When the Off switch is engaged, the plug-in is disabled. Just like a bass guitar, our kick drum’s “low-end” will require some compression to provide consistency. In this video Fab explains all relevant settings and shows example on how to make the best of them in a musical way. 299,00 €. The input gain needs to be adjusted carefully to do this. Then use the output gain to match the level. Another simple 1176 trick is turning the Attack and Release controls up all the way to their fastest settings. The point here is to just flatten the higher peaks. Pepper” setting. Hopefully these simple tips will help you get off and running with the 1176 Classic Limiter Collection plug-ins. Conversely, the Release control sets the time it takes for the 1176 to return to the original signal level. To review the two compressors, the 1176LN Classic Limiting Amplifier is a FET-based compressor. To do so, set the Attack control to 10 o’clock, the Release control to 2 o’clock, and the Ratio button at 4:1. One basic rule is that each successive compressor has a lower compression ratio than the one before it, and the first one is typically just catching the peaks. The 1176 compressor has lent its character and punch to some of the greatest recordings in history. Eight control switches surround the VU meter of all 1176s. This compressor should not be doing a whole lot, just knocking 2 … The most common combination is to put the 1176 first and set it up as a peak limiter. This month we’re looking at two studio legends: the 1176LN Limiting Amplifier and Teletronix® LA-2A Leveling Amplifier compressors. That means you’re cutting off the transient of the note. One of the most popular choices is an 1176-style emulation like Waves’ CLA-76. But the 1176 knocked the big peaks down, which would have thrown the LA-2A into quite a bit of compression. The 1176 Classic Limiter Collection plug-ins are meticulous emulations of three distinct 1176 hardware units in all regards — including their control responses and interactions. JavaScript seems to be disabled in your browser. So in this article we endeavor to make make bass compression, in the context of mixing and recording, simple. Setting the release time in this way will help avoid “pumping” or “breathing” phenomena from the compressor. Sometimes you can’t reign in the dynamics the way you need to with one compressor without causing audible compression artifacts. Disengaging all the Ratio buttons (just Shift+Click the currently selected ratio) disables compression altogether, but signal continues to pass through the 1176 circuitry. Each multi-ratio combination is a variation on All Button, adding compression distortion to a greater or lesser degree. A good starting point is to use the Output knob to match the level of compressed and uncompressed signals (which you can discern by hitting the Off switch / Bypass button). What happens here is the attack and release are happening so fast that minute level fluctuations sound like distortion. By doing so, the compressor’s effect on the mix can be heard without volume changes affecting your judgment. To do this, set a high compression ratio, like 12:1, and a fairly fast attack and release. So using a fast compressor right before the LA-2A does the trick. The name comes from a classic ad campaign for Dr. Pepper that recommended people drink a bottle for a needed sugar boost at 10 o’clock, 2 o’clock, and 4 o’clock, everyday. After EQing your track, you may still not be satisfied with how it “sits” in the mix.Instead of focusing on frequency, let’s look at some kick drum compression settings to tame dynamics.. That’s right, dynamic range has a HUGE impact on your final mix. The 1176's Input knob simultaneously sets the threshold level (which is the point where the compression “kicks in”) as well as the amount of signal entering the 1176. The 1176 Classic Limiter Collection for UAD hardware and UA Audio Interfaces captures three revisions of the legendary hardware used by everyone from Led Zeppelin to Michael Jackson. Finally there is the Limit/Compress switch, which increases the compression ratio from around 3:1 (compress) to 10:1 (limit). First, slowly decrease the attack time until the bass starts to sound dull and less aggressive. For example, if you like the sound of getting 5 to 7 dB of compression with the LA-2A, a large peak might suddenly cause 12 dB of compression and the release might not recover in time for the next audio transient. turning the knobs toward their higher values actually shortens attack and release times). Back off a few milliseconds, and you should be good. It can also be used to make a bass or guitar sound “dirty” or for putting vocals “in your face.” In “All Buttons” mode (sometimes also known as “British” mode), compression distortion increases radically. To do this, set a high compression ratio, like 12:1, and a fairly fast attack and release. Of course, the best way to approach them is to experiment with your source material and the various controls (especially the Attack, Release, and Ratio button combinations) to dial in your own desired 1176 effects. There is Peak Reduction, which increases the amount of compression by lowering the threshold. This is also true for the Input and Output controls — the same knob positions on one 1176 could produce dramatically louder (or softer) levels or distortion characteristics on another, for example. 12 Days of Savings Up to 60% Off - Ends November 30th. A medium setting is good—fast enough to be ready for a quiet note, not so fast that it boosts noise that occurs between notes. when set to +4, a meter reading of 0 corresponds to an output level of +4 dB). Now that we’ve got our basic settings down, let’s tweak. The Empirical Labs Distressor imparts a warm, vintage sound inspired by classics like the 1176 and LA-2A. In other words, turning up the Input knob on an 1176 has the same effect as turning down the Threshold control on other types of compressors. 4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics. We’ve done articles and videos in the past showing how they work, but one little-known compression secret is that they can be used together on the same track. For example, when compressing a snare drum, try setting a release time that’s fast enough to be shorter than the time between snare hits. In creating these new plugins, we learned that only the “outside” ratios are relevant to the multi button combinations’ sound, and the plug will “auto-fill” any redundant “inside” buttons. 4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics. You must have JavaScript enabled in your browser to utilize the functionality of this website. Mumford & Sons FOH engineer Chris Pollard details how he uses UAD-2 Live Rack and UAD plug-ins to shape the chart-topping group's string of sold-out shows. A wide range of “Multi-Button” ratio combinations possible with the hardware are now also possible with the 1176 Classic Limiter plug-ins — including the famous “All Button” sound. In this exhaustive UAD Tones & Techniques video, Grammy-winning producer Jacquire King (Tom Waits, Kings of Leon) shows you how he records acoustic guitars. You must have JavaScript enabled in your browser to utilize the functionality of this website. Of course, a much faster release might be appropriate.Note that the Attack and Release controls of the 1176 work in the opposite direction of many other compressors (i.e. 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.