1176-Reviews: Hardware-Klone und Plug-Ins des Urei-Limiter-Klassikers (2024)

FAQs

Is 1176 a limiter or compressor? ›

The 1176 Peak Limiter is a dynamic range compressor designed by the American engineer Bill Putnam and introduced by UREI in 1967. Derived from the 175 and 176 tube compressors, it marked the transition from vacuum tubes to solid-state technology.

The 1176 became an instant favorite with producers and engineers because of its unique lightning-fast attack and release times (20 µS to 800 µS Attack, 50 mS to 1.1 seconds for Release), its Class A output stage, and its wide range of sounds, ranging from a very subtle, near-transparent compression at 4:1, to its most ...

It can add a very useful, gritty compression effect. This setting is especially useful on bass, where compression and distortion might be needed at the same time, and the 1176 can provide both in a unique way. This trick also sounds great on screaming lead vocals.

Billed 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.

If you want to shape the dynamic range of performance, a compressor is the tool for you. If you want to catch quick, errant peaks so as not to eat up headroom on your way to a loud and balanced mix, consider the limiter instead.

The three modes worth noting on the Logic Pro compressor plugin are: FET – (Field Effect Transistor) This setting is emulating an 1176 which is perhaps the most famous FET compressor, and people like to use them to get that punchy drum sound. Opto – This is emulating the LA2A, optical compressor.

But know this: The designation between FET and VCA matters, because of the one of the most famous, widely used compressors of all time is an FET compressor—the previously mentioned UREI 1176. FET compressors like the 1176 are capable of exceedingly fast attack times, though not without color.

Compressors are of two types: Positive displacement type Compressor: Positive displacement types like reciprocating compressors, Root's blower, and vane-sealed machines. For air at very high pressure, we require reciprocating compressors.

The Empirical Labs Distressor is a versatile analog compressor that can go from subtle and transparent to aggressive and colorful.

But what about acoustic? The 1176 owes its reputation to how it sounds on all sorts of instruments, not just electric guitar and bass. Frankly, a good compressor is only a good compressor if it works on a variety of sources, and that's why many think the 1176 is the best.

Should I use a compressor on every track? ›

At some point in the production process, you will probably use a compressor in every track that you make. However, it's important not to apply compression where it is not needed. Compression in mixing is one of a producer's most important tools, alongside applying EQ, reverb and delay.

The LA-2A Leveling Amplifier has only a single gain stage and is one of the simplest compressors to operate with two controls — Gain and Peak Reduction. The fact that it offers 40 dB of gain from input to output allows it to also be used as a preamp and compressor.

For high-volume applications (above 6,000 CFM), a centrifugal air compressor is the most cost-effective. For low-volume applications (less than 20 CFM), a reciprocating compressor is the best choice. For everything in between, screw compressors are generally the best.