Waves The JJP Collection

metering, and all plug-ins have optional mains
hum emulation in 50Hz and 60Hz lavours.
Well kick things of with a look at the EQP1A,
which is an idiosyncratic three-band EQ. The irst
band is a low shelf with four ixed frequencies
(20Hz to 100Hz) and simultaneous 18dB boost
and attenuation. Next is a bell-shaped section
with variable bandwidth, ofering 18dB boost at
seven ixed frequencies (3kHz to 16kHz). Finally,
the third band ofers a high-cut with three
frequencies and variable attenuation.
The MEQ5 ills in the mid-range gaps left by
the EQP, with three ixed Q bell-shaped bands.
Band one is boost-only at ive ixed frequencies in
the low- to mid-range (200Hz to 1kHz). The
second band ofers cut or dip at 11 ixed
frequencies (200Hz to 7kHz), and the remaining
band is boost-only at ive ixed mid-to-high
frequencies (1.5kHz to 5kHz).
JJP’s favourites
Waves rightly point out that due to their
transformer stages, the EQs have a gentle roll-of
at high frequencies, and the plug-ins emulate
this, though its not immediately obvious when
you load them up; however, other aspects of the
Pultec sound are. Spinning through the ten
EQP1A and three MEQ5 presets gives not only
an idea of how they sound but also how far a pro
mixer chooses to push their settings to get the
desired result. The great thing about these EQs is
you can do this without it sounding harsh. We
were curious about the Mains Hum setting and
came to the conclusion that it also added a tiny
bit of hiss. Overall, both EQs sounded very similar
to other Pultec emulations we compared them to.
On to the compressors, then, and the 660 and
670 are both simple designs, with input and
output levels, threshold, and six time-constant
settings that control attack and release. In
addition, the 670 adds dual stereo and linked
operation and also the vertical-lateral option, like
the original hardware. This splits the stereo input
signal into sum and diference elements, with the
left channel controlling mono and the right
governing the stereo aspect of the signal.
Youll notice theres no ratio setting, as
compression behaviour here is a combination of
the time constants and signal level – see the
boxout above for more information on how valve
compressors work. Although having few controls
makes the unit look simple, they can still take a
bit of getting used to. Again, the presets prove a
useful starting point, but these compressors are
pretty forgiving in their sound.
Waves have done a good job with the JJP
Collection, but it has to be said that there are
already other plug-ins that emulate this type of
gear, and were sure there must be even more
esoteric items to covet at JJPs studio. Whether
the fact that Puigs own units have been
modelled here makes any additional diference is
impossible to say. Whats more, the presets,
although theyre a useful starting point, arent
quite as many or as varied as they could be. Still,
the classic lavours of Fairchild and Pultec
processing are very well represented here,
making this a desirable bundle.
Contact Via website
Web www.waves.com
Info TDM Version, $1200
Verdict
For Great sound, and interesting presets
Familiar, simple interface
Interesting presets
Cheaper than some Waves bundles
Against Not a cure-all package
Presets not extensive enough
Only scratches the surface of JJPs actual
processing arsenal
Waves deliver the Pultec and Fairchild
sounds in a typically slick package, but
there is plenty of competition out there
8/10
Alternatively
Universal Audio UAD2SOLO
N/A >> N/A >> £399
The UAD DSP platform ofers oicial
Fairchild and Pultec emulations
Digidesign Bomb Factory
Fairchild Bundle
N/A >> N/A >> £382
Theres a Pultec Bundle, too
The use of a valve as a gain reduction
device is now fairly rare in compressor
design, with most units incorporating
VCA, FET or opto designs. So whats the
big deal? In engineering terms, cost,
size, tube-matching and robustness
come into it – the original Fairchild has
20 tubes and 14 transformers – although
you could argue that it also incorporates
other less signiicant aspects of 50s
electronics design.
In terms of technology, the variable
mu sound (mu being the term used to
refer to gain in valve systems) comes
down to the behaviour of the remote
shut-of dual-triode valve in the audio
path. The constant re-biasing of this
valve by a tube-rectiied sidechain
control voltage produces the gain
reduction in the valve itself.
Sonically, this is not only very
pleasant but also capable of anything
from gentle 2:1 compression to heavy
limiting. But whats interesting is the
way in which this happens.
Essentially, as gain reduction
increases, so does the ratio, resulting in
progressively non-linear behaviour. In
addition, youll also ind that the
threshold level inluences the onset or
knee of the compression, and the knee
shape tends to soften as this increases.
Overall, the sound is natural, lexible
and useful for acoustic instruments.
The variable mu sound
The presets, although
theyre a useful starting
point, arent quite as
many or as varied as
they could be”
The PuigChild 670 models the variable mu efects of a real, valve-based Fairchild compressor
Filling in the mid-range gaps that the EQ1P cant quite cover is this complementary processor, the MEQ5
October 2008 / COMPUTER MUSIC / 93
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CMU131.rev_jjp 93 5/9/08 18:20:05