Arguably the coolest and most unique device in the Empirical Labs arsenal, the FATSO (Full Analog Tape Simulator and Optimiser) is a digitally controlled analogue device that gives musicians and engineers easy access to many of the desirable characteristics exhibited by older tube and Class A electronics and magnetic tape mediums. The Empirical Labs FATSO, is a two-channel audio processor that musically integrates frequencies and transients, increasing the apparent volume while keeping tight control over peak levels.
With the Empirical Labs FATSO, recording studios and audio production facilities can enhance and soften the sound of Hardware Digital Recorders (HDRs) and Digital Audio Workstations (DAWs). Mix engineers will have the option not to have to use bulky, expensive analogue tape recorders to get the warmth and sweet high end they’ve come to rely on for so many decades. Owners of DAWs and HDRs can finally put a stop to complaints about the coldness and brittle edge of their mixes and instruments. Even audiophiles can benefit from the Empirical Labs FATSO, bringing back the warmth and ambience of LP’s and tapes to their CD players and other digital reproduction mediums.
As with most Empirical Labs products, the unit is incredibly easy and fun to use. Large Distressor-style knobs control the input and output levels. Four meticulously tweaked compression modes, including the extremely popular “Buss” setting and the legendary “Spank”, a subtle knee followed by hard limiting resembling the SSL talkback compressor, can be selected (and combined!) with the push of a button. Seven different high frequency saturation “Warmth” settings are accessed just as easily.
The Empirical Labs FATSO also features switchable transformer circuits, which can add the musical artifacts generated by classic devices like NEVE, API, etc such as low order clipping and inter-modular distortion, transient clipping… and some other very musical non-linearities. True to its name, the Empirical Labs FATSO is rather sturdily constructed – you’ll be impressed with how well built it feels when you first lift it out of the box.
The Empirical Labs FATSO has been the “secret weapon” of studio and live engineers for many years, allowing them to add the elusive magic of vintage gear to their sound. Once you start using it, you’ll never want to be without it!
FATSO’s four types of processing
- Harmonic Generation and Soft Clipper (Distortion Generation) – this class A circuit gently rounds the peaks like saturated tubes or tape.
- High Frequency Saturation (Warmth) – a one-of-a-kind dynamic low pass filter which softens high frequencies when they “pile up” on a source.
- Transformer & Tape Head Emulation – a simulation of the effect of input and output transformers of older devices, which adds the low frequency harmonics that characterise them, as well as analogue tape.
- Classic Knee Compression – your typical automatic leveling device found on just about every instrument and vocal track as well as on the overall buss, done Empirical Labs compression – smooth and sweet, but in your face!
New FATSO Features
- A new ratio “Eleven”, which emulates a favourite classic compressor setting.
- New Two Colour Front Panel
- Improved Logic
- Separate TRACKING LED, more intuitive display.
- Backwards stepping when a front panel button is held.
- New extended stereo link functions. More choices of how to lock compressors.
- Cooler running Logic Circuitry, resulting in overall cooler operating temperature.
- Improved overall noise floor, due to lower logic power consumption.
Compressor Section In Detail
The FATSO unit offers four distinct compressor “types,” each of which sets threshold, ratio (in the conventional sense), attack and release to deliver an intuitive yet versatile set of gain-reduction curves. The four core types are BUSS, ELEVEN, TRACK and SPANK, with SPANK also available in combination with any of the other three for even more character. BUSS provides a very gentle 2:1 ratio with slow attack and fast release, typically yielding 1 – 4 dB of gain reduction (hitting it harder, five or more dB, creates a noticeably pronounced effect). ELEVEN emulates the classic UREI 1176LN at its famed 20:1 setting, offering the slowest attack and fastest release of the group; that “all-out” 1176 configuration has featured on countless hit records and works equally well for subtle or aggressive compression.
The TRACK compressor takes inspiration from the Distressor, offering a mellower ratio than ELEVEN and now indicated by its own LED (the original FATSO Jr used the BUSS and GP LEDs, which led some users to mistake it for a combination of those two types). SPANK delivers a radical limiter-style compression modelled on the SSL talkback compressors of the 1970s and 1980s (famously used on Phil Collins’s drums in “In the Air Tonight”), but with higher fidelity. Because the release curve for all types is logarithmic, quick to let go at first, then slowing, the shape of that curve is integral to the FATSO’s signature sound.
A “soft knee” compression curve eases in over the first few decibels of gain reduction at low ratios, gradually steepening to the final ratio as the signal rises in level; this makes compression onset very hard to detect. All FATSO types employ dominant knees except SPANK, and the BUSS knee can extend up to 15 dB (it is typically set for 3 – 5 dB so it “sings” like tape). Because its topology is based on vintage designs, the FATSO can also approximate the nonlinear characteristics of older optics, FETs, tube-bias modulation and other classic gain-control elements simply by choosing the appropriate type and settings.
For example, ELEVEN closely recreates the LN1176 at 20:1 with its slowest attack and fastest release; TRACK offers a lower-ratio Distressor-style flavour ideal for tracking or mixing; BUSS can emulate a DBX160 “over-easy” 2:1 treatment or an SSL-style buss compressor without transformers; and SPANK captures the aggressive squeeze of an SSL talkback limiter. Combining SPANK with any other type yields seven distinct compression flavours, though SPANK’s character will always dominate when engaged.
Vintage Compressor Emulation
Since the unit is based on the oldest compressor topology, the unit can be made to sound similar to older classics. The nonlinear nature of the older gain control elements of opto-couplers, FET’s, pentode (or triode) tube bias or “Mu” modulation, etc., can be closely emulated if proper settings areused. Some Examples:
- LN1176 High Ratio – The ELEVEN ratio closely emulaties the 1176 on 20:1, slowest attack, fastest release. It is a deliberate emulation of this beloved setting.
- LN1176 or Distressor Lower Ratio – Use the Tracking compressor which emulates a lower ratio than the ELEVEN ratio. Good for tracking and Mixing.
- DBX160 2:1 (for over easy) – Try the BUSS for gentle compression, or ELEVEN Type Compressor for more aggressive treatment, no TRANNY.
- SSL type BUSS compression – Use the BUSS type Compressor. No TRANNY.
- SSL Talk back compressor – Use SPANK. Spank that track into submission
NOTE: ALL existing older “Fatso Jr’s” can be modified to change the GP ratio to the new ELEVEN ratio. In addition, all Fatsos shipped from Empirical Labs since June 2013 have had the ELEVEN ratios already installed in the circuit, under the GP ratio, so if you bought a Fatso recently, you probably already have the equivalent EL7-X circuitry.
The original Fatso Jr could operate quite warm. Since heat is the enemy of reliability, we decided to do what we could to cool the unit down in this re-design. By replacing discrete logic with a microprocessor, and eliminating warm running and often unreliable display circuitry, the current draw was dropped over 20%, allowing the power supply and analogue circuitry to benefit from a cooler running product.
The new Empirical Labs FATSO also has greatly improved interface operation. Holding any button in for a second will make the control step backwards, so the user doesn’t have to cycle around to go back one step in setting one parameter. In addition, the Stereo Link is improved and offers a second link method by holding in both COMP buttons. It locks the compressors and Bypass logic together and allows either channel’s buttons to control the settings. Much more foolproof.
There is now a separate LED for the TRACK (Tracking) compressor, so that two LEDs do not have to be used and interpreted by the user. SPANK is now a Blue LED delineated from the other compressors off to the side, to indicate that it is different and can be used in conjunction with the other ratios. Customers will find compressor selection more obvious and FUN.
