1176 compressor original

The initial units released in 1967 were A’s, followed within months by AB revisions, and B revs in 1968. After successfully adapting the 108 tube microphone preamplifier into the new FET-based 1108, he redesigned the 175 and 176 variable-mu tube compressors into the new 1176 compressor. In 1999, when Bill Putnam, Jr. relaunched Universal Audio, a reproduction of the Blackface 1176LN was the company’s first product. But not all 1176's were created equal. By turning the Attack knob fully counterclockwise to the OFF position, the unit can be used as a straight line amp just for its unique sound. The 1176 will faithfully compress or limit at the selected ratio for transients, but the ratio will always increase a bit after the transient. Our 1176 compressor comparison video files are available for download here. My preference is for the black face model, the 4000 series—I think the top end is especially clean. I listen for how it affects the vocal, and depending on the song I set the attack or release—faster attack if I want a bit more bite. The original 1176 compressor hardware offered a selection of four ratios, but studio engineers soon discovered that pressing them all at once led to a distorted, explosive and highly compressed sound. You must have JavaScript enabled in your browser to utilize the functionality of this website. Simon and Garfunkel’s album Sound of Silence is released. As the input level is turned up, a corresponding decrease in output level may be required. The way the 1176 sounds, and specifically, the way all-button mode sounds, is partially due to its being a program dependent compressor. Bruce Swedien used his 1176 on all the Michael Jackson vocals he recorded. I usually use them on four to one, with quite a lot of gain reduction. In this exhaustive UAD Tones & Techniques video, Grammy-winning producer Jacquire King (Tom Waits, Kings of Leon) shows you how he records acoustic guitars. The faceplate was changed to the original silver faceplate and included a red "Off" button. The initial price in 1967 was $489.00.Similar to the 176, the 1176 featured no threshold control — just input and output controls — and included a continuously variable attack and release, which was a novelty at the time. Bill Jr. found extensive design notes that enabled him to recreate and improve on the original design.All these factors combine to make the 1176 one of the most unique and beloved compressors of all time with a huge devoted fan base. This change in attack and release times and the compression curve that results is the main contributor to the all-button sound. For minimal distortion, careful circuit design was required to make the FET operate within a narrow linear range. From there, the signal is routed to the top of a FET, which is being used as a variable voltage resistor. "[4], "UA's Classic 1176 Compressor — A History", "Model 1176LN – Solid-State Limiting Amplifier", "1176 and LA-2A Hardware Revision History", https://en.wikipedia.org/w/index.php?title=1176_Peak_Limiter&oldid=981333938, All Wikipedia articles written in American English, Creative Commons Attribution-ShareAlike License, The original design by Bill Putnam; it had a brushed aluminium. MASTERING. Billed in the 1968 release as a “true peak limiter with all transistor circuitry and superior performance on all types of program material," the 1176’s major selling point was its ultra-fast attack time — a mere 20 µS (.00002 seconds) at its fastest setting. In 1966, Bill Putnam, engineer and founder of Universal Audio, began to employ the recently invented field-effect transistors (FET), replacing vacuum tubes in his equipment designs. To what degree is once again material dependent. The 1176 also offers a whopping 45 dB of gain at .5% THD — as much gain as some mic preamps, and far more than most compressors.The input knob controls the threshold, but the threshold is also dependent on the ratio selected — the higher the ratio, the higher the threshold. The amount of compression was determined by setting the input level — the hotter the signal reaching the detection circuits, the greater the resulting compression.

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