1176LN | Classic Limiting Amplifier | Universal Audio (2024)

FAQs

What is special about the 1176LN? ›

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.

As you would expect from UA, it also retains all the features and trademark sound of its ancestor, and switches easily between dual mono and stereo link. And yes-it does All-Button!

INPUT IMPEDANCE:

600 ohms, bridged-T control (floating). OUTPUT LOAD IMPEDANCE: 600 ohms, floating. Damping factor 20.

How It Works. The 1176 is a “feedback” compressor. The signal goes through the input stage, via the line input transformer, which has a big impact on the sound. From there, the signal is routed to the top of a FET, which is being used as a variable voltage resistor.

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.

The four Ratio buttons on the left of the meter are used to set the degree of compression — lower ratios (4:1, 8:1) for compression, higher ratios (12:1, 20:1) for limiting. And, exclusive to the 1176AE, there's an even lower, 2:1 ratio — for a smooth, soft-knee compression that's perfect for vocals.

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.

Code -38: A general error indicating a communication issue between the computer and UAD device(s) - think of it as a 'check engine light' for the UAD system. If the error persists after a cold reboot of the computer and UAD device(s), try the suggestions in the Basic Troubleshooting guides below.

Whereas mono sound is limited to just one audio channel, stereo sound uses two audio channels: the left and the right. This creates a more realistic and immersive listening experience. (In Greek, stereos means “solid” or “three dimensional.”)

The most common combination is to put the 1176 first and set it up as a peak limiter. To do this, set a high compression ratio, like 12:1, and a fairly fast attack and release. The point here is to just flatten the higher peaks.

What does Urei stand for? ›

United Recording Electronics Industries (UREI) was a manufacturer of recording, mixing and audio signal processing hardware for the professional recording studio, live sound and broadcasting fields.

The UREI 1176 is characterised by a big, clear and open sound, yet it will also happily contribute a degree of bite and grit when pushed hard. Long ago, engineers discovered an aggressive, yet musically pleasing style of compression achieved by selecting all four ratios simultaneously.

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 will faithfully compress or limit at the selected ratio for transients, but the ratio will always increase a bit after the transient. To what degree is once again material dependent.

You can use the 1176 settings as pictured above or use them as a starting point and dial in the exact amount of compression your vocal track will need. The slowest setting is at 7 o'clock and the fastest at 5 o'clock. Many engineers set the attack at 10 o'clock and the release at 2 o'clock.

Built in 1967, the 1176 marked the end of the vacuum-tube era, as the design evolved from the Universal Audio 176. This was a tube-based variable-mu compressor with four selectable ratios and variable attack and release controls.

FET Compressors use a Field Effect Transistor. Like the VCA, FET compressors can achieve very fast attack and release times. FET compressors also tend to colour the signal somewhat due to the FETs non-linear transfer function (White 2000). The 1176 and the Empirical Labs Distressor are both examples of FET compressors.

Well, their origins started in the 1930s and 40s when radio networks needed a way to control the audio signal in the latter part of the broadcast chain to prevent something called “overmodulation” which, to cut a long story short, can cause the transmitted signal to distort, and possibly fail.