PuigChild Compressor

The Ultimate Tube Compressor/Limiter

“The Rolls Royce of Tube Compressors”
– Jack Joseph Puig

Rare, expensive and effective, the Fairchild 660 and 670 were the pinnacle of 1950s compression technology. Their open, warm sound and fast attack made them ideal for creative transient shaping and for ‘gluing’ mixes via stereo bus compression.

PuigChild brings you this classic sound, modeled to the last sonic detail under the close supervision of Grammy®-winning producer/engineer Jack Joseph Puig, from his own favorite units.

Smooth warm analog sound with clean, transparent character
Exceptional tonality for vocals and for transient-heavy instruments
Perfect as a bus compressor for ‘gluing’ your mixes
Classic ‘pumping’ drum sound when used aggressively
Smooths harshness yet preserves attack & strengthens sustain
The warm compression heard on classics from the Beatles onward
Multiple compression modes: mono, dual mono, stereo, M/S
6 selectable choices for attack / release times
Accurate circuit modeling with total harmonic distortion
Add original hum and noise floor (50/60 Hz) for full analog authenticity
Low noise modeling thanks to custom transformers with multiple stages per channel
Variable-mu tube topology reacts to input load for well-balanced sonics

Watch It in Action

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What Top Pros Are Saying

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Transparent Dynamics with Pristine Power

Glue Mixes without “Squashing”
As a bus compressor, PuigChild’s pristine compression opens up a mix. Many modern compressors constrict the sound with more aggressive compression amounts, but the PuigChild maintains its open sound, even with fairly heavy compression.
Modeled from Expertly Maintained Hardware
The original Fairchild units are incredibly rare—just finding one is almost impossible. We were fortunate to work with renowned engineer Jack Joseph Puig, who owns perfectly maintained “golden” hardware units of these extraordinary vintage processors, and supervised every step of the modeling.
Compression Like No Other
The original units’ sound is pure tube, and can’t be duplicated by any other technology. Compression takes place in the audio path of the tube itself, rather than being routed to a separate gain control circuit like a FET, VCA, or Opto compressor. The plugins impart that uniquely sweet sound—even when not compressing.
From Vocals to “The Ringo Drum Sound”
When set aggressively, the Fairchild was at the heart of Ringo’s “pumping” drum sound. But when dialed back, the 660 was a mainstay on the vocals of that era, thanks to the way it provided transparent support to the voice. Push the 660 or 670 hard, and they still sound natural.
Fast, Easy Operation for Superb Sound
Stay creative instead of getting lost in parameters—the simple controls make it easy to dial in superb sounds in seconds. Simply set the 10-step Threshold, and turn the 6-step Time Constant to control attack (200-400 ms) and release (from 300 ms to a super-slow 25 seconds).
Different Modes for Different Sources
Treat the 670 as two mono compressors, a linked stereo compressor, or mid/side (“lateral/vertical”) compressor. For mono tracks, the 660 mono version delivers single-channel sound, with half the CPU power.