The 2-1176’s AC power cord is detachable, and the unit’s internal self-sensing power supply will automatically operate at any voltage ranging from 100 to 240 VAC and at 50 to 60 Hz. Set to a 20:1 ratio and fast attack and release settings, the 2-1176 was an outstanding limiter for male vocals, providing a really firm lid without squashing the track’s timbre or pumping. The 2-1176 sounds better engineered and cleaner. The All setting also sounded incredible on drum mic overheads (using the 2-1176’s stereo-link function), producing hyperventilating Led Zeppelin — style tracks. I routed mults of kick and snare drum tracks to the unit, sharpened their attacks and tightened their decays using the All ratio setting, and then combined the processed outputs with the original tracks to get positively slammin’ drum tracks. A bit off topic, I wonder why they decided to rescale the control markings on the 2-1176. Update my browser now, By By Michael Cooper Another switch toggles between dual-mono and stereo-linked operation modes. The 2-1176 Dual Channel 1176LN Compressor Thank you for purchasing this version of the classic 1176LN compressor. I could have brought it back to life by backing off on the 2-1176’s attack time, but the drums lost their “spanked” sound. The 2-1176 Dual Limiting Amplifier is a 2-channel version of Universal Audio’s ’60s-era 1176 and uses the same FETs (for gain control elements) and output transformers. Universal Audio’s 1176LN Classic Limiting Amplifier is a handbuilt, faithful reproduction of Bill Putnam Sr.’s original visionary design — an iconic piece of audio history that had a hand behind classic recordings from Led Zeppelin, The Rolling Stones, Michael Jackson, and more. The new unit employs metal-film resistors, which produce a lower noise floor than the carbon-film resistors used in the vintage 1176. Release times can be adjusted from 50 ms to 1.1 seconds. The 2-1176 excelled at most applications I threw at it. The trap drum’s attack sounded gloriously slappy and the drum’s decay envelopes were tightened up beautifully. Each channel also provides a backlit VU meter and two-position meter function switch; the latter toggles the meter between readouts of gain reduction and output level. Each channel also sports a rear panel input-impedance switch that offers alternate 600-ohm and 15k-ohm settings; the latter setting produces a sound with more highs and greater depth. I used the same settings on a rock tune to record electric rhythm guitar played through a Roland Micro Cube amp and using a Royer R-121 ribbon mic and Universal Audio 2-610 tube preamp. Christian - Professional Mixer/Producer/Engineer. Have you ever compared these two units side by side? Overview The 2-1176 was briefly issued in the early 2000s, and is a stereo version of the 1176LN in a 2U enclosure. The new unit employs metal-film resistors, which produce a lower noise floor than the carbon-film resistors used in the vintage 1176. These can accommodate unbalanced lines by shunting the pin 3 (cold) signal to pin 1 (ground) on your cable’s connectors. Hard-panned, double-tracked power chords were firmly controlled in the compressed mix, creating a steady level wall of sound. Visit our corporate site. When my father designed this product, he was very proud of his accomplishment. Nearly 40 years of setting the input and output attenuation in dB (even the 175!) You might like the 2-1176 on bass if you’re shooting for a lean sound. Right, and why new gear doesn't sound like old. The 2-1176 is one of the best-sounding compressors available. Up to 40 dB of total gain is available from the level controls. Go to the Focus on Universal Audio page to see video and learn more about UA products. Selling for $2,795 list, the 2-1176 gets my highest recommendation. A single bypass switch deactivates compression on both channels simultaneously. However, I felt that the bass guitar lost a bit of body and sounded somewhat squashed. He was also 1176LN. On the 2-1176’s rear panel are balanced XLR I/Os for each channel. When stereo-linked, the left channel’s attack and release time settings are also applied to the right channel, but the channel producing the most gain reduction at any given moment also determines the amount of gain reduction for the other channel. The A-88MKII is supremely playable, with onboard creative tools … There may be a little difference between the two, but can you honestly say the real unit, Topic: UA 1176LN vs. 2-1176  (Read 5933 times). Re: UA 1176LN vs. 2-1176. Published: 11/01/2004. Comparing Universal Audio Plug-Ins To Their Hardware Counterparts. Obviously, being able to split the two and use just the 1176 is a huge plus. The 2-1176 sounds better engineered and cleaner. and suddenly every knob labled 1-10. The 2-1176 also uses rotary switches for ratio and meter functions in lieu of the familiar pushbutton switches for these functions, which appeared on all models of the 1176 (including the reissue in 2000). Values for settings of the attack, release, input level and output level controls are regrettably all represented by arbitrary numbers (vs. µs, ms and decibel values), although extreme settings for time constants are also marked “slow” and “fast,” respectively. Universal Audio, 831/466-3737, www.uaudio.com. Being a recording engineer himself, this was a piece of gear he used extensively. Update your browser to view this website correctly. In the latter mode, the meters are calibrated to show 0 VU at +4dBm output level. I have two 2-1176's and two original 1176's from the '70s. All rotary controls sport highly visible white hash marks on contrasting black plastic knobs. Using the stereo-linked 2-1176 as a stereo bus compressor (with a 4:1 ratio and fast attack) on a rock mix, the image was consistently stable. Mix contributing editor Michael Cooper is the owner of Michael Cooper Recording, located in beautiful Sisters, Ore. Cooper’s studio offers recording, mixing and mastering services. A 6-position rotary switch for each channel gives compression ratios of 1:1 (useful when you don’t want compression but would like to use the 2-1176 as a tone device to color a track’s sound), 4:1, 8:1, 12:1, 20:1 and All. 1176LN; 4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics. And now that a close reproduction of the venerable 1176 is available in a true stereo/dual-mono configuration, processing stereo subgroups and drum overheads with classic FET compression is easier than ever. Their first release was the 1176LN, based primarily on revisions C, D and E of the most famous FET compressor in history. I find vocals or drums pump more in the originals and the limiting is not as obvious IMO as an original blackface 1176. The 2-1176 Dual Limiting Amplifier is a 2-channel version of Universal Audio’s ’60s-era 1176 and uses the same FETs (for gain control elements) and output transformers. Further Reading on the Universal Audio / Urei 1176. Attack times range from a blazing fast 20 µs to 800 µs. For the best results, I liked compressing stereo subgroups of drums and/or guitars with the 2-1176 and combining the processed output with other elements of the mix at the stereo bus. I've been very happy with my 6176 (610-1176 combo), and I'm picky. The All setting duplicates the compression curve and added distortion produced on a vintage 1176 by pushing in all four ratio pushbuttons simultaneously. © 2020 MIX is part of Future plc, an international media group and leading digital publisher. The 2-1176 brought intentionally muted bass strings up in level and put a lid on the fully voiced and brighter upper strings, creating a wonderfully chunky, in-your-face — sounding track. On DI’d electric bass played through a Millennia TD-1, the 2-1176 made the track sound a little choked, even using a 4:1 ratio setting and the slowest possible attack time and with the VU meter showing less than 1dB gain reduction on peaks. VS-1176LN: VS Plug-In by Universal Audio - Products Pianos Organs Synthesizers Keyboards Guitar & Bass Drums & Percussion Production Amplifiers AIRA & DJ Roland Cloud Professional A/V Accessories A-88MKII. Vintage King's Inside Look At Universal Audio. Though the audio circuitry remains the same as the reissue 1176LN from the same period, rotary switches replace push buttons for ratio and meter selection, and metering options are limited and the meters are notably smaller. 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