You guys are just crushing it. Everything you build has exactly what it needs to be the best in your market. I was wondering when you guys would do a 670…. So glad you are doing this. Thanks you so much and Hallelujah pass the Fairchild!
Sounds like a vari-mu! Magic on vocals. Buttery smacks on drums, and hit or miss on 2-mix. I think there are enough clones out now that someone could do a shootout on them all, Undertone, Stam's various versions, this, the poorman, EAR, Heritage's Grandchild, Drip, etc.
It's by far the coolest piece of gear ever. It was also the first I heard of really. I got obsessed by the sound of Revolver and got to an article where Geoff Emerick and the Fairchild were the the take aways. That article was the most unavoidable and biggest hit of love for audio engineering (and gear) you can imagine. It seriously got me into all of this. And that thing there sounds stupid.
Very cool. I literally just ordered their "260" compressor which is a remake of the classic DBX 160VU in linked stereo form not even an hour before this video appeared in my feed. I love Audio-Scape stuff and find the value to quality ratio to be fantastic. I own several pieces of theirs and still have several on my wish list. Whether or not this will be on that list will depend on its price but someday it would definitely be nice to own a quality 670 repro and based on how smooth and natural the added grit, focus and "pump" the compression this unit added, it seems Audio-Scape once again has done a great job.
No, Marcus. I talked to an old guitarist and he said that it wouldn't matter what we tried to do today, because we couldn't ever replicate the power and the sag from old equipment down to the wiring. The guy used to play out Gil Scott Heron. Smiling and he said he jammed out with Parliament a bunch. So what do you think about power and sag? By the way your show is very cool and thanks for letting us steal tips.
i think i don't have the ears yet, its okay but i think its some plugins that can get you these results pretty easily. could be youtube im listening on focal evo twins
There is no technical gain keeping the tube psu. I'd rather have a better and more stable SS psu any day of the week and not deal with tubes in a PSU. We're in 2024 and not in the 1950s anymore.
@@MartinMartin-yi9to That was Stam’s philosophy too as a way of keeping the price down. Paying up front and the cost of ownership of maintaining tubes that don’t add to the sound…. I’d rather put that money into something else (personally). I’m happy enough with a 98% close Fairchild clone at 50% of the cost.
I dig it but for anyone interested in purchasing, I'd watch Eric Valentine's video on why this isn't a good idea and the tube selection changes were very purposeful.
Great video and review ! Faircomp sounds great and the build quality is obviously fantastic! But is it me, - but i,ll be honest : i liked the drums much more without compressor on it. Much more breath in the sound. Another aspect : i feel,like the same quality can be easily achieved with the plugins.
A lot of really great engineers don't particularly favor compression - especially in regard to instruments like drums with a lot of transient info - and tend to use compression _very_ sparingly and when they do, only use it to solve specific problems. Not as a "I put that sh*t on everything" sauce. That's not me knocking or endorsing one approach or the other as I've heard fantastic recordings from both ends of the spectrum (lots of compression/very little compression). That's just me saying that your take is certainly not invalid and to definitely trust your ears. Two of my favorite engineers ever and two engineers who on the surface would seem that they'd be diametrically opposed in style and approach if you made assumptions based on the music they recorded and mixed but who I actually find to have a lot in common insofar as their approach to recording and mixing and in particular, their minimalist use of compression are Bruce Swedien (Michael Jackson, Paul McCartney, Roberta Flack, Mick Jagger etc) and Steve Albini (the Pixies, Breeders, Nirvana, Page and Plant, PJ Harvey, Iggy and The Stooges, Bush etc). Both engineers are on record saying (and I'm of course paraphrasing but their comments on the subject are quite easy to find online) that they don't particularly "like" compression and see it simply as a tool to solve specific problems. Further saying that transients and dynamics are foundational parts of music and naturalistic, exciting recordings as well as serve to propel the rhythm and "groove" of a song. Bruce Swedien famously repeated in many an interview "compression is for kids." Saying he'd only rarely use in his words a "smidge" of 1176 compression on Michael Jackson's vocals and he'd blend it in using the parallel compression technique. Albini is on record saying he almost never puts any compression on his mix bus unless he's mixing a record he didn't record that has some specific issue that can only be addressed with compression. He'll rarely use anything on his mix bus and _if_ he puts anything, it's usually just some gentle, passive, "Pultec" style EQ. When it comes to using compression on specific instruments, he again never does so as a matter of "taste" but only to solve a specific issue like a particularly wild and audibly distasteful transient spike. One usually inherent to a performer's playing that they could not fix with re-takes. His first instinct being to try and fix problems at the source; i.e. performance and/or microphone placement. So yeah, I know that's a randomly long winded answer but you're definitely not "wrong." That said, of course I own literally about 12 different compressors and will likely buy another dozen before I'm done but the advice of Swedien and Albini is something I've taken to heart. I haven't taken it as a _maxim_ and if I think compressing the hell out of something sounds cool, I'll do it but much more rarely now do I just instinctively insert a compressor on every kick, snare and vocal track and my on drum buss like I used to.
Thanks for commenting. As far as tubes and full circuitry goes for a true to form 670, this has IT. This is the first “budget” range 670 to include the full tube power supply and full sidechain circuitry, which is no small feat. That’s awesome you’ve used originals! Nothing like using an original fairchild in person. Same goes for checking out a Faircomp 670 in person vs a YT vid ;)
A critique? Your In/Out game needs work. You need to give people more time with both the dry and the processed versions, not only to mentally adjust to both the engaged and disengaged states, but to actually analyze the audio material. The video's fine if you're listening to what it's doing generally, as a whole, but I'm listening more for what it's doing to individual elements or, more specifically, different frequency ranges and the behavior of dynamic elements that are in them. Still, a nice overview of a promising piece of hardware.
Appreciate the video offering for sure, but I agree to not only have less talking during the in/out for us but longer measures of both,....And ideally more level matched. But again thankful to have a glimpse of it and I can understand why if this is still in proto stage, why not to dive in deeper.
Please ... Could you do a more professional demonstration of your audioscape Asa 6a and your faircomp 670 . This is more of a commercial presentation with too much talk and in no way shows the qualities and possibilities of your device . its really frustrating . Thanks . Sorry for my english😊
Someone gives you a cup of coffee and you complain that you didn't get any half and half with your free coffee, so you ask that they go make a new pot but better this time.
Buddy you know what it sounds like we don't know what it sounds like shut up it's too much talking we know where engineers we want to hear it can we hear it or we going to hear
@@kevinbatchelor9566 what is it that you hear? Elaborate. Cause I have a very trained ear. And there was nothing. I’m sorry. I’m not going to lie to myself.
![ILLSLICK - KILLSHOT REMIX [FULL VERSION]](http://i.ytimg.com/vi/RIK8RrqIAzE/mqdefault.jpg)
Marvellous as always Marc and Audioscape! Really enjoyed the video!
Wow does that sound GREAT!
Hey AudioScape, I just hope you guys are well and working harrd to make this thing a reality. you guys are awesome & I wish you the best!
Working hard every day! Hopefully releasing in the near future.
You guys are just crushing it. Everything you build has exactly what it needs to be the best in your market. I was wondering when you guys would do a 670…. So glad you are doing this. Thanks you so much and Hallelujah pass the Fairchild!
How did I miss this??? Wow!!!!! It's definitely on my list... 🎉
I think this may be the best modern 670 Ive ever heard. Its definitely equal or better than the reissue!
Wow, tremendous sounding. Truly exciting!!
Thank you Lisa! We love what you do! 🫶
@@AudioScapeEngineeringCo 🖤🙏🏻🖤
Wow! That’s amazing! Thank you so much!
I like the glass panel in front that shows the insides, I hope it stays that way!
Sounds like a vari-mu! Magic on vocals. Buttery smacks on drums, and hit or miss on 2-mix. I think there are enough clones out now that someone could do a shootout on them all, Undertone, Stam's various versions, this, the poorman, EAR, Heritage's Grandchild, Drip, etc.
The trick on the two bus is to unlink the side chain.
Ok Marc ... "sneek peek" mad appreciated sir! Beautiful unit with serious character.
The fire in his eyes... it must sound really phenomenal
I really like how the snare is coming out.
It's by far the coolest piece of gear ever. It was also the first I heard of really. I got obsessed by the sound of Revolver and got to an article where Geoff Emerick and the Fairchild were the the take aways. That article was the most unavoidable and biggest hit of love for audio engineering (and gear) you can imagine. It seriously got me into all of this.
And that thing there sounds stupid.
Very cool. I literally just ordered their "260" compressor which is a remake of the classic DBX 160VU in linked stereo form not even an hour before this video appeared in my feed. I love Audio-Scape stuff and find the value to quality ratio to be fantastic. I own several pieces of theirs and still have several on my wish list. Whether or not this will be on that list will depend on its price but someday it would definitely be nice to own a quality 670 repro and based on how smooth and natural the added grit, focus and "pump" the compression this unit added, it seems Audio-Scape once again has done a great job.
that snare is magical!
Thank you!
If Marc is excited about it, you know it's good!
Was very pumped to see this at NAMM. Congrats Audioscape! Always doing cool stuff!
wow this so cool Marc May you please do a tutorial on the delays and effects on the vocals
Yep
Delays & fx mofo vokalz 💁🏾♂️🏆
Hi guys, I love my 1176D. Great demo, Marc!
Loved it on drums!!!
amazing!
No, Marcus. I talked to an old guitarist and he said that it wouldn't matter what we tried to do today, because we couldn't ever replicate the power and the sag from old equipment down to the wiring. The guy used to play out Gil Scott Heron. Smiling and he said he jammed out with Parliament a bunch. So what do you think about power and sag? By the way your show is very cool and thanks for letting us steal tips.
This is great! Marc where’s the mustache? 😂
How big is that room you are in? I’ve always wondered. I have many AS pieces and none of them disappoint. Thanks for all the great videos.
It does something to the stereo field. On the drums only example listen to the snare drift around to the right.
When is it coming out!?!?
Getting my first piece from Audioscape❤
Very Warm and Punchy
i think i don't have the ears yet, its okay but i think its some plugins that can get you these results pretty easily. could be youtube im listening on focal evo twins
Very nice. What is going to be the price?
$7k
@@RhugginsHmmm. Not obscene.
Looks beautiful
Are you using brand new UTC transformers or new/old stock?
That extra octave.. so good man...
Nice demo. How much difference to the sound does the tube PSU actually make?
There is no technical gain keeping the tube psu. I'd rather have a better and more stable SS psu any day of the week and not deal with tubes in a PSU. We're in 2024 and not in the 1950s anymore.
@@MartinMartin-yi9to That was Stam’s philosophy too as a way of keeping the price down. Paying up front and the cost of ownership of maintaining tubes that don’t add to the sound…. I’d rather put that money into something else (personally). I’m happy enough with a 98% close Fairchild clone at 50% of the cost.
Thats aweosome
Sounds great
Smiling
I always hear about people using the SSL Gbus compressor in the main mix bus for 'glue', but it seems like a 670 would be a better choice, no?
I like to think i love old tubey gear.. but either i don't like a Fairchild or have never heard the right one. Love me some retro 176's though
I dig it but for anyone interested in purchasing, I'd watch Eric Valentine's video on why this isn't a good idea and the tube selection changes were very purposeful.
Link?
How does it compare to the analoguetube AT101?
Great video and review ! Faircomp sounds great and the build quality is obviously fantastic! But is it me, - but i,ll be honest : i liked the drums much more without compressor on it. Much more breath in the sound. Another aspect : i feel,like the same quality can be easily achieved with the plugins.
A lot of really great engineers don't particularly favor compression - especially in regard to instruments like drums with a lot of transient info - and tend to use compression _very_ sparingly and when they do, only use it to solve specific problems. Not as a "I put that sh*t on everything" sauce. That's not me knocking or endorsing one approach or the other as I've heard fantastic recordings from both ends of the spectrum (lots of compression/very little compression). That's just me saying that your take is certainly not invalid and to definitely trust your ears.
Two of my favorite engineers ever and two engineers who on the surface would seem that they'd be diametrically opposed in style and approach if you made assumptions based on the music they recorded and mixed but who I actually find to have a lot in common insofar as their approach to recording and mixing and in particular, their minimalist use of compression are Bruce Swedien (Michael Jackson, Paul McCartney, Roberta Flack, Mick Jagger etc) and Steve Albini (the Pixies, Breeders, Nirvana, Page and Plant, PJ Harvey, Iggy and The Stooges, Bush etc).
Both engineers are on record saying (and I'm of course paraphrasing but their comments on the subject are quite easy to find online) that they don't particularly "like" compression and see it simply as a tool to solve specific problems. Further saying that transients and dynamics are foundational parts of music and naturalistic, exciting recordings as well as serve to propel the rhythm and "groove" of a song. Bruce Swedien famously repeated in many an interview "compression is for kids." Saying he'd only rarely use in his words a "smidge" of 1176 compression on Michael Jackson's vocals and he'd blend it in using the parallel compression technique. Albini is on record saying he almost never puts any compression on his mix bus unless he's mixing a record he didn't record that has some specific issue that can only be addressed with compression. He'll rarely use anything on his mix bus and _if_ he puts anything, it's usually just some gentle, passive, "Pultec" style EQ. When it comes to using compression on specific instruments, he again never does so as a matter of "taste" but only to solve a specific issue like a particularly wild and audibly distasteful transient spike. One usually inherent to a performer's playing that they could not fix with re-takes. His first instinct being to try and fix problems at the source; i.e. performance and/or microphone placement.
So yeah, I know that's a randomly long winded answer but you're definitely not "wrong." That said, of course I own literally about 12 different compressors and will likely buy another dozen before I'm done but the advice of Swedien and Albini is something I've taken to heart. I haven't taken it as a _maxim_ and if I think compressing the hell out of something sounds cool, I'll do it but much more rarely now do I just instinctively insert a compressor on every kick, snare and vocal track and my on drum buss like I used to.
I HAVE THE UAD 670 PLUGIN..AND USE DIFFERENT FAV PRESETS ON EVEREYTHING!! MAJOR GAME CHANGER FOR ME!! :)
Knock it outta the park, I said, and you did.
Any info in the price??
5:17 If you're going to do an IN/OUT comparison match the levels otherwise the comparison is invalid
Wowwww!!!!
Behringer is coming out with theirs for $699
holy cow
IT WORKS!!!!!!!!!!! H.$. I'm in man....WHEN???
Sadly way out of reach for most of us, but a nice effort to resurrect an old relic.
Oh Snap?!
We love our Audio Scape Madness! Wicked Job Marc!
"Under $10,000" = $9,999
Intro pricing $6999 🙌
Explains a lot.
Take my money.
Dees demo mate, cool. Having used the originals many times this does sound close, but of course it's not IT.
Thanks for commenting. As far as tubes and full circuitry goes for a true to form 670, this has IT. This is the first “budget” range 670 to include the full tube power supply and full sidechain circuitry, which is no small feat. That’s awesome you’ve used originals! Nothing like using an original fairchild in person. Same goes for checking out a Faircomp 670 in person vs a YT vid ;)
A critique? Your In/Out game needs work. You need to give people more time with both the dry and the processed versions, not only to mentally adjust to both the engaged and disengaged states, but to actually analyze the audio material. The video's fine if you're listening to what it's doing generally, as a whole, but I'm listening more for what it's doing to individual elements or, more specifically, different frequency ranges and the behavior of dynamic elements that are in them. Still, a nice overview of a promising piece of hardware.
Appreciate the video offering for sure, but I agree to not only have less talking during the in/out for us but longer measures of both,....And ideally more level matched. But again thankful to have a glimpse of it and I can understand why if this is still in proto stage, why not to dive in deeper.
I can see your point. This is also just a prototype so it’s not a proper review that someone would use to inform a possible purchase.
Please ...
Could you do a more professional demonstration of your audioscape Asa 6a
and your faircomp 670 . This is more of a commercial presentation with too much talk and in no way shows the qualities and possibilities of your device . its really frustrating . Thanks . Sorry for my english😊
Someone gives you a cup of coffee and you complain that you didn't get any half and half with your free coffee, so you ask that they go make a new pot but better this time.
weight
First !😉
Buddy you know what it sounds like we don't know what it sounds like shut up it's too much talking we know where engineers we want to hear it can we hear it or we going to hear
Lot of money for minimum improvement. At least from this demo.
Not even going to entertain this… I did not hear a difference 😂😂😂😂
You won't it's in their heads to get you to buy something
To get that last 5% gotta spend the cash,Audioscape is amazing ❤
You need better ears
Not sure what you're listening to this on, but maybe try to focus on the snare drum in the drums example. It's very noticeable.
@@kevinbatchelor9566 what is it that you hear? Elaborate. Cause I have a very trained ear. And there was nothing. I’m sorry. I’m not going to lie to myself.