However, I do use the excellent plug-in from Universal Audio – in fact, it’s the only plug-in I ever use. I’ve still never had the pleasure of using a real Fairchild, because I don’t have a spare £50,000 burning a hole in my pocket. “Oh yes,” replied the engineer, “would you like to see one?” I remember staring at it for what seemed like hours, before blurting out: “Would this have been used…” I don’t think I managed to finish the sentence before my host smiled knowingly and nodded. It was on a visit to Abbey Road Studios in 1997, to sit in on a mastering session for a recording I’d engineered, that I enquired if the studio still owned a Fairchild. I wasn’t the least bit interested back then in a synth that sounded like a horse breaking wind all over Kate Bush and Peter Gabriel albums, and it would be almost a decade before I finally clapped eyes on a genuine vintage Fairchild 660.Īnd it wasn’t any old 660, either.
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