1176 question

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Bulls Hit

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It doesn't seem possible to apply just a 'little' compression with this unit.

The way the input knob seems to control both the input level and the threshold is kinda wierd.

Having said that, I did get quite a cool snare sound with the input on max and a fast release, but is it only useful for this kind of extreme mangling?
 
Input level and threshold are really the same thing, it's just that they would work in the opposite direction.

However it is a colored compressor, so I wouldn't use it where subtlety was called for.
 
You can use the 1176 lightly if your input levels are in the average range. If not, than it can be a lot tougher to hit it gently (or aggressively depending on your levels). Are you using the plugin or a hardware box? It is important to remember that most people record digitally using a very hot (often strained) level. In the analog world people typically strive to have their average level at around 0 decibals. In digital this unity level typically corresponds to a level between -20 and -15. A lot of people now adays record their stuff at about -8 and then use compression to avoid peaks. The 1176 plugin is an attempt at modeling the original hardware box. This modeling may also include input levels and thresholds. If you are using really hot digital levels, than the 1176 may see that as an extremely hot input level. I keep my analog and digital levels pretty well matched (as if I was recording on analog). As a result, I often use lower threshold points than a lot of other people who are recording digitally. On plugins like the 1176 and the LA2a it means I have a lot more play on the input knob.
 
The 1176 is a limiter. The difference between a compressor and a limiter is the ratio. By this definition, the 1176 is not designed to apply just a little compression. It is designed to be used as a limiting amplifier. This is not to say that it can't be done, or shouldn't be done. Some of the coolest sounds come from using gear in a different way than it was originally intended. I would suggest just toying with the settings, and if you find a sound you like, use it. If not, use a true compressor at a low ratio setting. I'd start with 3:1 and go from there.
 
I remember I learned how to use very colored compressors by starting with the signal as horribly mashed as it could get and then pulling back from there until it does what it needs to do without completely contorting your signal.
 
lucky13 said:
The 1176 is a limiter. The difference between a compressor and a limiter is the ratio. By this definition, the 1176 is not designed to apply just a little compression. It is designed to be used as a limiting amplifier. This is not to say that it can't be done, or shouldn't be done. Some of the coolest sounds come from using gear in a different way than it was originally intended. I would suggest just toying with the settings, and if you find a sound you like, use it. If not, use a true compressor at a low ratio setting. I'd start with 3:1 and go from there.
Click to expand...


then why does a 1176 have ratio buttons?
 
My thoughts exactly. I was under the impression that the La2a was a limiter whereas the 1176 was a compressor.
 
UA describes both a "limiting amplifiers" in the manual, but goes on to say they both limit and compress, with 10:1 being the cutoff.

The behavior of the LA2A is complex; the limit/compress switch doesn't change the ratio as much as you'd think it would. In fact, looking at the gain reduction for the peak reduction levels I typically use (35 on the dial or so), it's only about 3:1. At higher peak reduction settings, say 70, it gets up to 4:1 or so, and the threshold changes too.

A peak limiter also is typically set with fast attack and release times, so while the 1176 could be set for that, it doesn't have to be.
 
they (1176 and la2) both have the capacity to be limiters...both can be pretty invisible in their gain reduction too...i use my 1176's with light reduction at 20:1 all the time.

'UA describes both a "limiting amplifiers" in the manual, but goes on to say they both limit and compress, with 10:1 being the cutoff.'

really? what's up with the 12:1 and 20:1 thing on the 1176? not doubting you i'm just gonna look into it is all...i'm sure what's on the hood and what's under it may be different.

MIke
 
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bigtoe said:
really? what's up with the 12:1 and 20:1 thing on the 1176? not doubting you i'm just gonna look into it is all...i'm sure what's on the hood and what's under it may be different.

MIke
Click to expand...

I think they mean at 4 and 8, they consider it a compressor, and at 12 at 20 they consider it a limiter, not that the names are that important.
 
I have the combo 6176

the re-issue 610 B and 1176 in strip form. I also found it had to just apply
transparent compression. But, a friend told me to set the input and then go back a ride or fine tune the input on the pre or send unit thats feeding it.
One increment on the input seemed to go exponential in gain reduction even at 4:1.
 
mshilarious said:
I think they mean at 4 and 8, they consider it a compressor, and at 12 at 20 they consider it a limiter, not that the names are that important.
Click to expand...

ah...thanks for clearing that up...

Mike
 
If you want to acheive a less compressed sound with the 1176, you might try something I've read about (but haven't tried myself), called "paralell compression." If you're on a DAW, copy the track you want to compress and paste it on a new channel. Keep the original track on its own channel. Compress that signal with the 1176. Then, mix both separate signals (uncompressed and compressed) in relationship to one another.
 
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