4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics. It has Input and Output gain, Attack and Release controls, and four compression Ratios. So using a fast compressor right before the LA-2A does the trick. 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. Each multi-ratio combination is a variation on All Button, adding compression distortion to a greater or lesser degree. 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. It doesn’t have a threshold control, but turning up the input gain has the effect of turning down the threshold. Pepper” setting. 4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics. The most common combination is to put the 1176 first and set it up as a peak limiter. JavaScript seems to be disabled in your browser. In this article, I’ll share some helpful tips and tricks for quickly getting up and running with proven settings of this iconic compressor. JavaScript seems to be disabled in your browser. 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. 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.The Output knob adjusts the overall signal leaving the 1176. You want to get your attack as close as you can to the transient without cutting it off. 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). Mimicking these numbers on an 1176 will often yield great results. What happens here is the attack and release are happening so fast that minute level fluctuations sound like distortion. This month we’re looking at two studio legends: the 1176LN Limiting Amplifier and Teletronix® LA-2A Leveling Amplifier compressors. There is Peak Reduction, which increases the amount of compression by lowering the threshold. To do this, set a high compression ratio, like 12:1, and a fairly fast attack and release. UA 1176 Compressor Settings Tutorial. Here, producer Marco Polo (Masta Ace, Scarface, Talib Kweli, Pharoahe Monch) offers tips on how to use Apollo interfaces and UAD plug-ins to move beyond samples and spur your own creativity. Sometimes you can’t reign in the dynamics the way you need to with one compressor without causing audible compression artifacts. To do this, set a high compression ratio, like 12:1, and a fairly fast attack and release. You’ll quickly hear why everyone from Led Zeppelin to the Beastie Boys have used this trick. To do this, disable the compressor and listen to the average level of your track, then enable it and adjust the output gain until you can’t really hear a difference in level. Check out the video to see both of these compressors being used together on a variety of audio tracks. Aside from that, it is very much like most utility compressors. This is commonly used to add the “color” of the 1176 amplifiers without any gain reduction. You'll hear the level slowly come back up: your basic “pumping and breathing” effect. 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. The point here is to just flatten the higher peaks. turning the knobs toward their higher values actually shortens attack and release times). 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. Setting the release time in this way will help avoid “pumping” or “breathing” phenomena from the compressor. Just like a bass guitar, our kick drum’s “low-end” will require some compression to provide consistency. Then adjust Input and Output controls as the source material dictates, or simply to taste. You can also reverse the order of the two, using the LA-2A in Limit mode to knock down the peaks, and the 1176 to smooth out the rest of the track. Hopefully these simple tips will help you get off and running with the 1176 Classic Limiter Collection plug-ins. Engineers typically use “All Button” mode on drums or on ambience mics. 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. 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. The 1176 boasts anywhere from a lightning-fast, 20 microsecond attack time to a fast 800 microseconds. 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. Finding good compression settings for bass to get a tight and solid low end can be a mystery if you’re new to mixing. For a solid starting point with the 1176 plug-ins, try the classic “Dr. If something has the desired effect, go for it! 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. Because it gives you more control over the compression and can create a very smooth effect, especially on a track that varies wildly in dynamics. Disengaging all the Ratio buttons (just Shift+Click the currently selected ratio) disables compression altogether, but signal continues to pass through the 1176 circuitry. So in this article we endeavor to make make bass compression, in the context of mixing and recording, simple. 12 Days of Savings Up to 60% Off - Ends November 30th. Now that we’ve got our basic settings down, let’s tweak. The LA-2A should be set up just like you would if it were being used alone, with the Compress/Limit switch set to Compress, and Gain Reduction and Gain set to taste. 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. And, with the 1176AE, there’s also a fixed 10 millisecond, super “Slo” attack time — great for adding “punch” to source material by letting more transient through before shaping the instrument’s remaining signal. 299,00 €. Then use the output gain to match the level. when set to +4, a meter reading of 0 corresponds to an output level of +4 dB). Just like all audio tools, there are no hard and fast rules. Usually it is best to find a part of the track with the highest peak or peaks and cycle that, and adjust to get the effect I described. That means you’re cutting off the transient of the note. 12 Days of Savings Up to 60% Off - Ends November 30th. This compressor should not be doing a whole lot, just knocking 2 to 3 dB off of the loudest peaks. And, exclusive to the 1176AE, there’s an even lower, 2:1 ratio — for a smooth, soft-knee compression that’s perfect for vocals.The four buttons on the right set the various metering methods. Go behind the scenes with producer/engineer Fab Dupont (Shakira, Santigold) as he works with Grammy-winning producer Jacknife Lee (U2, The Killers) creating the Apollo Artist Session at London’s AIR Studios — the debut of Apollo X Audio Interfaces. This compressor should not be doing a whole lot, just knocking 2 … 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. But the 1176 knocked the big peaks down, which would have thrown the LA-2A into quite a bit of compression. This trick also sounds great on screaming lead vocals. This control can be used to apply “makeup” gain to compensate for any that was lost during gain reduction and compression. We chatted with Hamilton about his hybrid analog/digital recording studio, how he implements UAD plug-ins and Unison technology in his workflow, and the session he produced at at Studio G, his multi-room Brooklyn recording facility, tracking hip-hop artist Lyrics Born. You must have JavaScript enabled in your browser to utilize the functionality of this website. 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. The LA-2A Classic Leveling Amplifier, on the other hand, is an opto-based compressor, which means it uses a electro-optical device to perform gain reduction. In this video Fab explains all relevant settings and shows example on how to make the best of them in a musical way. Eight control switches surround the VU meter of all 1176s. First, slowly decrease the attack time until the bass starts to sound dull and less aggressive.