Fatso Manual 2007 Final.pdf 2/16/2007 4:26:45 PM

Warranty and Factory Service All Empirical Labs Inc. products are covered by a limited warranty, which covers full parts and labor for one year from the purchase date. The warranty is only effective if the owner has returned his or her warranty card. See warranty card for further details. Should problems arise, call your dealer or distributor to determine the state of your warranty and if it becomes necessary, pack the unit up well*, enclose a note explaining the problem and return to Empirical Labs for repair. Include your name, address, phone, and the date of purchase. Send the unit with freight prepaid to the address below and mark it Attn: Service.

EMPIRICAL LABS 41 N. Beverwyck Rd. Lake Hiawatha, NJ. 07034 Phone (973) 541-9447 F ULL Also see our website at www.EmpiricalLabs.com. Additional Contact and E-mail Information can be A NALOG found there. USERS MANUAL TAPE C * - Please pack the unit in original carton if possible. Otherwise, pack with bubble pack and /or M foam in a thick corrugated box. Shipping companies are absolutely brutal with large packages, S IMULATOR & Y and you must take every precaution against constant dropping, throwing, and crushing. We are

CM not liable for products damaged during shipping. O PTIMIZER

MY Do not attempt to modify or make adjustments to your FATSO until you have notified WITH KNEE COMPRESSION CY Empirical Labs and been sent the necessary information. There are a number of critical adjust- CMY ments that cannot be made properly without the calibration tools we have here at the factory. Any INDEX K sign of internal adjustment by the user will void your warranty with the exception of changing the 1 Features & Specs fuses or line voltage selection. Empirical Labs Inc. takes no responsibility for the safety of 2 What Is The Fatso? anyone opening the FATSO for any reason. There are dangerous voltages present when 2 Using for the First Time the unit is plugged in. Refer unit to properly qualified service center or return to factory. 3-5 Example Settings 6 The Compressor - Four Types Other Empirical Labs Products: 7-8 Recall Sheet 9 The Saturation & Warmth Circuits 1) The Distressor – Classic Knee Compressor. Found on thousands of major records! 10 The Tranny 2) Lil FrEQ – The Ultimate Analog Equalizer & De-esser, with built in DI Box. 10 Block Diagram 3) Masderring Lab for Eventide DSP4000 - Complete mastering facilities in a double height rack 11 Basic Wiring and Stereo Linking mount unit! Contact Eventide Inc. at (201) 641-1200 4) Three dimensional software for the Eventide DSP4000 and H3000. Contact Eventide Inc. 12 Troubleshooting 12 Fuse Replacement, AC Voltage Select 13 User Notes 14 Customer Comments 15 Warranty Technology For The Artist www.empiricallabs.com BACK TO TABLE OF CONTENTS

Customer Comments Comments About the DISTRESSOR "Every once in a while a product comes along with ‘classic’ written all over it. And in a certain sense of the word, this product actually is a classic already." Mix Magazine “Dear Empirical, I’m an LA based producer and an owner of a Distressor. The unit is really awesome! I've used it on guitars, bass, room mics, vocals it works great on everything. I've Features used it on records I've made with Beck, U2, Etta James, Hole and lots of others.” Joe ‰ Soft clip features modeled after broadband tape saturation. WITHOUT THE NOISE! Smooth clipping up to 20% THD. Chicarelli ‰ User programmable high frequency saturation, simulating the "softening" for which analog tape “After buying a Distressor I had an epiphany. Having used software plug-ins for years I and phonographs are known. This is the "Warmth" control on FATSO. often didn’t hear or understand the affects of various controls. After getting my Distressor, ‰ Switchable transformer circuits, which can add the musical artifacts generated by classic and using it and hearing the obvious affects of the attack and release controls, I was able to devices like NEVE, API, etc. These artifacts include frequency "rounding", low order clipping & intermodular distortion, transient clipping... and some other very musical non-linearities. go back and use the Plug-ins with a new understanding.” (Email) ‰ Four compression modes - One for tracking, one general purpose, one "bus" compressor, and "One piece of gear I definitely recommend is a compressor called the Distressor. It's really SPANK (see below). All LINKABLE! Classic knee compressor sound that really grabs. great for just about everything and if you had to use just one compressor you could probably ‰ SPANK!- An additional limiter that musically smashes the dynamic range, and can be used to get away with just using that." Mitchell Froom stop clipping before digital recorders. There is a subtle knee followed by hard limiting. ‰ Huge "DISTRESSOR" knobs with high resolution numbering - For easy readability and “I sold a couple of 1176's and have replaced them with the Distressors, which do a great job repeatable settings. They also go to 10 1/2 . of emulating the 1176's. Michael Wagener “(Ozzy Osbourne, Extreme, Metallica) ‰ Distortion indicator lights - A 0 VU LED and a "Pinned" (5%) LED. No hard clipping until a few dB past "Pinned". “In general, I really like where Dave Derr’s ear leads him; one of pro audios truly ‰ Sidechain output and input for eq-ing control signals. independent thinkers, I’m a huge fan of the box (the Distressor): I use it for bringing up the ‰ Locked, calibrated, output level - Allows speed in setting tape and live mix levels. “goosh” on ambient sources, and for saturating snares, toms, and kicks.” ‰ Foolproof operation - it's almost impossible to get a bad sound. George Massenburg ‰ Single height and light weight - Two channels of classic sound in a small, extremely reliable package. Comments About the FATSO Jr ‰ Discrete and integrated combination - the best of speed/linearity with repeatability. Hand tested & selected components. All metal film and Roederstein resistors in the audio path - top quality “In a word, the FATSO is a very good answer to what a lot of people loathe about digital components, most being high temperature military spec parts. recording. It smoothes out the sharp, brittle edges to exactly the extent you choose, and fills ‰ Switchable 115/230 volt operation - Extra fuse provided inside unit. in the hairline cracks just right. I use one on almost every mix I do. I could easily use one ‰ True bypass - Know what it's really doing. All contacts doubled up for maximum reliability. No and possibly two more.” George Massenburg internal audio connectors. ‰ XLR and 1/4" phone ins and outs - XLR fully balanced, transformerless design, pin 2 hot. “People used to have to hunt for old, expensive gear to get the kind of sounds that the Changeable by user to pin 3 hot. FATSO gives me.” Ed Cherney (The Rolling Stones, Bonnie Raitt, Bob Dylan, Eric Clapton, ‰ No internal connectors, high reliability parts and military grade switches and relays. Jackson Browne, Susan Tedeschi, Etta James, … et al) ‰ Three year unlimited warranty. ‰ Interface and features found nowhere else. Best new Signal Processor-EQ AES Awards - "Empirical Labs Fatso took this category, ‰ Allows processing not readily available in our current digital domain. New life for analog despite the introduction of a variety of cool new processors. Who can resist the best aspects processing! of analog tape combined with great compression" EQ Magazine ‰ Hand wired, calibrated in USA. Shipping weight 13.25Lbs. "The winner of the highly -coveted, ‘I'm going to write you a check right after the show award’ was picked up by Empirical Labs for its FATSO processor.’ Craig Anderton Specs LIL FREQ ♦ Freq. Response is 2 Hz to 60 kHz in clean audio mode (+0, -3 dB). “Hey Dave… so I got the box, plugged it in on an Etta James vocal that I was having ♦ Dynamic Range - 110 dB from maximum output (20%THDsoft clipping) to minimum output. problems with… and it $#$%^&* rocks. This is a great box, my friend. I can see anybody Greater than 100 dB signal to noise. with a DAW wanting to use this thing. I am using the shelving, DS’ing and transformer out, ♦ Distortion Ranges between .06% and 20% depending on mode and settings. and I am just thrilled. Congratulations. It absolutely complements the digital crap that I am ♦ DC coupled Input and Outputs - High quality audio caps used internally. forced to use…wooo hooo.” Ed Cherney ♦ Compressor Time Constants - Attack range 1mS - 200mS. Release range .05 sec to 3.5 "I finally got to hear Empirical Labs’ Lil FrEQ, a monster that will destroy the way you think seconds. Attack and Releases are fixed by the compression type selected. about EQ. This single-channel unit has two shelving bands, tunable low cut, four parametric ♦ Power Consumption – 35 Watts Max typically. .3A @115. bands, dynamic EQ for de-essing and direct box input—all noiseless and distortion free. Best of all, its smooth processing is absolutely addictive. Sweet! " George Peterson (Mix Magazine) Empirical Labs - Something Old, Something New Rev4.3 1 14 BACK TO TABLE OF CONTENTS

NOTES What is The Fatso? (Hmm, Not such an easy question!) ______The EL7 FATSO is a modern digitally controlled analog device that offers many of the "musical non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. This two ______channel audio processor will musically integrate frequencies and transients and increase the apparant ______volume without actual increase in peak levels. In addition, two channels of famous Empirical Labs compression are provided. There are several compressor "types" with fixed attacks and releases (if you ______want a fully controllable compressor, you will need the Empirical Labs Distressor!). Users can enhance ______& soften the sound of mediums such as modular digital multitracks (MDM's), HD recorders, Dat recorders, Ram Recorders etc. Mixdown engineers will have an option not to use bulky, expensive, ______(and often flaky) analog tape recorders to get the warmth and sweet high end they've come to rely on for so many decades. Owners of Adats, MDM's, RAM and modern hard disk recorders can finally put a ______stop to complaints about the "coldness" and "brittle edge" of their mixes and instruments with the ______"rounded" and "musically non linear elements" of vintage analog. Finally, audiophiles can bring back the warmth and cuddly sound of LP's and tapes to their CD players, and other digital reproduction ______mediums. ______Fatso's Four Types of Processing (See next page for detailed description) ______1) Harmonic Generation and Soft Clipper (Distortion generation) ______2) High Frequency Saturation - WARMTH! ______3) Transformer & Tape Head Emulation ______4) Classic Knee Compression - Empirical Labs Style! ______Using the Fatso for the first time ______Hookup is straightforward. Either the XLR's or phone jacks can be used. In relation to the phone ______jack tips, pin 2 is wired "hot" on the XLR's. But if you're using the XLR's in and out, it doesn't matter which pin is hot, as long as you're cabling is in phase. If you use a single ended XLR output, leave ______unused pin floating! Connecting all input pins is preferred, but the unit will operate fine if ______unused pins aren't tied to ground. Hookup directions are also located on the rear panel of unit, near the connectors. See page 11 for more detailed wiring instructions. ______It’s advisable to mount in a cool rack position, as the Fatso Jr. tends to run quite warm. ______Fatso is ideal for sources that sound brittle, bright, or pointy or have excessive dynamic range. You will probably find so many uses for the Fatso as we did, but ...let's just go over a couple quick ______scenarios here. Let's say you have a vocal either live or in the studio that seems lifeless or needs ______presence and intensity. First lets set the compressor up. In fact you should always set the compressor up first because it interacts with the other processors in the Fatso. For excessively ______dynamic vocals I would go right to the TRACKING compressor "type" with both the green and yellow ______LEDs lit in the compressor select area. Adjust the input til you get 5 dB of GR to start with and adjust the output knob until there's not a great difference between the bypassed and un-bypassed levels. ______Remember the Bypass switch is multiplexed and to cycle in and out of bypass, click twice quickly. Next decide if the vocal has a brittle edge on the top end. If so, you have two other ways to soften. The ______most subtle is the Tranny which engages a specially tweeked transformer circuit that enhances the ______midrange while softening extreme transients and fattens 200 hz and below. That may not be what you need on vocs tho. Try the Warmth control for less subtle high end softening. This circuit is a wierd ______dynamic filter not too far removed from de-essing except it is above most sibilant freqs and works on a ______different principle and filter type. (...ok, so it is far removed!). This circuit is really useful on vocs that are bright or have 10KHz and above boosted heavily with EQ. In fact warmth is really useful used in ______conjunction with high freq eq boost, as it will only grab the parts that are excessively bright or "plasticky" ______and get out of the way in less than a millisecond. Use it as an EQ tamer. As you progress from 1 - 7 on the warmth control, more and more high freguencies will be ______"grabbed" and eventually you will start muffling the signal. DON'T DO THAT! Be very careful not to ______overuse the warmth control... 1 - 5 dB of Warmth is a lot. By now that distant, thin, vocal should be HOT and in your face. When using the compressor and warmth together, remember the interaction. ______Apply this same type of thinking to other sources/instruments. Don't be afraid to use the warmth without ______any other processing, or just the compressor, or just the Tranny (to fatten low end). Also remember the unit is always passing the signal through the saturation circuits, with no LED's on whatsoever. Don't ______feel like you have to use all the processing within the unit because that will surely get you in trouble, ______sooner than later. SEE EXAMPLE SETTINGS ON NEXT PAGE. 2 13 BACK TO TABLE OF CONTENTS

EXAMPLE SETTINGS Troubleshooting The Fatso was designed essentially to integrate frequencies in a musical manner and provide some fool proof vintage sounding compression. Generally, it is difficult to make the unit sound unnatural due to its * Unit forgets where it was when power was shut off - Non Volatile memory cap has become vintage topology. But it is possible to "overdo" things! Let's go over the four types of processing the defective, or possibly some other type of logic failure has occurred. Contact the factory for servicing. Fatso provides, and describe what they do and generally when they would be used. * No sign of life - Check power cord for firm connection. If still no life unplug unit and open top cover Fatso's Four Types of Processing by removing all top screws and check fuse toward rear next to transformer. If it is blown, pry it out and 1) Harmonic Generation and Soft clipper - Basically this is a distortion generator. Anytime you replace it with extra fuse provided in fuse holder toward front of chassis. If fuse is OK, make sure your pass a signal thru the Fatso, it passes thru this part except in bypass. This processing is useful to softly Voltage select switch is set to current wall outlet voltage (115, 230 VAC). but instantly clip peaks and transients, allowing more average level. * Unit keeps blowing fuses - Check internal voltage select switch for proper settings (115/230). 2) High Frequency Saturation - WARMTH! This circuit is meant to simulate the softening of the Otherwise, suspect a short or power supply problem. Try to make sure there is nothing trapped under high end that occurs with analog tape. Basically as the warmth is increased, overly bright signals and the PC board, shorting to the metal case. Attentive visual inspection is still the most effective transients will be quickly attenuated. The time constants are very nearly instant, so the high freqs return troubleshooting tool available. See below. very quickly after a loud burst. * Unit runs hot – Leave a space above or below it, or mount in cooler rack. 3) Transformer & Tape Head Emulation - This is a simulation of the effect of input and output * Unit is on but not doing anything - The unit may be bypassed or operating subtly. If bypassed, you transformers of older devices and adds the low frequency harmonics that characterize analog tape. need to press the "BY-PASS" button so red LED goes off. The input and output levels should always This is extremely useful on pure low frequency type tones that don't cut thru small speakers. It adds affect it unless bypassed upper "warm" harmonics to frequencies below 150Hz, especially those even lower such as 40Hz, the * Bargraph shows gain reduction but very little or none is actually occurring -The unit is possibly low string on a bass guitar, helping it to cut thru on smaller speakers. severely out of adjustment. We use very stable trim pots and high quality components, but it is possible 4) Classic Knee Compression - Empirical Labs Style! This is your typical automatic leveling that long term component aging or failure may require factory re-calibration. Also, dampness or device that you find used on just about every instrument and vocal track, as well as on the overall buss. something spilled into the Fatso can cause this phenomenon. At present you will have to return the Only its Empirical Labs compression - smooth sweet but in your face! (Reminds me of an old girl friend) FATSO to factory for re-calibration. In the future there will be local dealers and/or service centers to See the compression guide on page 6 for description of the 4 compressor types. help. * Distorted output - If there is severe, un-musical distortion, chances are you're hard clipping. Check that the output cable is properly wired and any unused output pins (2 or 3) on XLR are floating (left CD Player & Buss Fattening - This was almost the original intent of the Fatso. That is, it was a unconnected). Shorting an output pin will not harm the unit but can show up as distortion in the output two-channel device that could make a stereo digital signal sound "analog" and integrate the different driver. The distortion this unit is meant to impart is harmonic and should not sound like crackly frequencies in a musical way. It could be used as a stereo device thru which one could mix or transfer distortion caused by hard clipping. If the pinned LED stays on, you must turn down the input! to or from a digital medium to make it sound very analog tape-like. * No output level - Make sure there is audio getting to the unit, and that the input and output levels are For those who aren't used to the Jargon... A BUSS is usually a pair of channels that have pre turned up. mixed instruments or stereo music on them. The Left & Right outputs of your CD player could be * Unit pops or unnaturally pumps with low frequencies Try a different compressor TYPE. considered a 2 channel buss. In the recording studio, it is more often applied to the final left and right * Unit seems noisy - The dynamic range of the FATSO is greater than CD (16 bit) quality. However, if channel mix, or to something such as all the drums mixed down to 2 tracks (a "submix), so that instead you are compressing a noisy signal, the noise is pushed up along with the soft signals. If you have 20 of moving 12 faders at once to move drums up or down, you only have to grab those two. dB of gain reduction on a room mic that has a 90 dB S/N, the noise floor will be raised 20 dB in quiet ‰ MIXDOWN PRE PROCESSOR - Again, one of the original intended uses. By placing the Fatso areas, bringing the noise floor up to 70 dB. Since the FATSO is capable of lots of compression without immediately before a digital mixdown recorder such as a DAT, CD, HD, or RAM recorder, the recording sounding unnatural, you can often bring hiss levels up undesirably. Remember your current input level, engineer should be able to get the sweet high end and low frequency fatness that he could mixing to an and then ensure that the noise is coming from outside the unit by turning the input knob off (to 0). All analog tape recorder. Compression should usually be the Buss type, use the warmth to soften the high noise should disappear. Try gating before compressing. end and the Tranny to add some edge and warm harmonics to the Low frequencies. ‰ CD PLAYERS & Other Digital Recorders - Take the output of the CD player into the Fatso input. Our first goal is to make that CD player have the warmth and softness of the old tape recorders and records. If you were going to use compression, set it up first since it interacts with the other settings. Changing the fuse But for now let's not use any compression here. First adjust unity gain thru the Fatso. Set the input Caution: Always unplug unit before removing cover! until the 0VU LED glows on peaks from time to time. This will set up the saturation to emulate some Pull out the power plug from the AC outlet, open unit, and ensure fuse closest to rear of the unit is nominal tape like distortion. Next if you want the low end to have more bite, the tranny may be useful blown. (Note: The fuse closer to the front panel is a spare fuse and is not connected to anything). but for most digital recordings, try messing with the warmth control. Allow 1 - 5 dB of warmth to occur Gently pry out one end of the fuse and then the other, replacing it with extra fuse provided near battery on peaks. When AB'ing it to the original signal, a new softness and fatness will be noticed immediately. holder in front of unit. A small screwdriver may be helpful. Before putting cover on, plug in unit, keeping You will be able to listen to things a little louder than usual. hands out of the box, ensure that the fuse doesn't blow again, indicating a possibly more serious ‰ DJ level controller and master PUMP device - Place the Fatso before your power amps or at the problem (see troubleshooting). If OK, unplug unit, screw down top cover and return the unit to normal output of your DJ mixer to level out or fatten up the whole show. The Buss compressor can level out use. Any fuse from .3 to .6A should be safe, but .3A (1/3A) is what is specified and used at factory. volume differences while keeping the "smack" intact. You can then add some top EQ and have the Replace spare fuse in front if available. We went to the expense to keep an extra fuse inside... you warmth hold back the brittle edges. The Tranny may help on smaller systems to get the low freqs should too. clearer but if you have lots of subsonic info... you may want to keep Tranny out of line since it will roll off the exceptionally low low stuff. Vocals - There are so many ways to use Fatso here. During tracking, turn on the Tracking Line Voltage Select Compressor which lites the green and yellow LED in the compressor area. This is a pretty safe LN1176 Changing the voltage for 230 or 115 operation also involves unplugging the unit and removing top Type knee compressor with a pretty quick attack and release. That might be all you need! Using up to cover. Inside on the right (as the front of the unit faces you), is a switch with 115 or 230V showing on its 10 dB of compression should be fine with really dynamic vocs. Alternately, you can try one of the other face. Select the desired voltage by sliding the switch until it indicates that voltage and you're done. compressor types, even SPANK to grab occasional peaks and then quickly get out of the way. Replace cover and screws.

3 12 BACK TO TABLE OF CONTENTS EXAMPLE SETTINGS (part 2) Basic Wiring Wiring is straightforward. ConnectEXAMPLE AC line co rdSETTINGS to 3 prong jack, plug in XLR or phone plug ins and If the top end is too sizzly or spitty,Troubleshooting you can try the warmth control, maybe adding up to 6dB of warmth Theouts, Fatso and was you're designed wired. The essentially phone and to integrate XLR input fr equenciesjacks are differential, in a musical at themanner output, and only provide the XLR some is fool on the peaks. This is not a de-essing function since it affects freqs above the most trouble-some sibilant proofdifferential vintage (balanced). sounding compression. The output phone Generally, jack tip itis iswired difficult to pin to 2make of the the XLR unit out, sound and thereforeunnatural is due in phase to its * Unitfreqs, forgets nonetheless, where you it was may whenfind it helpspower take was some shut of of thef - hissyNon Volatilesound out memory of a source. cap has become vintagewith that topology. pin. The But only it is possible possible problem to "overdo" is if you things attach! Let's one go of theover XLR the outputfour types pins of2 orprocessing 3 to ground. the A defective, Tranny or possibly may be someuseful otheron exceptionally type of logic low failure vocals has as occurred.it will warm Contact the low tonesthe factory to some for degree.servicing. It will Fatsoseparate provides, amplifier and drivesdescribe each what of these they dopins, and so generally grounding when one ofthey them would will shortbe used. the associated amplifier * Noalso sign roll the of lifesuper - Check subs off power but generally, cord for firmTranny connection. will not radically If still no affect life mostunplug vocal unit sources. and open top cover Fatso'sout. Therefore Four ifTypes you only of use Processing pin 2 on your output cable, leave pin 3 floating (unconnected) and vice- byVarious removing all Instruments top screws and check fuse toward rear next to transformer. If it is blown, pry it out and replace it with extra fuse provided in fuse holder toward front of chassis. If fuse is OK, make sure your versa.1) Harmonic The phone Generation jack ins and andouts Soft will be clipper out of -phase Basically with thispin 3is since a distortion the unit generator. is wired pin Anytime 2 hot from you the Bass - Fatso is gonna be really useful here. Bass is notoriously hard to round out and clarify sometimes, passfactory a signal (see thrunote the below). Fatso, Pin it passes1 should thru almost this alwapart ysex becept grounded in bypass. on the This XLR processing cables, but is usefulthere are to softlytimes Voltage select switch is set to current wall outlet voltage (115, 230 VAC). * Unitbut the keeps Fatso blowing has many fuses ways - toCheck help. internal First, if voltagea low bass select tone switch is too forpure proper and sine-wave settings (115/230).-like, it will "fall off" butwhere instantly a buzz clip can peaks be introducedand transients, thru chassis allowing grounds. more average level. on small speakers. By this we mean, it will not be audible because most of the bass frequencies are below 2) Note:High FrequencyIt is possible Saturation to change -the WARMTH! wiring of Thisthe connectors circuit is meant inside to simulatesince they the are softening hand wired. of the A Otherwise, suspect a short or power supply problem. Try to make sure there is nothing trapped under thethe PC range board, of the shorting speakers. to the metal case. Attentive visual inspection is still the most effective highuser end can that therefore occurs with make analog XLR pintape. two Basically or three as hot the in warmth relation is to increased, the phone overly jacks. bright Always signals unplug and unit The Tranny is the solution, combined with the saturator circuits. These will generate upper harmonics transientsbefore making will be quicklyany changes. attenuated. Our Thecompany time constants cannot be are responsible very nearly for instant, damage so theto unit high or freqs electric return troubleshooting tool available. See below. * Unitthat willruns be hot musically – Leave related. a space These above harmonics or below will it, orbe mountreproduced in cooler on small rack. speakers and the human ear veryshock quickly to anyoneafter a loudtrying burst. any modifications. (and mind), will psycho-acoustically fill in the lower fundamental! Great on direct bass. * Unit is on but not doing anything - The unit may be bypassed or operating subtly. If bypassed, you 3) Transformer & Tape Head Emulation - This is a simulation of the effect of input and output The Fatso compressors are fabulous on bass too. The buss compressor is good for an already need to press the "BY-PASS" button so red LED goes off. The input and output levels should always transformersStereo of older Operation devices and adds the& low5.1 frequency Surround harmonics that Usecharacterize analog tape. compressed or very evenly played bass, since it will leave the transients and remaining dynamics in. It will affect it unless bypassed This is extremely To put the usefulFatso intoon pureStereo low mode, frequency put a fingertype t oneson one that warmth don't buttoncut thru while small pressing speakers. the other It adds warmth also allow you to use varying amounts of grunge since it is such a gentle compressor that wont really nail * Bargraph shows gain reduction but very little or none is actually occurring -The unit is possibly uppersimultaneously. "warm" harmonics The orange to frequencies link LED will below lite on 150Hz, both channels. especially Let those up oneven both lower buttons such simultaneously. as 40Hz, the the bass level in place. Just by turning the input up, one can add or remove distortion. The GP is another severely out of adjustment. We use very stable trim pots and high quality components, but it is possible lowThere string are on two a bass main guitar, link effects:helping it1) to The cut compressorsthru on smaller are speakers. linked and their gain reduction will match, compressor that may allow the dynamics to come thru but due to the long release, excessive pops or that long term component aging or failure may require factory re-calibration. Also, dampness or provided4) Classic both Knee are enabled. Compression 2) The -Channel Empirical 1 “Bypass”Labs Style! control This is now your controls typical automatic both channels leveling plucks may create "holes" in an overly dynamic bass part. The Tracking compressor is a favorite again for something spilled into the Fatso can cause this phenomenon. At present you will have to return the deviceBypass/Tranny. that you find Itused is usually on just best about to match every all instrument front panel and settings vocal on track, the twoas well "left asand on right" the overallunits to buss. bass (both the green and yellow LED lit). It is the most Distressor-like compressor in the Fatso with a fast FATSO to factory for re-calibration. In the future there will be local dealers and/or service centers to Onlymaintain its Empirical imaging. Labs However, compression unlike most - smooth units, sweetthe us buter has in yourthe option face! to(Reminds treat the meleft andof an right old channelsgirl friend) attack and release, along with a smooth knee. SPANK is useful for a more aggressive level control on help. Seedifferently. the compression Sometimes guide for roomon page mics, 6 forkeeping description the units of theunlin 4ked compressor actually makes types. them sound more stereo. 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Try a different Watch compressor over warming TYPE. guitars with the considered a 2 channel buss. In the recording studio, it is more often applied to the final left and right * Unitsaturators seems and noisy the warmth - The dynamic circuits. rangeCrunchy of theguitars FATSO which is are greater full of than harm CDonics, (16 are bit) notoriously quality. However, sensitive if to channel mix, or to something such as all the drums mixed down to 2 tracks (a "submix), so that instead A note on Bypass and the Multiplexed Controls youtonal are changes. compressing Over asaturating noisy signal, or warm theing noise can is take pus awayhed up the along clarity with or bite the neededsoft signals. to cut Ifthru. you Other have times, 20 of moving 12 faders at once to move drums up or down, you only have to grab those two. The Fatso uses a hardwired bypass relay enabling the user to compare processed and dBit's of just gain what's reduction needed on to a let room the guitarmic that be haslouder a 90 in dBa mix S/N, and the stay noise out offloor the will way be of raised vocs because 20 dB in the quiet upper, ‰ unprocessedMIXDOWN signals PRE PROCESSOR accurately. When - Again, comparing one of tthehe original signalintended from uses. the processed By placing signal, the Fatso areas,spiky, bringing harmonics the are noise flattened floor upa bit. to 70 When dB. you Since are the dealing FATSO with is an capabl occasionale of lots peaky of compression guitar where withoutcertain immediatelymatching the before output a digital level withmixdown bypassed recorder signal such make as sa itDAT, very CD,easy HD, to hear or RAM the processingrecorder, the changes. recording soundingchords or unnatural, notes take you your can head often off, bring the dynamic hiss levels acti onup ofun thedesirably. warmth Remember control can yourbe sooooo current useful. input level,Don't engineerThe bypass should on be the able Fatso to getis multiplexed the sweet highwith endthe Trandanny low control, frequency so a fatness double thatpress he is could necessary mixing while to an andoverdue then ensure this though, that theespecially noise is while coming tracking! from outside the unit by turning the input knob off (to 0). All analogcomparing tape recorder. the processed Compression signal to shouldinput signal. usually be the Buss type, use the warmth to soften the high noise should The Tranny disappear. may also Try actually gating beforeseem to compressing. add midrange focus because of the harmonic generation on end and To the change Tranny compressor to add some types, edge warmth and warm ratio, harmonics and the Tranny/bypass, to the Low frequencies. press the associated button the low and low mid freqs. To smooth out solos, try the tracking compressor with tranny and warmth. ‰andCD cycle PLAYERS through &the Other options. Digital These Recorders step function - Take c ontrolsthe output are sometimesof the CD player inconvenient into the whenFatso tryinginput. to REMEMBER TO SET UP COMPRESSOR FIRST. The warmth really interacts with the compressor. Our first goal is to make that CD player have the warmth and softness of the old tape recorders and compare two settings, but if it was the only way we could fit all the controls on a front panel without an - Plucked instruments can benefit greatly from records. If you were going to use compression, set it up first since it interacts with the other settings. Plucked Instruments & Acoustic Guitar LCD display. It was very important to fit it all in the single height, 1.75" cabinet. The color-encoded Changingthe Fatso's processing. the Back infuse 1998, the Fatso was taken to Greece and used on many very troublesome First adjust unity gain thru the Fatso. Set the input Butindicator for now LED's let's werenot use arranged any compression in an easy to here.read pattern, with Red LED's usually indicating radical or Caution:ethnic plucked Always instruments. unplug At Grammys, unit before a club inremoving ATHENS, some cover! bizarre FATSO behavior was until the 0VU LED glows on peaks from time to time. This will set up the saturation to emulate some distorted settings. The trade off of stepped controls vs. the small size, and power of the Fatso seems Pullimmediately out the power noticed, plug when from the the extremel AC outlet,y transient open unit, acoustic and ensure instruments fuse closest"swamped" to rear several of the internal unit is circuits. nominal tape like distortion. Next if you want the low end to have more bite, the tranny may be useful well worth it. blown.The compressor (Note: The neededfuse closer a heavier to the knee front with panel more is a "sponge" spare fuse in the and attack. is not Theconnected tracking to compressor anything). (green but for most digital recordings, try messing with the warmth control. Allow 1 - 5 dB of warmth to occur Gentlyand yellow pry out LEDs one on) end was of the tweaked fuse and first. then The thefast other,attack rofeplacing the Tracking it with Compressor extra fuse provided can help near get a battery "glassy" on peaks. When AB'ing it to the original signal, a new softness and fatness will be noticed immediately. holderfull sound in front since of unit.the pick A smallnoise screwdriverwill be attenuated may be and hel thepful. sustain Before lengthened. putting cover Also on, the plug threshold in unit, of keeping the You will be able to listen to things a little louder than usual. handswarmth out circuits of the werebox, ensurelowered that so theythe fusecould doesn't grab the blow transient again, picked indicating edges a possiblyeasier. This more allowed serious a solo ‰ 1) DJYou level can controller alter the standardand master thresholds PUMP device of the - Place Fatso the by Fatso inserting before a yourlevel power control amps in orthe at the probleminstrument (see to troubleshooting). be louder without theIf OK, sharp unplug attacks unit, hurting. screw down top cover and return the unit to normal output of your DJ mixer to level out or fatten up the whole show. The Buss compressor can level out use. Any Sometimes fuse from you .3 mayto .6A want should to keep be safe,the dynamic but .3A range (1/3A) of is a what plucked is specified instrument and but used need at to factory. smooth out volumeInsert differences point. By while turning keeping the thegain "smack" down inthere,tact. Youthe thresholdcan then add will some move top higher, EQ and elevatinghave the operating distortion. Adding gain there will lower the threshold and lower Distortion. Replacejust the sparehard front fuse edge in front of the if available. attack. Warmth We w entprocessi to theng expense is perfect to here. keep Adjust an extra the fuse warmth inside... until youyou have warmth hold back the brittle edges. The Tranny may help on smaller systems to get the low freqs shoulda smoother, too. more natural sound - usually 3 - 10 dB of HF attenuation is enough. In addition to your normal clearer2) It butis also if you possible have lots to ofsidechain subsonic process. info... you Take may the want "Link to keep Out" Tranny of a unit, out of go line to sincean EQ it will(and/or roll off monitoring levels, listen very softly, and very loudly to the adjusted track to make sure it isn't too dull, or still thepreamp), exceptionally then lowreturn low itstuff. to the "Link In" of the same channel. The sidechain must not have in need of "softening". Vocalsappreciable - There delay are norso many be out ways of phase to use since Fatso it here. will affectDuring the tracking, response turn timeon the and Tracking possibly comb Line Acoustic Voltage guitars can be Select so creamy. Many times you will have an acoustic part that is very even and Compressorfilter the control which lites signals the green when and in Stereo. yellow LED in the compressor area. This is a pretty safe LN1176 Changingyou can nicelythe voltage brighten for it 230 up withor 115 a top operation end EQ also(high involves frequencies)..... unplugging except the for unit that and one removing part where top he cover. Inside on the right (as the front of the unit faces you), is a switch with 115 or 230V showing on its Type3) Toknee set compressor quick +4 tapewith alevels, pretty quicktry se attacktting outputand release. at 8 and That "drive" might be input all you knob need! until Using up to really bangs it! Use the Warmth control to grab those clangy brash freqs. Usually 1 - 5 dB is enough but on 10 dB of compression should be fine with really dynamic vocs. Alternately, you can try one of the other face.really Select brittle theparts,10 desired - 15 voltage dB on peaksby sliding may thebe okswit onch extreme until it indicates peaks. Again that voltagedon't over and do you're it, especially done. compressorcompression types, occurs. even SPANK For ADAT's to grab occasional try 6 to 7 peaks output and level. then quickly get out of the way. Replaceduring tracking. cover and Listen screws. really softly and really loudly to test evenness. 4) Remember you can combine different compressors with SPANK Type compressor! 311 124 BACK TO TABLE OF CONTENTS EXAMPLE SETTINGS (part 3) The Tranny Piano/Keys - Acoustic pianos often need less attack & more sustain to fit into a mix, but there are millions of exceptions. As far as the compression part...Bruce Hornsbyish pianos are often real or samples The Tranny is short for transformer. In the old days, to interconnect between audio components with of real pianos with medium attack and medium release, that achieve a "bite" followed by sustained body. If low impedance cabling (i.e. noise resistant), the audio engineer used transformers on the input and you find the Buss type compressor a bit gentle and too hot, and distorting some of the peaks, try the outputs. Transformers isolate two signals using wire coils wound close to each other, but not actually Tracking Compressor with a fast release etc. The GP type compressor may work depending on how even touching. They were never that linear and often introduced saturation and LF distortion as well as the piano part is. If you have a dense mix and really need to make it take up a finite spot in the mix - go for changing the frequency response. Transformer design and use was an art (hats off to Rupert NEVE), the SPANK. This will slap the dynamic range down smoothly and quickly. It won't be an unfamiliar sound. and there were always tradeoffs. However, it has been widely known that a good audio transformer Old Beatle records started using drastic amounts of compression to circuit can do wonderful things to an audio signal. This was the goal of our TRANNY circuit. We have keep a piano sitting inside a busy arrangement. tried to emulate the desirable characteristics of the good old input/output transformers in a consistent The saturator or soft clip part of the Fatso will be very useful also on piano and keys. Pianos and musical way, and in a selectable fashion. synths can have quite a peaky transient and the instantaneous nature of the saturator can often give you Many of the older transformers had certain low frequency characteristics that some of our newer 6 db more peak headroom before your ear detects clipping. Synthesizers and samplers can benefit and more linear circuits and transformers have "overcome". As frequency goes down, the audio signal enormously since their envelope generators often create huge front peaks. The Warmth is also very useful gets more like DC (i.e. slower moving). Transformers don't pass DC current thru them, so strange here since it can soften the edges and also take care of the sharp trebly plastic edge without affecting the things start happening as the audio goes deeper. The addition of harmonics and peak saturation along low frequency amplitude. Again watch over using the Warmth - you will find subtle use of with frequency and phase changes on the low frequencies occurs. We found that we could capture the the Fatso on keys to be extremely pleasing once they are dropped back in the mix. Often you can take low frequency effects of large and now expensive older output transformers in a weird, internally a thin lifeless keyboard part and bring warmth and reality to it. buffered switchable design. To sum up the musical results of our Tranny circuit, there will be a little more edge in the midrange, Drums - Without any processing activated, the saturator which is always inline, will pack those peaks and the super low frequencies will have been harmonically altered in a way that allows them to sound down smoothly giving you 3 - 6 dB more avg level. Distortion indicator LEDs, the O VU and the Pinned louder, even though the peaks are less than the original. Playback on small speakers will show an Red LED give you a good idea of what's going on. On percussion, peaks can lite up the RED Pinned LED improved audibility of low end from the result of the psycho-acoustically-pleasing distortion the Tranny without any nasty distortion, if they are short enough. Analog tape can not handle all the top end and will adds. Something really interesting we noticed... even though fundamentals below 100Hz cannot show round out the sound... as will the FATSO's warmth processor and saturator. Don't use more than 5 - 10 up on the little speakers... because of the natural way a transformer saturates, the harmonics give your dB of warmth on drums though.... or you are probably asking for a dull sound! Try putting digitally ears enough clues that your mind somehow fills in the fundamental. If you have the time, try this recorded tambourines etc through the Fatso and listen to the difference! That clacky front edge will become experiment... put 40 Hz sine wave tone into the Fatso, and match the Tranny level to the bypassed warm and easy to listen to - like the old analog tape and vinyl. level, then put the output thru a small speaker. A/B the processed Tranny signal with the bypassed Snares/Kicks/Toms - If you don't want to lose the basic sound, try setting the compressor to buss signal in the small speaker. You will probably smile. compressor first. This is a very gentle slow compressor that will leave the transients untouched. If there are areas with over eq'd highs or unnatural transients, get into the warmth processing. On snares that have Fatso Block Diagram had 8 - 10K added and have some really overly dynamic hits, 5 - 10 dB of warmth may fold the highs back (attenuate them) and smooth out the tonality. Use the High Frequency saturation that the warmth control Main Audio Path provides on Kick drums that have the occasional clacky hit. The Tranny will be useful also. If the Kick drum is too boomy or too thumpy without enough clarity, the tranny will add some upper harmonics to the Active Outputs low freqs, while rolling off some of the subsonics. Input Soft 1/4" Phone 1 2 Drive Clipper Warmth Tranny - Also for over dynamic and brash cymbals, the warmth processing can be a real Dif. In/Out Overhead Mics 3 Amp Output VCA sweetener. To soften the edge of cymbals try Warmth on 4 or 5 setting and turn the input up to control the Comp/Lim Amp Dynamic amount of warmth. Watch anything over 5 dB of warmth as this is really attenuating a lot of high end. But if Balanced In Filter it is just the front edge of the cymbals, it can be verrrrrry pleasing. Of course compression may be used but 2 1 3 if it is, set it up first. Room mics - Again, the most gentle compressor for the room mics will be the BUSS compressor. 1/4" Phone Output Master XLR However, radical room compression is currently in style! The Tracking compressor (Green and Yellow Gain Bypass compressor LED's lit) will be useful over a wide range from 1 dB of GR to 10 dB depending on what you are One of two channels going for, and what the tracks will allow. But for over the top treatment, try SPANK! The SPANK is not the shown NUKE of the Distressor yet it can add some of the same sustain and intense size to it. The bargraph can be run right offscale with the SPANK type compressor, and still be a very useful sound. Fifteen to twenty Control Voltage dB of compression is starting to have that John Bonham thing that the Distressor can do. Watch over heating the tracks though. Also, any loud cymbal playing will become annoying with lots of compression on Compressor Warmth (Normalled) Envelope Gen To Front Panel Envelope Gen To Front Panel the room mic. Sometimes it may help to feed a compressed room signal back to the drummer while Bargraph. Bargraph. tracking to give him a feel for balancing his cymbals and drums. Distortion device - The Fatso has very smooth clipping up until about 20%. Folks have already used the Fatso as a distortion box with great effectiveness and musicality. The warmth provides another way to roll Insert off some harsh distortion grit as well, fattening up the lower harmonics. The Tranny will drastically distort Digital Digital nd rd sub frequencies below around 50Hz, but it is adding the 2 and 3 harmonics that sound very ballsy on DC Link to other Controls Controls channel and those low tones. You may even find that plugging a guitar and bass directly in can work... although the External Link. Stereo Link Detector Circuits impedance and gain structure are more suited to line level, or a Direct box output. Effects warmer - Try using the Fatso as a tape delay simulator by putting it after a digital delay. Turn Note the position of the Warmth (and Tranny) circuits after the Compressor, accounting for the compression on BUSS compression and the warmth on a little. Use the Tranny to roll off subs and the large interaction between their controls. pump harmonics into the low frequencies. Similarly, try the Fatso on a digital reverb to simulate the plate reverb non-linearites and magnetic transducers. It works great. 5 10 BACK TO TABLE OF CONTENTS EXAMPLE SETTINGS (part 3) The Tranny Piano/Keys - Acoustic pianos oftenSaturation need less and attack Distortion & more Generator sustain to fit into a mix, but there are The Compressor and its Ratios millions of exceptions. As far as the compression part...Bruce Hornsbyish pianos are often real or samples The Tranny is short for transformer. In the old days, to interconnect between audio components with of realThe pianos old, sought with medium after vintage attack gearand medium is not anywhere release, thatnear achieve as accurate a "bite" (or followed linear) asby sustaineddevices made body. today, If low Eachimpedance Fatso cablingcompressor (i.e. noise or compressor resistant), "TYPE" the audio as engineerwe have usedtermed transformers it, sets the threshold,on the input the and ratio (in youbut find certain the Buss "faults" type compressoror non-linearities a bit gentle are exactly and too the hot, reason and distorting some sell some today of atthe 100 peaks, times try their the original outputs.the standard Transformers sense isolateof the word)two signals the attack, using and wire decay coils .wound This was close done to eachto provide other, an but easy not actuallyto set, yet Trackingvalue. Compressor They color thewith sound a fast releasewith distorti etc. on The and GP frequency type compressor response may shapi workng. depending Getting the on frequency how even touching.versatile They group were of nevercurves. that There linear are and essentially often introduced 4 discrete saturation compressors and LF with distortion the fourth as ablewell asto be the responsepiano part flatis. to If 20kHzyou have and a densehaving mix distortion and really below need .5% to usedmake toit takebe an up achievement. a finite spot in Today, the mix in - go2000AD, for changingcombined the frequency with the other response. three. Transformer design and use was an art (hats off to Rupert NEVE), the aSPANK. 35 cent Thisop amp will slapis flat the to dynamic 3 MHz and range produces down smoothly distortion and below quickly. .002%. It won't Getting be an things unfamiliar accurate sound. in the and there were always tradeoffs.THE However, FOUR itFATSO has been COMPRESSOR widely known that TYPES: a good audio transformer Old digitalBeatle age records is relatively started usingcheap drastic and easy, amounts but gettingof compression a piece ofto gear to be "musical" and fun to use is circuit1. canBuss do wonderful - very gentle things 2:1 typeto an ratio audio with signal. Slow attack This was and thefast goal release. of our 1 -TRANNY 4 dB of compression circuit. We ishave usual for keepsomething a piano sitting else. inside a busy arrangement. tried to emulatethis compressor the desirable type. charac Very softteristics knee; of Five the or good more old dB input/out of Buss putcompression transformers is hitting in a consistentit hard! The It saturatoris well known or soft that clip the part triode of the distortion Fatso will in be tube very circuits useful producesalso on piano lots andof 2nd keys. and Pianos 3rd harmonics, and in musical2. way,G.P. and- General in a selectable Purpose. fashion.A medium attack slow release type that sounds pretty invisible while able to synthssomewhat can have varying quite aratios. peaky Thesetransient lower and orderthe instant harmaneousonics form nature "the of octave" the saturator and "the can octaveoften give and you a fifth" to Manymaintain of the oldera consistent transformers RMS level. had certain The slow low rel frequencyease will not characteristics pull things into that your some face of unnaturally. our newer 6 dbthe more fundamental peak headroom musical before tones. your They ear detectsare actually clipping. "musical" Synthesizers distortion. and Harmonics samplers can above benefit the 2nd and and 3.moreTracking linear circuits Compressor and transfo - whenrmers both have top "overcome".LED's are lit, anAs 1176 frequency type compressor goes down, is the enabled audio that signal is great enormously3rd get increasingly since their envelope harsh and generators unmusical, often and create therefor hugee shouldfront peaks. be lower The in Warmth amplitude is also (<-60 very dB) useful to keep gets morefor like tracking DC (i.e. instruments slower moving). and vocals Transfo duringrmers the recording don't pass process DC current or during thru mixdown. them, so strange herewith since our it linecan ofsoften thinking. the edges Second and harmonic also take iscare considered of the sharp to betrebly the plasticwarmest edge and without most "consonant"affecting the things4. startSPANK happening - This asis athe radical audio limiter goes type deeper. compressor The addition that was of specificallyharmonics designedand peak to saturation emulate the along nice low harmonicfrequency distortion. amplitude. The Again 3rd watch harmonic over usingis perceived the Warmth more - easilyyou will and find often subtle is usethe "BITEof "that is added to with frequencysqueeze and of phase the older changes SSL talkback on the compressorslow frequencies from occurs. the 70's We & 80's.found Quite that awe bit could higher capture fidelity though,the the midrangeFatso on keys and tothe be "warmth" extremely to pleasingthe low freqsonce bythey tube are gear.dropped Analog back intape the alsomix. saturates Often you in can this take manner. low frequencyas you effects will notice. of large and now expensive older output transformers in a weird, internally a thinThe lifeless 3rd harmonic keyboard is part induced and bring in the warmth FATSO and by reality increasing to it. level thru the distortion circuits. It is usually bufferedBy combining switchable SPANK design. with any of the other 3 types of compressors, one really has 7 compressor types the result of flattening the tops and bottoms of waveforms. Second harmonic is also added especially To sum up the musical results of our Tranny circuit, there will be a little more edge in the midrange, - Without any processing activated, the saturator which is always inline, will pack those peaks (or ratios), although the SPANK's aggressive nature will tend to dominate when combined. The release Drumswhile compressing in the Fatso. 10% of second harmonic can sometimes be hard to perceive. and curvethe super of all low types frequencies is logarithmic, will have meaning been itharmonically lets off quickly altered at first in anda way then that slows. allows This them release to sound curve is down smoothly giving you 3 - 6 dB more avg level. Distortion indicator LEDs, the O VU and the Pinned We have provided distortion indicator lights that indicate some reference operating levels. A "0 louder,a big even part though of the FATSO'sthe peaks compressor are less than sound. the original. Playback on small speakers will show an RedVU" LED yellow give you LED a lightgood indicates idea of what's around going 1% on. THD On and percussion, the red "Pinned" peaks can LED lite indicates up the RED 5% PinnedTHD or LED more. improved audibility of low end from the result of the psycho-acoustically-pleasing distortion the Tranny withoutThese any LED's nasty aredistortion, an excellent if they guideare short to where enough. the Analog user is tape in the can "Grunge not handle Department" all the top and end canand helpwill to adds.Just Something what is a really soft interestingknee? we noticed... even though fundamentals below 100Hz cannot show roundavoid out turningthe sound... the music as will into the anFATSO's "overwell" warmth mess. processor You will and find saturator. that the harmonic Don't use distortion more than is generally5 - 10 up onA "softthe little knee" speakers... is a compression because curveof the wherenatural the way first a transformerfew dB of gain saturates, reduction the occur harmonics at very give low yourratios, dB moreof warmth obvious on ondrums overall though.... mixes and or you complex are probably programs. asking On individual for a dull instruments,sound! Try putting sometimes digitally 10% earsgradually enough cluesincreasing that your as the mind signal somehow increases fills in(gets the lfundamental.ouder). This makes If you havethe onset the time, of compression try this very recordeddistortion tambourines sounds "fat" etc throughand "analog" the Fatso and and isn't listen heard to asthe distortion difference! at Thatall. clacky front edge will become experiment...hard to detect. put 40 The Hz kneesine waveusually tone extends into the for Fatso, a few anddB and match gradually the Tranny flattens level out to toward the bypassed a final ratio. All warm and easy to listen to - like the old analog tape and vinyl. level,the then Fatso put compressor the output thru types a small have speaker.dominant A/Bknees. the Tprocessedhe Buss Type Tranny Compressor signal with has the a bypassed knee that can be Snares/Kicks/Toms - If you don't want to lose the basic sound, try setting the compressor to buss signalas inlong the as small 15 dB,speaker. depending You willon theprobably source. smile. compressor first. This is a very gentle slow compreWarmthssor thatProcessor will leave the transients untouched. If there are Theareas Warmth with over circuit eq'd is highs by far or theunnat mostural complex transients, part get of into the the Fatso. warmth Basically processing. it is a Onvery snares strange that high have VINTAGE COMPRESSORFatso EMULATION Block Diagram hadfrequency 8 - 10K added (HF) andgain have control some circuit really or overly High Frequencydynamic hi ts,limiter. 5 - 10 ItdB operates of warmth very may fast fold and the should highs beback very Since the unit is based on the oldest compressor topology, the unit can be made to sound similar to (attenuateunobtrusive them) in and operation smooth sinceout the it tonality.gets in and Use out the of High the Frequencyway very quickly. saturation The that desired the warmth result iscontrol akin to the older classics. The nonlinear natureMain of the older Audio gain control Path elements of opto-couplers, FET's, pentode providesHF saturation on Kick drums that analog that have tape the exhibits occasional when clacky the high hit. frequency The Tranny amplitude will be useful interacts also. with If the the Kick tape (or triode) tube bias or "mu" modulation, etc., can be closely emulated if proper settings are used. drumrecorder is too boomy bias to or produce too thumpy self withouterasure enough of the certainclarity, thefrequencies. tranny will Weadd providesome upper a very harmonics accurate to thedisplay Active Outputs Soft Some Examples: 1/4" Phone low offreqs, the whileHF attenuation, rolling off some with of the the uppersubsonics. FATSO bargraph showing the gain reduction at 20KHZ. Input 1 2 Drive Clipper Warmth Tranny - Also for over dynamic and brash cymbals, the warmth processing can be a real • Opto-VCADif. tube models - To simulate the old light controlledIn/Out units (the LA2, LA3, LA4, DeMaria, OverheadThe nature Mics of the filter allows the corner frequency to move as attenuation occurs. 3 Amp Output Meek units), try the GPVCA (general purpose) compressor with the Tranny on. Adjust input and sweetener. To soften the edge of cymbals try Warmth on 4 or 5 setting and turn the input up to control the Comp/Lim Amp outputs to your taste. Remember our LEDDynamic metering deflects much faster than the old VU's so amountWe provideof warmth. just Watchone control anything for theover warmth 5 dB of but warmth there as ar thise other is really ways attenuating to control athe lot overallof high actionend. But of ifthis Balanced In Filter it is circuit.just the Iffront you edge do decide of the cymbals,to use the it compressor,can be verrrrrry set pleasing. it up first Ofbecause course itcompression affects the operation may be used of the but don't be afraid to hit the unit quite hard (10-20 dB of compression on peaks). This emulation2 1 is not as close as the Distressors OPTO mode, however. 3 if it is,warmth. set it up There first. is heavy interaction between the compressor and warmth settings. The warmth • DBX160 2:1 (for over easy) - Try the BUSS or GP Type Compressor, no Tranny. Roomcontrol mics is - aAgain, step controlthe most with gentle 8 ranges compressor - no warmth for the action room mics(no LEDs will be lit), the on BUSS up thru compressor. the highest setting of 1/4" Phone Output Master XLR However,7. Perhaps radical the room best compression way to think is of currently the settings in style! is as The compressor Tracking compressor threshold, with(Green 7 having and Yellow the lowest • LN1176 - Use the Tracking Type compressor that lights bothGain the green andBypass yellow LED's in the compressor section. compressorthreshold, LED's and lit)the will most be warmth,useful over responding a wide range quickly from and 1 dB often of GR to highto 10 frequency dB depending content. on what Just you are One of two channels goingremember for, and whatthat insteadthe tracks of willcontrolling allow. But the for overall over thelevel, top this treatment, warmth try "compressor" SPANK! The threshold SPANK isonly not affectsthe • SSL type buss compression - Use the Buss type Compressor.shown No Tranny. NUKEthe ofhigh the frequencies. Distressor yet it can add some of the same sustain and intense size to it. The bargraph can • SSL Talk back compressor - Use SPANK!! Spank that mix, dang it! be run right offscale with the SPANK type compressor, and still be a very useful sound. Fifteen to twenty Control Voltage dB ofThousands compression of hours is starting of experimentation to have that John were Bonham involved thing in thatdeveloping the Distressor the filter, can to do. make Watch it capable over of Unlike the older units, the FATSO is uniform and predictable from one unit to the next. Precise factory heating the tracks though. Also, any loud cymbal playing will become annoying with lots of compression on calibration assuresCompressor that if you go from one FATSO to the next,Warmth these settings will all sound the same. large gain reduction at 20Khz without really dulling all the freqs (frequencies). STILL ONE MUST BE (Normalled) Envelope Gen To Front Panel Envelope Gen To Front Panel the CAREFULroom mic. SometimesNOT TO OVER it may DUE help THE to feed AMOUNT a compressed OF WA roomRMTH signal USED! back The to the temptation drummer is while to say "oh Bargraph. Bargraph. trackingwow tothat's give great, him a sofeel fat fo rand balancing warm, let'shis cymbals warm it andmore." drums. DON'T GO THERE! Trust the meters when in FOR HOME STEREO or AUDIOPHILE applications like CD players, Ram Recorders etc. don't use any Distortiondoubt.... device 2 - 5 dB - The is quite Fatso a hasbit ofvery warmth smooth on clipping most signals. up unt il Thereabout 20%.may be Folks times have where already 10 dB used does the the compression.... unless you really want to change the dynamics drastically. Buss Type compression is Fatsoperfect as a distortionjob, but trust box uswith that great if you effectiveness see all the and LED's mu sicality.light on theThe warmth warmth bargraphprovides another- you are way being to roll very Insertgoing to be subtle but won't keep your dynamics within a narrow range. The GP will be useful for noisy off somenaughty. harsh distortion grit as well, fattening up the lower harmonics. The Tranny will drastically distort parties or a noisyDigital environment where low level music will be Digitalbrought up closer to the level of the loud nd rd rd sub frequencies below around 50Hz, but it is adding the 2 and 3 harmonics that sound very ballsy on parts.DC Link to Verrrrrry other Controlsuseful on dynamic classical music. My copyControls of Beethoven's 3 Symphony, had quiet channel and thoseYou low will tones. find theYou warmth may even to befind useful that plugging all by itself a guitar many and times bass without directly the in cancompressor work... although or Tranny the or much sectionsExternal Link. thatStereo would Link get lost behind myDetector computers fan Circuits noise without GP on. impedancesaturation. and Originallygain structure the FATSOare more was suited only to going line level, to have or a theDirect saturation box output. and this warmth circuit, but as Effectsour research warmer went- Try usingon, we the decided Fatso theas a extra tape circuidelaytry simulato of the Trannyr by putting and itcompressor after a digital would delay. provide Turn some NoteFOR the MAKING position TAPE of the COPIES Warmt LOUDERh (and Tranny) ETC. - Usecircuits the same after rulesthe Compressor, as above unless accounting you want tofor really the ofcompression the other important on BUSS nonlinear compression elements and theof tape warmth compression, on a little. andUse "vintage" the Tranny gear to rollas well.off subs and smash something like radiothe largestations interaction do. In that between case, try theirthe Tracking controls. or even the SPANK type pump harmonics into the low frequencies. Similarly, try the Fatso on a digital reverb to simulate the compressors. Otherwise, use the Buss compressor for very gentle gain control, or no compression. plate reverb non-linearites and magnetic transducers. It9 works great. 5 10 6 FATSO Jr Recall Sheet INPUT −15 12 10 Warmth 5 3 2 1 OUTPUT INPUT −15 12 10 Warmth 5 3 2 1 OUTPUT POWER 1 1 2 2 BUSS 3 4 5 BUSS 3 4 5 G.P. 2 6 G.P. 2 6 SPANK 1 7 SPANK 1 7

Ch1 Ch2 COMP −20151075321 COMP −20 15 10 7 5 321

TRACK/INST. Session: Date: Notes:

INPUT −15 12 10 Warmth 5 3 2 1 OUTPUT INPUT −15 12 10 Warmth 5 3 2 1 OUTPUT POWER 1 1 2 2 BUSS 3 4 5 BUSS 3 4 5 G.P. 2 6 G.P. 2 6 SPANK 1 7 SPANK 1 7

Ch1 Ch2 COMP −20 15 10 7 5 3 2 1 COMP −20 15 10 7 5 321

TRACK/INST. Session: Date: Notes:

INPUT −15 12 10 Warmth 5 3 2 1 OUTPUT INPUT −15 12 10 Warmth 5 3 2 1 OUTPUT POWER BACK TOCONTENTS TABLEOF 1 1 2 2 BUSS 3 4 5 BUSS 3 4 5 G.P. 2 6 G.P. 2 6 SPANK 1 7 SPANK 1 7

Ch1 Ch2 COMP −20 15 10 7 5 3 2 1 COMP −20 15 10 7 5 321

TRACK/INST. Session: Date: Notes:

Write in the Input and Output levels, and color in any LED’s that are lit to indicate section status BACK TO TABLE OF CONTENTS

Saturation and Distortion Generator The Compressor and its Ratios The old, sought after vintage gear is not anywhere near as accurate (or linear) as devices made today, Each Fatso compressor or compressor "TYPE" as we have termed it, sets the threshold, the ratio (in but certain "faults" or non-linearities are exactly the reason some sell today at 100 times their original the standard sense of the word) the attack, and decay. This was done to provide an easy to set, yet value. They color the sound with distortion and frequency response shaping. Getting the frequency versatile group of curves. There are essentially 4 discrete compressors with the fourth able to be response flat to 20kHz and having distortion below .5% used to be an achievement. Today, in 2000AD, combined with the other three. a 35 cent op amp is flat to 3 MHz and produces distortion below .002%. Getting things accurate in the THE FOUR FATSO COMPRESSOR TYPES: digital age is relatively cheap and easy, but getting a piece of gear to be "musical" and fun to use is 1. Buss - very gentle 2:1 type ratio with Slow attack and fast release. 1 - 4 dB of compression is usual for something else. this compressor type. Very soft knee; Five or more dB of Buss compression is hitting it hard! It is well known that the triode distortion in tube circuits produces lots of 2nd and 3rd harmonics, in 2. G.P. - General Purpose. A medium attack slow release type that sounds pretty invisible while able to somewhat varying ratios. These lower order harmonics form "the octave" and "the octave and a fifth" to maintain a consistent RMS level. The slow release will not pull things into your face unnaturally. the fundamental musical tones. They are actually "musical" distortion. Harmonics above the 2nd and 3. Tracking Compressor - when both top LED's are lit, an 1176 type compressor is enabled that is great 3rd get increasingly harsh and unmusical, and therefore should be lower in amplitude (<-60 dB) to keep for tracking instruments and vocals during the recording process or during mixdown. with our line of thinking. Second harmonic is considered to be the warmest and most "consonant" 4. SPANK - This is a radical limiter type compressor that was specifically designed to emulate the nice harmonic distortion. The 3rd harmonic is perceived more easily and often is the "BITE "that is added to squeeze of the older SSL talkback compressors from the 70's & 80's. Quite a bit higher fidelity though, midrange and the "warmth" to the low freqs by tube gear. Analog tape also saturates in this manner. as you will notice. The 3rd harmonic is induced in the FATSO by increasing level thru the distortion circuits. It is usually By combining SPANK with any of the other 3 types of compressors, one really has 7 compressor types the result of flattening the tops and bottoms of waveforms. Second harmonic is also added especially (or ratios), although the SPANK's aggressive nature will tend to dominate when combined. The release while compressing in the Fatso. 10% of second harmonic can sometimes be hard to perceive. curve of all types is logarithmic, meaning it lets off quickly at first and then slows. This release curve is We have provided distortion indicator lights that indicate some reference operating levels. A "0 a big part of the FATSO's compressor sound. VU" yellow LED light indicates around 1% THD and the red "Pinned" LED indicates 5% THD or more. These LED's are an excellent guide to where the user is in the "Grunge Department" and can help to Just what is a soft knee? avoid turning the music into an "overwell" mess. You will find that the harmonic distortion is generally A "soft knee" is a compression curve where the first few dB of gain reduction occur at very low ratios, more obvious on overall mixes and complex programs. On individual instruments, sometimes 10% gradually increasing as the signal increases (gets louder). This makes the onset of compression very distortion sounds "fat" and "analog" and isn't heard as distortion at all. hard to detect. The knee usually extends for a few dB and gradually flattens out toward a final ratio. All the Fatso compressor types have dominant knees. The Buss Type Compressor has a knee that can be Warmth Processor as long as 15 dB, depending on the source. The Warmth circuit is by far the most complex part of the Fatso. Basically it is a very strange high VINTAGE COMPRESSOR EMULATION frequency (HF) gain control circuit or High Frequency limiter. It operates very fast and should be very Since the unit is based on the oldest compressor topology, the unit can be made to sound similar to unobtrusive in operation since it gets in and out of the way very quickly. The desired result is akin to the older classics. The nonlinear nature of the older gain control elements of opto-couplers, FET's, pentode HF saturation that analog tape exhibits when the high frequency amplitude interacts with the tape (or triode) tube bias or "mu" modulation, etc., can be closely emulated if proper settings are used. recorder bias to produce self erasure of the certain frequencies. We provide a very accurate display Some Examples: of the HF attenuation, with the upper FATSO bargraph showing the gain reduction at 20KHZ. • The nature of the filter allows the corner frequency to move as attenuation occurs. Opto-VCA tube models - To simulate the old light controlled units (the LA2, LA3, LA4, DeMaria, Meek units), try the GP (general purpose) compressor with the Tranny on. Adjust input and We provide just one control for the warmth but there are other ways to control the overall action of this outputs to your taste. Remember our LED metering deflects much faster than the old VU's so circuit. If you do decide to use the compressor, set it up first because it affects the operation of the don't be afraid to hit the unit quite hard (10-20 dB of compression on peaks). This emulation is not as close as the Distressors OPTO mode, however. warmth. There is heavy interaction between the compressor and warmth settings. The warmth control is a step control with 8 ranges - no warmth action (no LEDs lit), on up thru the highest setting of • DBX160 2:1 (for over easy) - Try the BUSS or GP Type Compressor, no Tranny. 7. Perhaps the best way to think of the settings is as compressor threshold, with 7 having the lowest • LN1176 - Use the Tracking Type compressor that lights both the green and yellow LED's in the threshold, and the most warmth, responding quickly and often to high frequency content. Just compressor section. remember that instead of controlling the overall level, this warmth "compressor" threshold only affects • SSL type buss compression - Use the Buss type Compressor. No Tranny. the high frequencies. • SSL Talk back compressor - Use SPANK!! Spank that mix, dang it!

Thousands of hours of experimentation were involved in developing the filter, to make it capable of Unlike the older units, the FATSO is uniform and predictable from one unit to the next. Precise factory large gain reduction at 20Khz without really dulling all the freqs (frequencies). STILL ONE MUST BE calibration assures that if you go from one FATSO to the next, these settings will all sound the same. CAREFUL NOT TO OVER DUE THE AMOUNT OF WARMTH USED! The temptation is to say "oh wow that's great, so fat and warm, let's warm it more." DON'T GO THERE! Trust the meters when in FOR HOME STEREO or AUDIOPHILE applications like CD players, Ram Recorders etc. don't use any doubt.... 2 - 5 dB is quite a bit of warmth on most signals. There may be times where 10 dB does the compression.... unless you really want to change the dynamics drastically. Buss Type compression is perfect job, but trust us that if you see all the LED's light on the warmth bargraph - you are being very going to be subtle but won't keep your dynamics within a narrow range. The GP will be useful for noisy naughty. parties or a noisy environment where low level music will be brought up closer to the level of the loud parts. Verrrrrry useful on dynamic classical music. My copy of Beethoven's 3rd Symphony, had quiet You will find the warmth to be useful all by itself many times without the compressor or Tranny or much sections that would get lost behind my computers fan noise without GP on. saturation. Originally the FATSO was only going to have the saturation and this warmth circuit, but as our research went on, we decided the extra circuitry of the Tranny and compressor would provide some FOR MAKING TAPE COPIES LOUDER ETC. - Use the same rules as above unless you want to really of the other important nonlinear elements of tape compression, and "vintage" gear as well. smash something like radio stations do. In that case, try the Tracking or even the SPANK type compressors. Otherwise, use the Buss compressor for very gentle gain control, or no compression. 9 6 BACK TO TABLE OF CONTENTS EXAMPLE SETTINGS (part 3) The Tranny Piano/Keys - Acoustic pianos often need less attack & more sustain to fit into a mix, but there are millions of exceptions. As far as the compression part...Bruce Hornsbyish pianos are often real or samples The Tranny is short for transformer. In the old days, to interconnect between audio components with of real pianos with medium attack and medium release, that achieve a "bite" followed by sustained body. If low impedance cabling (i.e. noise resistant), the audio engineer used transformers on the input and you find the Buss type compressor a bit gentle and too hot, and distorting some of the peaks, try the outputs. Transformers isolate two signals using wire coils wound close to each other, but not actually Tracking Compressor with a fast release etc. The GP type compressor may work depending on how even touching. They were never that linear and often introduced saturation and LF distortion as well as the piano part is. If you have a dense mix and really need to make it take up a finite spot in the mix - go for changing the frequency response. Transformer design and use was an art (hats off to Rupert NEVE), the SPANK. This will slap the dynamic range down smoothly and quickly. It won't be an unfamiliar sound. and there were always tradeoffs. However, it has been widely known that a good audio transformer Old Beatle records started using drastic amounts of compression to circuit can do wonderful things to an audio signal. This was the goal of our TRANNY circuit. We have keep a piano sitting inside a busy arrangement. tried to emulate the desirable characteristics of the good old input/output transformers in a consistent The saturator or soft clip part of the Fatso will be very useful also on piano and keys. Pianos and musical way, and in a selectable fashion. synths can have quite a peaky transient and the instantaneous nature of the saturator can often give you Many of the older transformers had certain low frequency characteristics that some of our newer 6 db more peak headroom before your ear detects clipping. Synthesizers and samplers can benefit and more linear circuits and transformers have "overcome". As frequency goes down, the audio signal enormously since their envelope generators often create huge front peaks. The Warmth is also very useful gets more like DC (i.e. slower moving). Transformers don't pass DC current thru them, so strange here since it can soften the edges and also take care of the sharp trebly plastic edge without affecting the things start happening as the audio goes deeper. The addition of harmonics and peak saturation along low frequency amplitude. Again watch over using the Warmth - you will find subtle use of with frequency and phase changes on the low frequencies occurs. We found that we could capture the the Fatso on keys to be extremely pleasing once they are dropped back in the mix. Often you can take low frequency effects of large and now expensive older output transformers in a weird, internally a thin lifeless keyboard part and bring warmth and reality to it. buffered switchable design. To sum up the musical results of our Tranny circuit, there will be a little more edge in the midrange, Drums - Without any processing activated, the saturator which is always inline, will pack those peaks and the super low frequencies will have been harmonically altered in a way that allows them to sound down smoothly giving you 3 - 6 dB more avg level. Distortion indicator LEDs, the O VU and the Pinned louder, even though the peaks are less than the original. Playback on small speakers will show an Red LED give you a good idea of what's going on. On percussion, peaks can lite up the RED Pinned LED improved audibility of low end from the result of the psycho-acoustically-pleasing distortion the Tranny without any nasty distortion, if they are short enough. Analog tape can not handle all the top end and will adds. Something really interesting we noticed... even though fundamentals below 100Hz cannot show round out the sound... as will the FATSO's warmth processor and saturator. Don't use more than 5 - 10 up on the little speakers... because of the natural way a transformer saturates, the harmonics give your dB of warmth on drums though.... or you are probably asking for a dull sound! Try putting digitally ears enough clues that your mind somehow fills in the fundamental. If you have the time, try this recorded tambourines etc through the Fatso and listen to the difference! That clacky front edge will become experiment... put 40 Hz sine wave tone into the Fatso, and match the Tranny level to the bypassed warm and easy to listen to - like the old analog tape and vinyl. level, then put the output thru a small speaker. A/B the processed Tranny signal with the bypassed Snares/Kicks/Toms - If you don't want to lose the basic sound, try setting the compressor to buss signal in the small speaker. You will probably smile. compressor first. This is a very gentle slow compressor that will leave the transients untouched. If there are areas with over eq'd highs or unnatural transients, get into the warmth processing. On snares that have Fatso Block Diagram had 8 - 10K added and have some really overly dynamic hits, 5 - 10 dB of warmth may fold the highs back (attenuate them) and smooth out the tonality. Use the High Frequency saturation that the warmth control Main Audio Path provides on Kick drums that have the occasional clacky hit. The Tranny will be useful also. If the Kick drum is too boomy or too thumpy without enough clarity, the tranny will add some upper harmonics to the Active Outputs low freqs, while rolling off some of the subsonics. Input Soft 1/4" Phone 1 2 Drive Clipper Warmth Tranny - Also for over dynamic and brash cymbals, the warmth processing can be a real Dif. In/Out Overhead Mics 3 Amp Output VCA sweetener. To soften the edge of cymbals try Warmth on 4 or 5 setting and turn the input up to control the Comp/Lim Amp Dynamic amount of warmth. Watch anything over 5 dB of warmth as this is really attenuating a lot of high end. But if Balanced In Filter it is just the front edge of the cymbals, it can be verrrrrry pleasing. Of course compression may be used but 2 1 3 if it is, set it up first. Room mics - Again, the most gentle compressor for the room mics will be the BUSS compressor. 1/4" Phone Output Master XLR However, radical room compression is currently in style! The Tracking compressor (Green and Yellow Gain Bypass compressor LED's lit) will be useful over a wide range from 1 dB of GR to 10 dB depending on what you are One of two channels going for, and what the tracks will allow. But for over the top treatment, try SPANK! The SPANK is not the shown NUKE of the Distressor yet it can add some of the same sustain and intense size to it. The bargraph can be run right offscale with the SPANK type compressor, and still be a very useful sound. Fifteen to twenty Control Voltage dB of compression is starting to have that John Bonham thing that the Distressor can do. Watch over heating the tracks though. Also, any loud cymbal playing will become annoying with lots of compression on Compressor Warmth (Normalled) Envelope Gen To Front Panel Envelope Gen To Front Panel the room mic. Sometimes it may help to feed a compressed room signal back to the drummer while Bargraph. Bargraph. tracking to give him a feel for balancing his cymbals and drums. Distortion device - The Fatso has very smooth clipping up until about 20%. Folks have already used the Fatso as a distortion box with great effectiveness and musicality. The warmth provides another way to roll Insert off some harsh distortion grit as well, fattening up the lower harmonics. The Tranny will drastically distort Digital Digital nd rd sub frequencies below around 50Hz, but it is adding the 2 and 3 harmonics that sound very ballsy on DC Link to other Controls Controls channel and those low tones. You may even find that plugging a guitar and bass directly in can work... although the External Link. Stereo Link Detector Circuits impedance and gain structure are more suited to line level, or a Direct box output. Effects warmer - Try using the Fatso as a tape delay simulator by putting it after a digital delay. Turn Note the position of the Warmth (and Tranny) circuits after the Compressor, accounting for the compression on BUSS compression and the warmth on a little. Use the Tranny to roll off subs and the large interaction between their controls. pump harmonics into the low frequencies. Similarly, try the Fatso on a digital reverb to simulate the plate reverb non-linearites and magnetic transducers. It works great. 5 10 BACK TO TABLE OF CONTENTS EXAMPLE SETTINGS (part 3) The Tranny EXAMPLE SETTINGS (part 2) Basic Wiring If the top end is too sizzly or spitty, you can try the warmth control, maybe adding up to 6dB of warmth Piano/Keys - Acoustic pianos often need less attack & more sustain to fit into a mix, but there are Wiring is straightforward. Connect AC line cord to 3 prong jack, plug in XLR or phone plug ins and The Tranny is short for transformer. In the old days, to interconnect between audio components with outs, and you're wired. The phone and XLR input jacks are differential, at the output, only the XLR is on the peaks. This is not a de-essing function since it affects freqs above the most trouble-some sibilant millions of exceptions. As far as the compression part...Bruce Hornsbyish pianos are often real or samples freqs, nonetheless, you may find it helps take some of the hissy sound out of a source. of real pianos with medium attack and medium release, that achieve a "bite" followed by sustained body. If low impedance cabling (i.e. noise resistant), the audio engineer used transformers on the input and differential (balanced). The output phone jack tip is wired to pin 2 of the XLR out, and therefore is in phase outputs. Transformers isolate two signals using wire coils wound close to each other, but not actually with that pin. The only possible problem is if you attach one of the XLR output pins 2 or 3 to ground. A Tranny may be useful on exceptionally low vocals as it will warm the low tones to some degree. It will you find the Buss type compressor a bit gentle and too hot, and distorting some of the peaks, try the also roll the super subs off but generally, Tranny will not radically affect most vocal sources. Tracking Compressor with a fast release etc. The GP type compressor may work depending on how even touching. They were never that linear and often introduced saturation and LF distortion as well as separate amplifier drives each of these pins, so grounding one of them will short the associated amplifier the piano part is. If you have a dense mix and really need to make it take up a finite spot in the mix - go for changing the frequency response. Transformer design and use was an art (hats off to Rupert NEVE), out. Therefore if you only use pin 2 on your output cable, leave pin 3 floating (unconnected) and vice- Various Instruments the SPANK. This will slap the dynamic range down smoothly and quickly. It won't be an unfamiliar sound. and there were always tradeoffs. However, it has been widely known that a good audio transformer versa. The phone jack ins and outs will be out of phase with pin 3 since the unit is wired pin 2 hot from the Bass - Fatso is gonna be really useful here. Bass is notoriously hard to round out and clarify sometimes, Old Beatle records started using drastic amounts of compression to circuit can do wonderful things to an audio signal. This was the goal of our TRANNY circuit. We have factory (see note below). Pin 1 should almost always be grounded on the XLR cables, but there are times but the Fatso has many ways to help. First, if a low bass tone is too pure and sine-wave-like, it will "fall off" keep a piano sitting inside a busy arrangement. tried to emulate the desirable characteristics of the good old input/output transformers in a consistent where a buzz can be introduced thru chassis grounds. on small speakers. By this we mean, it will not be audible because most of the bass frequencies are below The saturator or soft clip part of the Fatso will be very useful also on piano and keys. Pianos and musical way, and in a selectable fashion. Note: It is possible to change the wiring of the connectors inside since they are hand wired. A the range of the speakers. synths can have quite a peaky transient and the instantaneous nature of the saturator can often give you Many of the older transformers had certain low frequency characteristics that some of our newer user can therefore make XLR pin two or three hot in relation to the phone jacks. Always unplug unit The Tranny is the solution, combined with the saturator circuits. These will generate upper harmonics 6 db more peak headroom before your ear detects clipping. Synthesizers and samplers can benefit and more linear circuits and transformers have "overcome". As frequency goes down, the audio signal before making any changes. Our company cannot be responsible for damage to unit or electric that will be musically related. These harmonics will be reproduced on small speakers and the human ear enormously since their envelope generators often create huge front peaks. The Warmth is also very useful gets more like DC (i.e. slower moving). Transformers don't pass DC current thru them, so strange shock to anyone trying any modifications. (and mind), will psycho-acoustically fill in the lower fundamental! Great on direct bass. here since it can soften the edges and also take care of the sharp trebly plastic edge without affecting the things start happening as the audio goes deeper. The addition of harmonics and peak saturation along The Fatso compressors are fabulous on bass too. The buss compressor is good for an already low frequency amplitude. Again watch over using the Warmth - you will find subtle use of with frequency and phase changes on the low frequencies occurs. We found that we could capture the Stereo Operation & 5.1 Surround Use compressed or very evenly played bass, since it will leave the transients and remaining dynamics in. It will the Fatso on keys to be extremely pleasing once they are dropped back in the mix. Often you can take low frequency effects of large and now expensive older output transformers in a weird, internally To put the Fatso into Stereo mode, put a finger on one warmth button while pressing the other warmth also allow you to use varying amounts of grunge since it is such a gentle compressor that wont really nail a thin lifeless keyboard part and bring warmth and reality to it. buffered switchable design. simultaneously. The orange link LED will lite on both channels. Let up on both buttons simultaneously. the bass level in place. Just by turning the input up, one can add or remove distortion. The GP is another To sum up the musical results of our Tranny circuit, there will be a little more edge in the midrange, There are two main link effects: 1) The compressors are linked and their gain reduction will match, - Without any processing activated, the saturator which is always inline, will pack those peaks compressor that may allow the dynamics to come thru but due to the long release, excessive pops or Drums and the super low frequencies will have been harmonically altered in a way that allows them to sound provided both are enabled. 2) The Channel 1 “Bypass” control now controls both channels down smoothly giving you 3 - 6 dB more avg level. Distortion indicator LEDs, the O VU and the Pinned plucks may create "holes" in an overly dynamic bass part. The Tracking compressor is a favorite again for louder, even though the peaks are less than the original. Playback on small speakers will show an Bypass/Tranny. It is usually best to match all front panel settings on the two "left and right" units to Red LED give you a good idea of what's going on. On percussion, peaks can lite up the RED Pinned LED bass (both the green and yellow LED lit). It is the most Distressor-like compressor in the Fatso with a fast improved audibility of low end from the result of the psycho-acoustically-pleasing distortion the Tranny maintain imaging. However, unlike most units, the user has the option to treat the left and right channels attack and release, along with a smooth knee. SPANK is useful for a more aggressive level control on without any nasty distortion, if they are short enough. Analog tape can not handle all the top end and will adds. Something really interesting we noticed... even though fundamentals below 100Hz cannot show differently. Sometimes for room mics, keeping the units unlinked actually makes them sound more stereo. round out the sound... as will the FATSO's warmth processor and saturator. Don't use more than 5 - 10 Bass. up on the little speakers... because of the natural way a transformer saturates, the harmonics give your This is due to unique left and right ambient envelopes widening the stereo image. As you can see, there are lots of options here. The warmth control may be useful for some trebly, dB of warmth on drums though.... or you are probably asking for a dull sound! Try putting digitally ears enough clues that your mind somehow fills in the fundamental. If you have the time, try this For 5.1 surround where multiple units must be locked together, chain one unit to the next with a short recorded tambourines etc through the Fatso and listen to the difference! That clacky front edge will become over eq'd basses, but generally it may find limited use here. Again, watch for over smashing or grunging. experiment... put 40 Hz sine wave tone into the Fatso, and match the Tranny level to the bypassed phone plug cable in the "External Link" jacks, match controls, and put units in "Link" mode. Two Caution should be observed if you are going to tape. You cannot un-distort! warm and easy to listen to - like the old analog tape and vinyl. level, then put the output thru a small speaker. A/B the processed Tranny signal with the bypassed interchangeable "External Link" jacks are provided to go to and from each Fatso. The gain reduction will Snares/Kicks/Toms - If you don't want to lose the basic sound, try setting the compressor to buss signal in the small speaker. You will probably smile. now match on all units linked this way. For standard 5.1 processing, three Fatsoes will be used. Elec. guitar - A wide range of settings can be used. To get rid of edgy attacks, use the quick attack, compressor first. This is a very gentle slow compressor that will leave the transients untouched. If there The compressor bargraphs on the bottom will indicate that the two channels are responding together. fast release of the tracking compressor. If the guitar is too dynamic, the compressor combined with the are areas with over eq'd highs or unnatural transients, get into the warmth processing. On snares that have Fatso Block Diagram Due to the high resolution of the bargraph there may be slight differences in the left/right bargraph saturator and tranny circuits may be the answer. Sometimes the guitar just needs a touch of fatness had 8 - 10K added and have some really overly dynamic hits, 5 - 10 dB of warmth may fold the highs back response, mostly on the first few LED's (i.e. 1dB, 2dB, 3dB of gain reduction). without losing attack, try the buss compressor to maintain transients. Watch over warming guitars with the (attenuate them) and smooth out the tonality. Use the High Frequency saturation that the warmth control Main Audio Path saturators and the warmth circuits. Crunchy guitars which are full of harmonics, are notoriously sensitive to provides on Kick drums that have the occasional clacky hit. The Tranny will be useful also. If the Kick A note on Bypass and the Multiplexed Controls tonal changes. Over saturating or warming can take away the clarity or bite needed to cut thru. Other times, drum is too boomy or too thumpy without enough clarity, the tranny will add some upper harmonics to the Active Outputs The Fatso uses a hardwired bypass relay enabling the user to compare processed and it's just what's needed to let the guitar be louder in a mix and stay out of the way of vocs because the upper, Soft 1/4" Phone low freqs, while rolling off some of the subsonics. Input unprocessed signals accurately. When comparing the original signal from the processed signal, spiky, harmonics are flattened a bit. When you are dealing with an occasional peaky guitar where certain 1 2 Drive Clipper Warmth Tranny - Also for over dynamic and brash cymbals, the warmth processing can be a real Dif. In/Out chords or notes take your head off, the dynamic action of the warmth control can be sooooo useful. Don't Overhead Mics 3 Amp Output matching the output level with bypassed signal makes it very easy to hear the processing changes. VCA overdue this though, especially while tracking! sweetener. To soften the edge of cymbals try Warmth on 4 or 5 setting and turn the input up to control the Comp/Lim Amp The bypass on the Fatso is multiplexed with the Tranny control, so a double press is necessary while Dynamic amount of warmth. Watch anything over 5 dB of warmth as this is really attenuating a lot of high end. But if Balanced In Filter comparing the processed signal to input signal. The Tranny may also actually seem to add midrange focus because of the harmonic generation on it is just the front edge of the cymbals, it can be verrrrrry pleasing. Of course compression may be used but 2 1 To change compressor types, warmth ratio, and the Tranny/bypass, press the associated button the low and low mid freqs. To smooth out solos, try the tracking compressor with tranny and warmth. 3 if it is, set it up first. and cycle through the options. These step function controls are sometimes inconvenient when trying to REMEMBER TO SET UP COMPRESSOR FIRST. The warmth really interacts with the compressor. Room mics - Again, the most gentle compressor for the room mics will be the BUSS compressor. 1/4" Phone Output Master XLR compare two settings, but if it was the only way we could fit all the controls on a front panel without an - Plucked instruments can benefit greatly from Gain Bypass Plucked Instruments & Acoustic Guitar However, radical room compression is currently in style! The Tracking compressor (Green and Yellow LCD display. It was very important to fit it all in the single height, 1.75" cabinet. The color-encoded the Fatso's processing. Back in 1998, the Fatso was taken to Greece and used on many very troublesome compressor LED's lit) will be useful over a wide range from 1 dB of GR to 10 dB depending on what you are One of two channels indicator LED's were arranged in an easy to read pattern, with Red LED's usually indicating radical or ethnic plucked instruments. At Grammys, a club in ATHENS, some bizarre FATSO behavior was going for, and what the tracks will allow. But for over the top treatment, try SPANK! The SPANK is not the shown distorted settings. The trade off of stepped controls vs. the small size, and power of the Fatso seems immediately noticed, when the extremely transient acoustic instruments "swamped" several internal circuits. NUKE of the Distressor yet it can add some of the same sustain and intense size to it. The bargraph can well worth it. The compressor needed a heavier knee with more "sponge" in the attack. The tracking compressor (green be run right offscale with the SPANK type compressor, and still be a very useful sound. Fifteen to twenty Control Voltage and yellow LEDs on) was tweaked first. The fast attack of the Tracking Compressor can help get a "glassy" dB of compression is starting to have that John Bonham thing that the Distressor can do. Watch over full sound since the pick noise will be attenuated and the sustain lengthened. Also the threshold of the heating the tracks though. Also, any loud cymbal playing will become annoying with lots of compression on Compressor Warmth (Normalled) warmth circuits were lowered so they could grab the transient picked edges easier. This allowed a solo Envelope Gen To Front Panel Envelope Gen To Front Panel the room mic. Sometimes it may help to feed a compressed room signal back to the drummer while Bargraph. Bargraph. 1) You can alter the standard thresholds of the Fatso by inserting a level control in the instrument to be louder without the sharp attacks hurting. tracking to give him a feel for balancing his cymbals and drums. Insert point. By turning the gain down there, the threshold will move higher, elevating Sometimes you may want to keep the dynamic range of a plucked instrument but need to smooth out Distortion device - The Fatso has very smooth clipping up until about 20%. Folks have already used the just the hard front edge of the attack. Warmth processing is perfect here. Adjust the warmth until you have Insert operating distortion. Adding gain there will lower the threshold and lower Distortion. Fatso as a distortion box with great effectiveness and musicality. The warmth provides another way to roll a smoother, more natural sound - usually 3 - 10 dB of HF attenuation is enough. In addition to your normal off some harsh distortion grit as well, fattening up the lower harmonics. The Tranny will drastically distort Digital Digital 2) It is also possible to sidechain process. Take the "Link Out" of a unit, go to an EQ (and/or nd rd monitoring levels, listen very softly, and very loudly to the adjusted track to make sure it isn't too dull, or still sub frequencies below around 50Hz, but it is adding the 2 and 3 harmonics that sound very ballsy on DC Link to other Controls Controls channel and preamp), then return it to the "Link In" of the same channel. The sidechain must not have in need of "softening". those low tones. You may even find that plugging a guitar and bass directly in can work... although the External Link. Stereo Link Detector Circuits appreciable delay nor be out of phase since it will affect the response time and possibly comb Acoustic guitars can be so creamy. Many times you will have an acoustic part that is very even and impedance and gain structure are more suited to line level, or a Direct box output. filter the control signals when in Stereo. you can nicely brighten it up with a top end EQ (high frequencies)..... except for that one part where he Effects warmer - Try using the Fatso as a tape delay simulator by putting it after a digital delay. Turn Note the position of the Warmth (and Tranny) circuits after the Compressor, accounting for 3) To set quick +4 tape levels, try setting output at 8 and "drive" input knob until really bangs it! Use the Warmth control to grab those clangy brash freqs. Usually 1 - 5 dB is enough but on the compression on BUSS compression and the warmth on a little. Use the Tranny to roll off subs and the large interaction between their controls. really brittle parts,10 - 15 dB on peaks may be ok on extreme peaks. Again don't over do it, especially pump harmonics into the low frequencies. Similarly, try the Fatso on a digital reverb to simulate the compression occurs. For ADAT's try 6 to 7 output level. during tracking. Listen really softly and really loudly to test evenness. plate reverb non-linearites and magnetic transducers. It works great. 4) Remember you can combine different compressors with SPANK Type compressor! 5 10 11 4 BACK TO TABLE OF CONTENTS

EXAMPLE SETTINGS Troubleshooting The Fatso was designed essentially to integrate frequencies in a musical manner and provide some fool proof vintage sounding compression. Generally, it is difficult to make the unit sound unnatural due to its * Unit forgets where it was when power was shut off - Non Volatile memory cap has become vintage topology. But it is possible to "overdo" things! Let's go over the four types of processing the defective, or possibly some other type of logic failure has occurred. Contact the factory for servicing. Fatso provides, and describe what they do and generally when they would be used. * No sign of life - Check power cord for firm connection. If still no life unplug unit and open top cover Fatso's Four Types of Processing by removing all top screws and check fuse toward rear next to transformer. If it is blown, pry it out and 1) Harmonic Generation and Soft clipper - Basically this is a distortion generator. Anytime you replace it with extra fuse provided in fuse holder toward front of chassis. If fuse is OK, make sure your pass a signal thru the Fatso, it passes thru this part except in bypass. This processing is useful to softly Voltage select switch is set to current wall outlet voltage (115, 230 VAC). but instantly clip peaks and transients, allowing more average level. * Unit keeps blowing fuses - Check internal voltage select switch for proper settings (115/230). 2) High Frequency Saturation - WARMTH! This circuit is meant to simulate the softening of the Otherwise, suspect a short or power supply problem. Try to make sure there is nothing trapped under high end that occurs with analog tape. Basically as the warmth is increased, overly bright signals and the PC board, shorting to the metal case. Attentive visual inspection is still the most effective transients will be quickly attenuated. The time constants are very nearly instant, so the high freqs return troubleshooting tool available. See below. very quickly after a loud burst. * Unit runs hot – Leave a space above or below it, or mount in cooler rack. 3) Transformer & Tape Head Emulation - This is a simulation of the effect of input and output * Unit is on but not doing anything - The unit may be bypassed or operating subtly. If bypassed, you transformers of older devices and adds the low frequency harmonics that characterize analog tape. need to press the "BY-PASS" button so red LED goes off. The input and output levels should always This is extremely useful on pure low frequency type tones that don't cut thru small speakers. It adds affect it unless bypassed upper "warm" harmonics to frequencies below 150Hz, especially those even lower such as 40Hz, the * Bargraph shows gain reduction but very little or none is actually occurring -The unit is possibly low string on a bass guitar, helping it to cut thru on smaller speakers. severely out of adjustment. We use very stable trim pots and high quality components, but it is possible 4) Classic Knee Compression - Empirical Labs Style! This is your typical automatic leveling that long term component aging or failure may require factory re-calibration. Also, dampness or device that you find used on just about every instrument and vocal track, as well as on the overall buss. something spilled into the Fatso can cause this phenomenon. At present you will have to return the Only its Empirical Labs compression - smooth sweet but in your face! (Reminds me of an old girl friend) FATSO to factory for re-calibration. In the future there will be local dealers and/or service centers to See the compression guide on page 6 for description of the 4 compressor types. help. * Distorted output - If there is severe, un-musical distortion, chances are you're hard clipping. Check that the output cable is properly wired and any unused output pins (2 or 3) on XLR are floating (left CD Player & Buss Fattening - This was almost the original intent of the Fatso. That is, it was a unconnected). Shorting an output pin will not harm the unit but can show up as distortion in the output two-channel device that could make a stereo digital signal sound "analog" and integrate the different driver. The distortion this unit is meant to impart is harmonic and should not sound like crackly frequencies in a musical way. It could be used as a stereo device thru which one could mix or transfer distortion caused by hard clipping. If the pinned LED stays on, you must turn down the input! to or from a digital medium to make it sound very analog tape-like. * No output level - Make sure there is audio getting to the unit, and that the input and output levels are For those who aren't used to the Jargon... A BUSS is usually a pair of channels that have pre turned up. mixed instruments or stereo music on them. The Left & Right outputs of your CD player could be * Unit pops or unnaturally pumps with low frequencies Try a different compressor TYPE. considered a 2 channel buss. In the recording studio, it is more often applied to the final left and right * Unit seems noisy - The dynamic range of the FATSO is greater than CD (16 bit) quality. However, if channel mix, or to something such as all the drums mixed down to 2 tracks (a "submix), so that instead you are compressing a noisy signal, the noise is pushed up along with the soft signals. If you have 20 of moving 12 faders at once to move drums up or down, you only have to grab those two. dB of gain reduction on a room mic that has a 90 dB S/N, the noise floor will be raised 20 dB in quiet ‰ MIXDOWN PRE PROCESSOR - Again, one of the original intended uses. By placing the Fatso areas, bringing the noise floor up to 70 dB. Since the FATSO is capable of lots of compression without immediately before a digital mixdown recorder such as a DAT, CD, HD, or RAM recorder, the recording sounding unnatural, you can often bring hiss levels up undesirably. Remember your current input level, engineer should be able to get the sweet high end and low frequency fatness that he could mixing to an and then ensure that the noise is coming from outside the unit by turning the input knob off (to 0). All analog tape recorder. Compression should usually be the Buss type, use the warmth to soften the high noise should disappear. Try gating before compressing. end and the Tranny to add some edge and warm harmonics to the Low frequencies. ‰ CD PLAYERS & Other Digital Recorders - Take the output of the CD player into the Fatso input. Our first goal is to make that CD player have the warmth and softness of the old tape recorders and records. If you were going to use compression, set it up first since it interacts with the other settings. Changing the fuse But for now let's not use any compression here. First adjust unity gain thru the Fatso. Set the input Caution: Always unplug unit before removing cover! until the 0VU LED glows on peaks from time to time. This will set up the saturation to emulate some Pull out the power plug from the AC outlet, open unit, and ensure fuse closest to rear of the unit is nominal tape like distortion. Next if you want the low end to have more bite, the tranny may be useful blown. (Note: The fuse closer to the front panel is a spare fuse and is not connected to anything). but for most digital recordings, try messing with the warmth control. Allow 1 - 5 dB of warmth to occur Gently pry out one end of the fuse and then the other, replacing it with extra fuse provided near battery on peaks. When AB'ing it to the original signal, a new softness and fatness will be noticed immediately. holder in front of unit. A small screwdriver may be helpful. Before putting cover on, plug in unit, keeping You will be able to listen to things a little louder than usual. hands out of the box, ensure that the fuse doesn't blow again, indicating a possibly more serious ‰ DJ level controller and master PUMP device - Place the Fatso before your power amps or at the problem (see troubleshooting). If OK, unplug unit, screw down top cover and return the unit to normal output of your DJ mixer to level out or fatten up the whole show. The Buss compressor can level out use. Any fuse from .3 to .6A should be safe, but .3A (1/3A) is what is specified and used at factory. volume differences while keeping the "smack" intact. You can then add some top EQ and have the Replace spare fuse in front if available. We went to the expense to keep an extra fuse inside... you warmth hold back the brittle edges. The Tranny may help on smaller systems to get the low freqs should too. clearer but if you have lots of subsonic info... you may want to keep Tranny out of line since it will roll off the exceptionally low low stuff. Vocals - There are so many ways to use Fatso here. During tracking, turn on the Tracking Line Voltage Select Compressor which lites the green and yellow LED in the compressor area. This is a pretty safe LN1176 Changing the voltage for 230 or 115 operation also involves unplugging the unit and removing top Type knee compressor with a pretty quick attack and release. That might be all you need! Using up to cover. Inside on the right (as the front of the unit faces you), is a switch with 115 or 230V showing on its 10 dB of compression should be fine with really dynamic vocs. Alternately, you can try one of the other face. Select the desired voltage by sliding the switch until it indicates that voltage and you're done. compressor types, even SPANK to grab occasional peaks and then quickly get out of the way. Replace cover and screws.

3 12 BACK TO TABLE OF CONTENTS NOTES What is The Fatso? (Hmm, Not such an easy question!) ______The EL7 FATSO is a modern digitally controlled analog device that offers many of the "musical non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. This two ______channel audio processor will musically integrate frequencies and transients and increase the apparant ______volume without actual increase in peak levels. In addition, two channels of famous Empirical Labs compression are provided. There are several compressor "types" with fixed attacks and releases (if you ______want a fully controllable compressor, you will need the Empirical Labs Distressor!). Users can enhance ______& soften the sound of mediums such as modular digital multitracks (MDM's), HD recorders, Dat recorders, Ram Recorders etc. Mixdown engineers will have an option not to use bulky, expensive, ______(and often flaky) analog tape recorders to get the warmth and sweet high end they've come to rely on for so many decades. Owners of Adats, MDM's, RAM and modern hard disk recorders can finally put a ______stop to complaints about the "coldness" and "brittle edge" of their mixes and instruments with the ______"rounded" and "musically non linear elements" of vintage analog. Finally, audiophiles can bring back the warmth and cuddly sound of LP's and tapes to their CD players, and other digital reproduction ______mediums. ______Fatso's Four Types of Processing (See next page for detailed description) ______1) Harmonic Generation and Soft Clipper (Distortion generation) ______2) High Frequency Saturation - WARMTH! ______3) Transformer & Tape Head Emulation ______4) Classic Knee Compression - Empirical Labs Style! ______Using the Fatso for the first time ______Hookup is straightforward. Either the XLR's or phone jacks can be used. In relation to the phone ______jack tips, pin 2 is wired "hot" on the XLR's. But if you're using the XLR's in and out, it doesn't matter which pin is hot, as long as you're cabling is in phase. If you use a single ended XLR output, leave ______unused pin floating! Connecting all input pins is preferred, but the unit will operate fine if ______unused pins aren't tied to ground. Hookup directions are also located on the rear panel of unit, near the connectors. See page 11 for more detailed wiring instructions. ______It’s advisable to mount in a cool rack position, as the Fatso Jr. tends to run quite warm. ______Fatso is ideal for sources that sound brittle, bright, or pointy or have excessive dynamic range. You will probably find so many uses for the Fatso as we did, but ...let's just go over a couple quick ______scenarios here. Let's say you have a vocal either live or in the studio that seems lifeless or needs ______presence and intensity. First lets set the compressor up. In fact you should always set the compressor up first because it interacts with the other processors in the Fatso. For excessively ______dynamic vocals I would go right to the TRACKING compressor "type" with both the green and yellow ______LEDs lit in the compressor select area. Adjust the input til you get 5 dB of GR to start with and adjust the output knob until there's not a great difference between the bypassed and un-bypassed levels. ______Remember the Bypass switch is multiplexed and to cycle in and out of bypass, click twice quickly. Next decide if the vocal has a brittle edge on the top end. If so, you have two other ways to soften. The ______most subtle is the Tranny which engages a specially tweeked transformer circuit that enhances the ______midrange while softening extreme transients and fattens 200 hz and below. That may not be what you need on vocs tho. Try the Warmth control for less subtle high end softening. This circuit is a wierd ______dynamic filter not too far removed from de-essing except it is above most sibilant freqs and works on a ______different principle and filter type. (...ok, so it is far removed!). This circuit is really useful on vocs that are bright or have 10KHz and above boosted heavily with EQ. In fact warmth is really useful used in ______conjunction with high freq eq boost, as it will only grab the parts that are excessively bright or "plasticky" ______and get out of the way in less than a millisecond. Use it as an EQ tamer. As you progress from 1 - 7 on the warmth control, more and more high freguencies will be ______"grabbed" and eventually you will start muffling the signal. DON'T DO THAT! Be very careful not to ______overuse the warmth control... 1 - 5 dB of Warmth is a lot. By now that distant, thin, vocal should be HOT and in your face. When using the compressor and warmth together, remember the interaction. ______Apply this same type of thinking to other sources/instruments. Don't be afraid to use the warmth without ______any other processing, or just the compressor, or just the Tranny (to fatten low end). Also remember the unit is always passing the signal through the saturation circuits, with no LED's on whatsoever. Don't ______feel like you have to use all the processing within the unit because that will surely get you in trouble, ______sooner than later. SEE EXAMPLE SETTINGS ON NEXT PAGE. 2 13 Fatso Manual 2007 Final.pdf 2/16/2007 4:26:45 PM

BACK TO TABLE OF CONTENTS Warranty and Factory Service Customer Comments All Empirical Labs Inc. products are covered by a limited warranty, which covers full parts and Comments About the DISTRESSOR "Every once in a while a product comes along with ‘classic’ written all over it. And in a labor for one year from the purchase date. The warranty is only effective if the owner has returned certain sense of the word, this product actually is a classic already." Mix Magazine his or her warranty card. See warranty card for further details. “Dear Empirical, I’m an LA based producer and an owner of a Distressor. The unit is really Should problems arise, call your dealer or distributor to determine the state of your warranty and if awesome! I've used it on guitars, bass, room mics, vocals it works great on everything. I've Features used it on records I've made with Beck, U2, Etta James, Hole and lots of others.” Joe it becomes necessary, pack the unit up well*, enclose a note explaining the problem and return to ‰ Soft clip features modeled after broadband tape saturation. WITHOUT THE NOISE! Smooth Empirical Labs for repair. Include your name, address, phone, and the date of purchase. Send clipping up to 20% THD. Chicarelli ‰ User programmable high frequency saturation, simulating the "softening" for which analog tape “After buying a Distressor I had an epiphany. Having used software plug-ins for years I the unit with freight prepaid to the address below and mark it Attn: Service. and phonographs are known. This is the "Warmth" control on FATSO. often didn’t hear or understand the affects of various controls. After getting my Distressor, ‰ Switchable transformer circuits, which can add the musical artifacts generated by classic and using it and hearing the obvious affects of the attack and release controls, I was able to devices like NEVE, API, etc. These artifacts include frequency "rounding", low order clipping & EMPIRICAL LABS intermodular distortion, transient clipping... and some other very musical non-linearities. go back and use the Plug-ins with a new understanding.” (Email) ‰ Four compression modes - One for tracking, one general purpose, one "bus" compressor, and "One piece of gear I definitely recommend is a compressor called the Distressor. It's really 41 N. Beverwyck Rd. SPANK (see below). All LINKABLE! Classic knee compressor sound that really grabs. great for just about everything and if you had to use just one compressor you could probably Lake Hiawatha, NJ. 07034 ‰ SPANK!- An additional limiter that musically smashes the dynamic range, and can be used to get away with just using that." Mitchell Froom stop clipping before digital recorders. There is a subtle knee followed by hard limiting. Phone (973) 541-9447 F ULL ‰ Huge "DISTRESSOR" knobs with high resolution numbering - For easy readability and “I sold a couple of 1176's and have replaced them with the Distressors, which do a great job Also see our website at www.EmpiricalLabs.com. Additional Contact and E-mail Information can be repeatable settings. They also go to 10 1/2 . of emulating the 1176's. Michael Wagener “(Ozzy Osbourne, Extreme, Metallica) A NALOG ‰ Distortion indicator lights - A 0 VU LED and a "Pinned" (5%) LED. No hard clipping until a few found there. USERS MANUAL dB past "Pinned". “In general, I really like where Dave Derr’s ear leads him; one of pro audios truly ‰ Sidechain output and input for eq-ing control signals. independent thinkers, I’m a huge fan of the box (the Distressor): I use it for bringing up the TAPE ‰ Locked, calibrated, output level - Allows speed in setting tape and live mix levels. “goosh” on ambient sources, and for saturating snares, toms, and kicks.” C * - Please pack the unit in original carton if possible. Otherwise, pack with bubble pack and /or ‰ Foolproof operation - it's almost impossible to get a bad sound. George Massenburg M ‰ Single height and light weight - Two channels of classic sound in a small, extremely reliable foam in a thick corrugated box. Shipping companies are absolutely brutal with large packages, S IMULATOR & package. Comments About the FATSO Jr Y and you must take every precaution against constant dropping, throwing, and crushing. We are ‰ Discrete and integrated combination - the best of speed/linearity with repeatability. Hand tested CM & selected components. All metal film and Roederstein resistors in the audio path - top quality “In a word, the FATSO is a very good answer to what a lot of people loathe about digital not liable for products damaged during shipping. O PTIMIZER components, most being high temperature military spec parts. recording. It smoothes out the sharp, brittle edges to exactly the extent you choose, and fillsMY ‰ Switchable 115/230 volt operation - Extra fuse provided inside unit. in the hairline cracks just right. I use one on almost every mix I do. I could easily use one Do not attempt to modify or make adjustments to your FATSO until you have notified WITH KNEE COMPRESSION ‰ True bypass - Know what it's really doing. All contacts doubled up for maximum reliability. No and possibly two more.” George Massenburg CY internal audio connectors. Empirical Labs and been sent the necessary information. There are a number of critical adjust- CMY ‰ - XLR fully balanced, transformerless design, pin 2 hot. “People used to have to hunt for old, expensive gear to get the kind of sounds that the XLR and 1/4" phone ins and outs ments that cannot be made properly without the calibration tools we have here at the factory. Any INDEX Changeable by user to pin 3 hot. FATSO gives me.” Ed Cherney (The Rolling Stones, Bonnie Raitt, Bob Dylan, Eric Clapton,K sign of internal adjustment by the user will void your warranty with the exception of changing the ‰ No internal connectors, high reliability parts and military grade switches and relays. Jackson Browne, Susan Tedeschi, Etta James, … et al) 1 Features & Specs ‰ Three year unlimited warranty. fuses or line voltage selection. Empirical Labs Inc. takes no responsibility for the safety of Best new Signal Processor-EQ AES Awards - "Empirical Labs Fatso took this category, 2 What Is The Fatso? ‰ Interface and features found nowhere else. anyone opening the FATSO for any reason. There are dangerous voltages present when ‰ Allows processing not readily available in our current digital domain. New life for analog despite the introduction of a variety of cool new processors. Who can resist the best aspects 2 Using for the First Time processing! of analog tape combined with great compression" EQ Magazine the unit is plugged in. Refer unit to properly qualified service center or return to factory. ‰ Hand wired, calibrated in USA. Shipping weight 13.25Lbs. 3-5 Example Settings "The winner of the highly -coveted, ‘I'm going to write you a check right after the show award’ was picked up by Empirical Labs for its FATSO processor.’ Craig Anderton 6 The Compressor - Four Types Specs Other Empirical Labs Products: 7-8 Recall Sheet LIL FREQ 9 The Saturation & Warmth Circuits ♦ Freq. Response is 2 Hz to 60 kHz in clean audio mode (+0, -3 dB). “Hey Dave… so I got the box, plugged it in on an Etta James vocal that I was having 1) The Distressor – Classic Knee Compressor. Found on thousands of major records! ♦ Dynamic Range - 110 dB from maximum output (20%THDsoft clipping) to minimum output. problems with… and it $#$%^&* rocks. This is a great box, my friend. I can see anybody 10 The Tranny Greater than 100 dB signal to noise. with a DAW wanting to use this thing. I am using the shelving, DS’ing and transformer out, 2) Lil FrEQ – The Ultimate Analog Equalizer & De-esser, with built in DI Box. 10 Block Diagram 3) Masderring Lab for Eventide DSP4000 - Complete mastering facilities in a double height rack ♦ Distortion Ranges between .06% and 20% depending on mode and settings. and I am just thrilled. Congratulations. It absolutely complements the digital crap that I am 11 Basic Wiring and Stereo Linking ♦ DC coupled Input and Outputs - High quality audio caps used internally. forced to use…wooo hooo.” Ed Cherney mount unit! Contact Eventide Inc. at (201) 641-1200 12 Troubleshooting ♦ Compressor Time Constants - Attack range 1mS - 200mS. Release range .05 sec to 3.5 "I finally got to hear Empirical Labs’ Lil FrEQ, a monster that will destroy the way you think 4) Three dimensional software for the Eventide DSP4000 and H3000. Contact Eventide Inc. seconds. Attack and Releases are fixed by the compression type selected. about EQ. This single-channel unit has two shelving bands, tunable low cut, four parametric 12 Fuse Replacement, AC Voltage Select ♦ Power Consumption – 35 Watts Max typically. .3A @115. bands, dynamic EQ for de-essing and direct box input—all noiseless and distortion free. 13 User Notes Best of all, its smooth processing is absolutely addictive. Sweet! " George Peterson (Mix Magazine) 14 Customer Comments Empirical Labs - Something Old, Something New Rev4.3 15 Warranty 1 Technology For The Artist 14 www.empiricallabs.com Fatso Manual 2007 Final.pdf 2/16/2007 4:26:45 PM

BACK TO TABLE OF CONTENTS Warranty and Factory Service All Empirical Labs Inc. products are covered by a limited warranty, which covers full parts and labor for one year from the purchase date. The warranty is only effective if the owner has returned his or her warranty card. See warranty card for further details. Should problems arise, call your dealer or distributor to determine the state of your warranty and if it becomes necessary, pack the unit up well*, enclose a note explaining the problem and return to Empirical Labs for repair. Include your name, address, phone, and the date of purchase. Send the unit with freight prepaid to the address below and mark it Attn: Service.

EMPIRICAL LABS 41 N. Beverwyck Rd. Lake Hiawatha, NJ. 07034 Phone (973) 541-9447 F ULL Also see our website at www.EmpiricalLabs.com. Additional Contact and E-mail Information can be A NALOG found there. USERS MANUAL TAPE C * - Please pack the unit in original carton if possible. Otherwise, pack with bubble pack and /or M foam in a thick corrugated box. Shipping companies are absolutely brutal with large packages, S IMULATOR & Y and you must take every precaution against constant dropping, throwing, and crushing. We are

CM not liable for products damaged during shipping. O PTIMIZER

MY Do not attempt to modify or make adjustments to your FATSO until you have notified WITH KNEE COMPRESSION CY Empirical Labs and been sent the necessary information. There are a number of critical adjust- CMY ments that cannot be made properly without the calibration tools we have here at the factory. Any INDEX K sign of internal adjustment by the user will void your warranty with the exception of changing the 1 Features & Specs fuses or line voltage selection. Empirical Labs Inc. takes no responsibility for the safety of 2 What Is The Fatso? anyone opening the FATSO for any reason. There are dangerous voltages present when 2 Using for the First Time the unit is plugged in. Refer unit to properly qualified service center or return to factory. 3-5 Example Settings 6 The Compressor - Four Types Other Empirical Labs Products: 7-8 Recall Sheet 9 The Saturation & Warmth Circuits 1) The Distressor – Classic Knee Compressor. Found on thousands of major records! 10 The Tranny 2) Lil FrEQ – The Ultimate Analog Equalizer & De-esser, with built in DI Box. 10 Block Diagram 3) Masderring Lab for Eventide DSP4000 - Complete mastering facilities in a double height rack 11 Basic Wiring and Stereo Linking mount unit! Contact Eventide Inc. at (201) 641-1200 4) Three dimensional software for the Eventide DSP4000 and H3000. Contact Eventide Inc. 12 Troubleshooting 12 Fuse Replacement, AC Voltage Select 13 User Notes 14 Customer Comments 15 Warranty Technology For The Artist www.empiricallabs.com