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About the nicest and best sounding spoons around. These play easy, and produce a very pleasant and woody tone when compared to metal spoons. Available in a wide selection of colors and sizes. The colored/painted options have a nice worn look and feel to them, similar to fashionable farm style furniture.

Made exclusively with Canadian Maple Wood from the forests of northern Quebec and Ontario. Maple is a high-density and durable wood that is perfect for percussion. Unlike metal spoons, these wooden spoons produce a woody sound with much more fullness of tone than metal spoons. So you get more of a “thunk” and less of a “clink”. Also, due to how these spoons are built as one piece and attached at the handle, they are by far easier to play than unattached metal spoons. With a focus on craftsmanship, sound, and quality, these spoons are handmade to the highest standards at the Heritage Workshop…and they just feel good to handle, which means you will likely handle them more often and practice more too.

About This Product The Heritage Standard H-150 P90 electric guitar is built in our factory at 225 Parsons Street, Kalamazoo, and features a select maple top with a solid mahogany body. The guitar is finished in nitrocellulose and ages beautifully over time.

The Standard H-150 P90 raises the bar with Seymour Duncan Vintage P90 pickups that deliver clarity, response and a versatile range of tones ideal for genres from from jazz to punk.

Other notable features include a C-shaped mahogany neck, rosewood fingerboard, and medium jumbo frets. The Standard H-150 P90 is fitted with dual volume and tone controls, Elixir Optiweb strings and comes with a premium carrying case.

I love a good fuzz pedal. There’s just something about how they transform your guitar's sound, and each one does it in its own way. A Fuzz Face has that fat lead tone that responds to every touch. The Tone Bender circuit took things a stage further (literally) and added even more grunt. The “Big Muff” style circuit is a legendary successor to both of these. The Wampler Velvet Fuzz was one of my early takes on an improved fuzz circuit but with a twist - it was designed to be easy to dial in for folk who just didn’t get on with regular fuzz pedals.

I wanted to put all of those classic tones into a single compact guitar pedal. I wanted the ability to dial in glassy cleans by backing off your guitar's volume like a Fuzz Face while also retaining the sparkling tonality and usability of the Velvet Fuzz. I wanted to create something that could be stacked with other pedals or played on its own, something that wasn’t just another clone. So I designed the Cryptid. It is a unique circuit designed to give you my favorite aspects of all of those classics while also offering up unique new tones and inspiring you to find your new sound.

Tweaking your tone is easy. The Cryptid's Volume, Tone, and Fuzz are pretty self-explanatory. The Character (bias) control goes from distorted fuzz sounds, similar to what we did with the Velvet Fuzz, all the way through to other classic tones, including muff, bender, and even steps into “Fuzz Factory” territory. The 3-position Tight switch shapes the pedal's low end for anything from doom-approved sub-sonics to a tight, distortion-esque vibe. Finally, the Chime toggle adds a bit of extra harmonic air on top without any harshness.

Technical Details: Unique Fuzz circuit by Brian Wampler Built in the U.S.A Battery connection and 9v-18v power jack High-grade components selected for their superior sound and response Controls: Volume, Fuzz, Tone, Character knobs, Chime and Tight switches Top-mounted jacks make pedalboard placement effortless Power draw: 15 mA @ 9V and 30 mA @ 18v Includes Wampler’s limited 5-year warranty 2.59″ x 4.98″ x 2.29″ (66mm x 126.5 mm x 58.2mm)

The Fairchild 660 is the mono version of the legendary Fairchild 670, a variable-mu type compressor, using vacuum tubes for reduction of gain right in the audio signal path, (no re-routing to a compression circuit).

Controls include a stepped Input Gain and continuously variable Threshold control, as well as a stepped 6-position switch for Attack and Release, that allow for four different combinations and two program-dependent settings. Set-screws on the back of the unit control the ratio; anywhere from 2:1 as a compressor to 30:1 as a limiter.

Controls

Input Impedance: 600 Output Impedance: 600 Input Levels: Normal line levels (+4 or +8 VU) Output Level: +4 or +8 dbm line (+27 dbm after clipping point) Gain:16db Frequency Response: 20 cycles to 20kc Noise Level: 70 db below +4dbm Limiting Noises: No audible thumps produced Intermodulation or Harmonic Distortion: less than 1% at any level up to +18dbm output (no limiting); less than 1% at 10db limiting and +12dbm output Attack time (adjustable)

.2 milliseconds in positions 1, 2 and 6 .4 milliseconds in positions 3 and 5 .8 milliseconds in position 4 Release time (from 10db of limiting)

Position 1: .3 seconds Position 2: .8 seconds Position 3: 2 seconds for multiple peaks Position 4: 5 seconds Position 5: Automatic function of program material: 2 seconds for individual peaks, 10 seconds for multiple peaks Position 6: Automatic function of program material:

.3 seconds for individual peaks 10 seconds for multiple peaks 25 seconds for consistently high program level. Compression Ratio:

A function of the amount of limiting as well as setting of the two threshold controls which can be set to operate at ratios from 1:1 to 1:20 Controls:

Input Gain control Step attenuator; 1 db per step Threshold Control continuously variable Time Constant Switch 6 positions, so as to provide fixed and variable time constants for any type of program material. Metering Switch 3 positions, so as to measure plate current of each of the control tubes, or as a limiting indicator On-Off switch The Fairchild 670 is the grandaddy of all analog compressors. Used on too many famous recordings to list, this was a studio mainstay throughout the heyday of vacuum tube equipment in the 1950s and 60s. Its use in Bill Putnam's United Western Recorders alone accounted for numerous hit records. The single channel 660 model was used extensively at Abbey Road during the Beatles tenure.

The legend, reborn Designed in the late 1950s, the Fairchild Model 660 was, even by the mil-spec standards of the day, over-engineered to deliver a natural, organic-sounding compressed signal along with an unprecedented degree of control thanks to distinctive features such as attack times ranging from a whiplash-inducing 10,000th of a second and a selection of release times adjustable from 0.3 seconds to 25 seconds. With its beautiful compression characteristics, lightning-fast attack time, unique vacuum tube circuitry, military-grade build quality, and unparalleled versatility, the original Fairchild 660 is reverentially considered the granddaddy of dynamics processors. Now, the iconic tube limiter is back to reclaim the title in a meticulously handcrafted re-creation of the legend, true to the original in every aspect.

Smart, program-dependent soft-knee compression The buttery-smooth sound of the vocals on Beatles’ records is largely thanks to the original Fairchild Model 660, of which EMI Studios (Abbey Road) owned several. The 660’s sound is the result of a number of factors, including its discrete, handwired point-to-point circuitry infused with the beefy power of 12 tubes and custom-wound transformers. An inherent sonic attribute of this type of “variable-mu” dynamics control is the gentle, soft knee of the compression curve, with fast attack and fairly long release times. It’s also program dependent, so gain reduction starts at a very low ratio on small peaks and gradually increases to brickwall territory on very loud input signals. The Fairchild 660 is driven by a single push-pull stage of audio amplification and a very high control voltage, thus ensuring that the automatic gain-controlled amplifier never produces audible audio artifacts such as the thumps and pumping common to many limiting amplifiers. The 660 exhibits extremely low distortion and vanishingly low noise under all conditions, both as a through amplifier and under maximum limiting conditions.

The control set Due to the 660’s unique architecture, its control set is somewhat different from that of most other dynamics processors. It is equipped with an input level control, a limiting threshold control, an attack/release switch that selects between six time constants, plus a limiting meter and metering selector switch. On the Fairchild, the DC threshold is adjusted via internal trim pots for adjustment over a wide range, from a seamless transition between compression and hard limiting to a harder, more pronounced knee. The compression ratio is dependent on the amount of limiting as well as the settings of the continuously variable front-panel AC threshold control, which can be set to operate at ratios from 1:2 to 1:30. The attack and release time constants are adjustable in six steps via per-channel front-panel switches:

Position 1) 0.2ms/0.3s Position 2) 0.2ms/0.8s Position 3) 0.4ms/2s Position 4) 0.4ms/5s Position 5) 0.4ms/0.2s individual peaks, 10s multiple peaks Position 6) 0.2ms/0.3s individual peaks, 10s multiple peaks, 25s consistently high program levels

Indispensable at any stage of the recording process The Fairchild Model 660’s delectable sonics, rock-star performance, and outstanding versatility make it indispensable at any stage of the recording process. It’s magic on vocals. Through the 660, bass, guitars, drums, pianos, and orchestral instruments all take on new life and are easier to place in the mix. And come mix time, many engineers simply keep a pair of them strapped across the stereo master bus to achieve assertive, radio-ready mixes that blast right out of the speakers. However, if your primary use will be mastering, we recommend you consider the 660’s stereo stablemate, the Model 670.

The ultimate tool for classic analog sound Purpose-built for mastering, the Model 670 offers the ability to run its channels independently or linked for stereo operation, giving you tremendous flexibility for optimally employing mid-side (M-S) processing, an encode-decode process in which the mid and side signals, after being separated by a hardware or software matrixing network, typically require different dynamics processing. Whether you go with the 660 or 670, you can rely on your Fairchild to elevate the sound of your studio to world-class status. Sweetwater is delighted to present the ultimate tool for achieving classic analog sound in today’s digital/hybrid production environments: the one-and-only Fairchild.

Fairchild Model 660 1-channel Tube Limiter/Compressor Features: The ultimate tool for classic analog sound Handwired point-to-point construction Tube-driven amplification Custom-wound transformers 6 selectable attack/release time constants Threshold, compression, and makeup gain controls VU limiting metering