Derived from the 175 and 176 tube compressors, it marked the transition from vacuum tubes to solid-state technology.[1]. 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. This became known as "All-button" mode or British mode,[4] and is popular enough to be explicitly supported by modern clones of the 1176. 12 Days of Savings Up to 60% Off - Ends November 30th. After a transient, it releases quickly to avoid level drops, but if there is a continued state of heavy compression, the 1176 will exhibit a longer release to reduce pumping. FETs in the signal pre-amp were replaced with bipolar transistors (2N3391A). This allowed the 1176 to make a sound unlike any other processor ever heard before. From there, the signal is routed to the top of a FET, which is being used as a variable voltage resistor. Universal Audio actually has a full revision history of the 1176 and LA-2A, which you can find here. In this exhaustive UAD Tones & Techniques video, Grammy-winning producer Jacquire King (Tom Waits, Kings of Leon) shows you how he records acoustic guitars. This is true for any of the 1176's ratio settings, and is part of the 1176's sound. 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 notable setting, the “All Buttons In” mode, where all the ratio buttons are depressed simultaneously. However, British engineers discovered it was possible to push all four buttons in at once, an unexpected use case that led to unintended behaviour, with a substantial increase of harmonic distortion. 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. The amount of compression was determined by setting the input level — the hotter the signal reaching the detection circuits, the greater the resulting compression. As mentioned before Universal Audio are the creators of the original 1176 hardware unit. The FET feedback circuit was revised to minimize distortion. The amplifiers and transformers all by themselves give a desirable “hot” quality to anything passing through them. The 1176LN compressor is a handbuilt reproduction of Bill Putnam Sr.’s original design used on recordings by Led Zeppelin and Michael Jackson. Regular Price: Over the years there have been a number of different revisions of the 1176 hardware and to fall in line with the slight variations in sound and tone and Universal Audio have also mirrored these with different versions of the 1176 plug-in. Program dependency behavior was re-tuned. The 1176LN was inducted into the TECnology Hall of Fame in 2008.[3]. The threshold is set higher on higher ratios.[1]. But not all 1176's were created equal. MASTERING. One of the most critical aspects of recreating the sound of the original 1176 was faithfully reproducing the original output transformer, complete with the additional windings that provided the feedback signal to the final line output amplifier circuit. To what degree is once again material dependent. The only version with a blue "UREI" logo and without "Universal Audio" branding. The shape of the compression curve changes dramatically in all-button. MEDIA. So what does an 1176 “sound” like? As its predecessor, the 1176 utilizes soft knee compression[4] and fixed threshold: compression amount is controlled through the input control. Another unique feature was the selectable ratios of 4:1 and 8:1 for compression, and 12:1 and 20:1 for limiting. Metering circuit now uses an op-amp. It’s this “All buttons in” or “British” mode that Smasher was painstakingly designed to recreate. But in all-button mode, a few more things are happening; the ratio goes to somewhere between 12:1 and 20:1, and the bias points change all over the circuit. As the signal flows to the output stage, it is tapped and also sent to a sidechain detector circuit. KOMPRESKIMO. 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. Thanks to our friends at FX Rentals in London, we got hold of some truly beautiful kit in the form of various revisions of the original 1176 hardware compressor. With its distinctive tone and its wide range of sounds, deriving from the Class A amplifiers, its input and output transformers, the uncommonly fast attack and release times and their program dependence, and different compression ratios and modes, the 1176 was immediately appreciated by engineers and producers and established as a studio standard through the years. The original design was reproduced and revised thanks to the extensive design notes left by Bill Putnam. These were badged 1176LN, after a redesign by Brad Plunkett lowered the noise and increased linearity. [2] At the time of its introduction, it was the first true peak limiter with all solid-state circuitry. 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. HOME. Our 1176 compressor comparison video files are available for download here. The output transformer is an integral part of the sound of the 1176, balancing the impedance matching for the output. 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. The initial units released in 1967 were A’s, followed within months by AB revisions, and B revs in 1968. Klark Teknik 1176-KT FET-style Compressor (Available For Immediate Shipping) [1], Mike Shipley says "The 1176 absolutely adds a bright character to a sound, and you can set the attack so it's got a nice bite to it. However, the company was re-established as Universal Audio in 1999 by the sons Bill Putnam, Jr. and Jim Putnam, and re-issued the 1176LN as its first product. 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. Learn essential functions of popular tube and solid-state compressor varieties, and creative uses for your productions. The resistance between the Drain and Source leads of the FET will change in response to voltage applied to the Gate lead.In the later revisions, the relationship between fixed resistances and the FET’s dynamic resistance affects the gain of the circuit. The attack and release are program dependent, as is the ratio. 1176 Compressor Shootout. The release time is program-dependent: it is quicker after transients to obtain a more consistent level, but it slows down after sustained and heavy compression to reduce pumping effects. "[4], "UA's Classic 1176 Compressor — A History", "Model 1176LN – Solid-State Limiting Amplifier", "1176 and LA-2A Hardware Revision History",, All Wikipedia articles written in American English, Creative Commons Attribution-ShareAlike License, The original design by Bill Putnam; it had a brushed aluminium. IK Multimedia’s take on this classic compressor is based … This strange phenomenon might be described as a "reverse look-ahead". The 1176 is a “feedback” compressor. 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.