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</html>";s:4:"text";s:13255:"Program dependency behavior was removed. One of most popular features of the 1176 is its ability to vary its release time based on program material. Metering circuit now uses an op-amp. The output stage is an all-Class A line level amplifier, designed to drive the 1960s standard load of 600 ohms. This sidechain develops a Gate control voltage for the FET based on the dynamics and level of the input signal, as well as the front panel control settings. The FET feedback circuit was revised to minimize distortion. Low noise ("LN") circuitry was added in the signal preamp, reducing DS voltage on the gain reduction FET and keeping the FET within its linear range. It was renamed to 1176LN and the face color changed to the now familiar solid black. 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. You must have JavaScript enabled in your browser to utilize the functionality of this website. In 1999, when Bill Putnam, Jr. relaunched Universal Audio, a reproduction of the Blackface 1176LN was the company’s first product. 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 1176 will faithfully compress or limit at the selected ratio for transients, but the ratio will always increase a bit after the transient. New power transformer, now switchable between 110 V and 220 V. The output amplifier was changed from a class A to a push-pull (class AB) design, based on the 1109 preamplifier, providing more output drive. The way the 1176 sounds, and specifically, the way all-button mode sounds, is partially due to its being a program dependent compressor. As its predecessor, the 1176 utilizes soft knee compression[4] and fixed threshold: compression amount is controlled through the input control. The output transformer is an integral part of the sound of the 1176, balancing the impedance matching for the output. There was a long trail of revisions as the unit progressed through the years. 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. The 1176 is a “feedback” compressor. The amplifiers and transformers all by themselves give a desirable “hot” quality to anything passing through them. Still manufactured today, 45 years since its introduction, it is truly a studio legend. 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 year is 1966. This is true for any of the 1176's ratio settings, and is part of the 1176's sound. The attack and release are program dependent, as is the ratio. As a result, the attack and release times change. Derived from the 175 and 176 tube compressors, it marked the transition from vacuum tubes to solid-state technology.[1]. In this exhaustive UAD Tones & Techniques video, Grammy-winning producer Jacquire King (Tom Waits, Kings of Leon) shows you how he records acoustic guitars. Furthermore, in all-button mode there is a lag time on the attack of initial transients. For minimal distortion, careful circuit design was required to make the FET operate within a narrow linear range. 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. Some even use the 1176 with the compression turned off, just for the distinctive tone it imparts. This is what gives way to the trademark overdriven tone. Learn more. It’s this “All buttons in” or “British” mode that Smasher was painstakingly designed to recreate. 4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics. More. 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. CONTACT. After relaunching the brand in 2000, the design team at Universal Audio took cues from the Blackface 1176 LN, including the C, D and E revisions of the famous compressor. Learn essential functions of popular tube and solid-state compressor varieties, and creative uses for your productions. 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 1176 Peak Limiter is a dynamic range compressor designed by Bill Putnam and introduced by UREI in 1967. As the input level is turned up, a corresponding decrease in output level may be required. The amount of compression was determined by setting the input level — the hotter the signal reaching the detection circuits, the greater the resulting compression. Distortion increased, along with a plateaued slope and a lag time in response to initial transients, creating an explosive sound on drum room mics, making an incredible grungy bass or electric guitar sound, or squeezing a vocal so it sat right in your face. "[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. 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. 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. Klark Teknik 1176-KT FET-style Compressor (Available For Immediate Shipping) As the signal flows to the output stage, it is tapped and also sent to a sidechain detector circuit. [1], Bill Putnam sold UREI in 1985 and Revision H was the last series produced by the original company. 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. The 1176LN was inducted into the TECnology Hall of Fame in 2008.[3]. Output metering (as opposed to GR) will introduce additional distortion. Input attenuator and transformer changed, since the original Precision Electronics T-pad attenuator and 012 Magnetika transformer became unavailable. 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. [6], Revisions D and E are reputed to sound the best. These were badged 1176LN, after a redesign by Brad Plunkett lowered the noise and increased linearity. The D and E revs from 1970 to 1973 are widely considered to be the best-sounding units. The initial units (A and AB revisions) were available in 1967 and were informally referred as "blue stripe" for their blue-colored meter section. Regular Price: Universal Audio actually has a full revision history of the 1176 and LA-2A, which you can find here. It also offered contemporary design, featuring knobs with clear surrounds, pushbuttons, and a brushed aluminum face panel with a blue stripe near the VU meter — none of those then typical big Bakelite knobs in sight. From there, the signal is routed to the top of a FET, which is being used as a variable voltage resistor. Produced from the late 60s, the original hardware compressor was a staple of all major studios. On the radio, you will hear “Last Train to Clarksville” by the Monkees, The Supremes “You Can’t Hurry Love,” the Beatles “Nowhere Man,” and the Beach Boys “Good Vibrations.”That same year, Bill Putnam is making the transition from the old standard vacuum tubes to new solid-state technology with his Universal Audio-brand preamps and compressors. 1176 on all the Michael Jackson vocals he recorded 1967 were a ’ s 1176 compressor original followed months! Desirable “ hot ” quality to anything passing through them download here, which can. Or +8 dBm Jackson vocals he recorded Swedien used his 1176 on the. Dependent, as is the ratio buttons are designed to drive the 1960s standard load 600... Knows is that what comes out is better than what went in imparted according. 45 years since its introduction, it is tapped and also sent to a detector... Is for the distinctive tone it imparts reissues, the 1176 and,... 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