal, in that it changes the
original sound of the signal through its processing. The compressor typically
achieves this by emphasizing certain harmonics based on how the compressor is
hitting the incoming signal. It is very common for guitar compressors to alter
the inherent tone, mess with the top end and introduce noise in the process.
It’s our job as designers to make that distortion feel transparent and dynamic
to create the best-sounding performance one can achieve. Use your ears
though!!
In compression, the dynamic range becomes narrower — the highest peaks and the
quietest parts have fewer dB of level difference between them. In contrast, a
compressor can also help support or bring to life sot notes as well.
For guitar, compression helps with sustain and feel. Using compression in
front of an amp with gain or a gain pedal essentially just adds more
compression and is typically not very audible. A good compressor will help
sustain notes without introducing noise or artifacts in an amp or pedal that
has gain but typically works best in a clean amp to hear the effect. You will
typically hear compression on country guitar, at least as an audible full
throttle effect. Most players do not utilize this sound because a squished
signal limits dynamics, however, if used correctly it can increase dynamics
across the board. One of the best descriptions I have heard about compression
is that it is the opposite of reverb. If you think about that it is true.
Compression brings the full dynamic force forward in a balanced manner where
Reverb creates space and distance.
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OUTPUT – It may sound simple but output is a key feature to getting your compressor set properly. If you want to hear the full squish keep your output at unity or less (It is interactive with the threshold control so as you dial up the threshold your volume will increase so back off the output to hear the compression effect. If you push the output and hit the front of your amp hard it creates gain, therefore, compression gets lost. It will create sustain and harmonic richness but the compression effect will be harder to hear.
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TONE – One of the biggest complaints about compressors is how they affect the EQ. A typical dynacomp will introduce noise and mess with the top end in an ugly way. The EQ on the AIRCHILD helps mitigate those typical issues and allows you to balance out the overall EQ to be natural. Turn the knob counter clockwise and it will introduce more bottom and less top, turn it clockwise and it will introduce more top and less bottom. This allows you to balance the EQ for your specific setup, every amp is different.
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BLEND – Blend simply allows you to blend your dry signal with the compressed signal allowing for fine tuning so to speak.
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THRESHOLD – Threshold in this configuration simply means more or less compression. All the way counter clockwise is fully off and all the way clockwise is fully compressed. You can then Taylor that to your preference by using the blend control to balance it out to your requirements. Please experiment with the threshold control and keep in mind how interactive it is with the output control. The more output the more gain so the effect will be less noticeable with a hotter output. Using compression is a fine art so use your ears and your inherent feel to dial it in to your taste.
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POWER – 9V/DC negative tip only!!! 20mA Draw. (No internal battery option)
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Gets that classic 660 “growl” adds smoothness and EQ.
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Simply makes your tone and feel better (Great always on pedal).
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Vintage Looks
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Over built construction
Fun setting: Set your threshold to 75%, Blend to 75%, Output to 75% and
Tone to 25%. This gives a warm, pushed tone that maintains control. This
setting adds fatness, warmth and feel. You can adjust the tone to taste but
the AIRCHILD is effectively a simple EQ as well as a compressor. Always
experiment and use your ears!
Sound like the Byrds: Threshold to 75%, Blend to 100%, Output 50% and
Tone 65%.
Lowell George Slide tones: Threshold to 80%, Blend 100%, Output to 60%
and Tone to 65%
GREAT BOOST/EQ AS WELL – Turn your blend control all the way to the left
which removes the compressor from the circuit and makes for an absolute beast
of a boost with “Tilt EQ”
ENJOY!
Warranty
Rockett Pedals LLC. will repair or replace, at its discretion, defective
workmanship or materials on all new Rockett Pedals products directly or
through; the selling dealer or an authorized service technician, for one year
from the date of purchase at no cost to the original purchaser.
Repair and replacement parts installed will be warranted for the unexpired
portion of the original warranty term.
Before sending product in for repair please contact us at
jay@rockettpedals.com. Or call +1
720-936-8623. This warranty does not
cover shipping costs, product appearance or damages caused by accident, abuse,
misuse or alteration.
A dated sales slip or order number (issued by a tech, dealer or Rockett
Pedals) must accompany a product being returned for warranty service. Repairs
without a return authorization number will be refused. Please allow 4 weeks
for warranty service. For more information please contact Rockett Pedals
www.rockettpedals.com or +1
720-936-8623.
No other warranty is expressed or implied.
References
Read User Manual Online (PDF format)
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