In this blog, we’ll break down everything you need to know about the attack and release settings … I notice no one over uses the fastest attack setting on an 1176 and I'm curious why. An 1176 style compressor will be fundamental in catching the peaks of your performance so that your signal is nice and even throughout. To what degree is once again material dependent. The "smacking" here would be much more smoother and easy going since the signal is already tamed down with the LA-2A. Step 6: Set the Attack and Release knobs fully counterclockwise (in the case of the Attack knob, to its OFF position). The 1176 controls are actually backwards, so a fast attack/release is actually fully clockwise! The Attack is at 3 and the Release at 7. In this instance, he sets a relatively slow attack and the fastest possible release. The 1176 will faithfully compress or limit at the selected ratio for transients, but the ratio will always increase a bit after the transient. Step 7: Unmute your speakers and begin monitoring the 1176LN output. Share . The Urei 1176 is one of the most popular hardware compressors in existence. It is capable of incredibly fast attack and release times due to its FET circuit, and infamously features “backward” attack and release … The attack and release are program dependent, as is the ratio. 1176 fastest attack and release. How backwards it may sound, "consistent compression" is the key to good sounding compression IMO. This seemed to deal with the peaks and was followed by an la3a for more overall leveling. Turn the Attack knob up for a shorter attack and down for a longer attack. Here‘s a way to approach it: Start with attack and release both on the fastest setting, ratio 12, 20, or even „all in“. I‘ve found the attack on an 1176 the be the key to how intelligible vocals will be in a mix. This new technology also allowed for super-fast attack and release times (20 µS to 800 µS attack, 50 mS to 1.1 seconds for release). Note that on an 1176 (or an 1176 emulation like this), the knobs for attack and release are backward from what's standard. Now raise the input to get upwards of 6dB gain reduction. The original manual for the 1176 said it was "a major breakthrough in limiter technology—the first true peak limiter with all transistor circuitry offering superior performance and a signature sound." Be careful of the “backwards’ attack and release settings when using the 1176. Turning them counterclockwise slows down the attack and clockwise speeds it up. Nevermind (for now) if it sounds squashed. 1176 Attack and Release. There are controls for input and output gain, attack and release times, and buttons for ratios of 4:1, 8:1, 12:1 and 20:1. Notable is the lack of a threshold control. I recently did a mix where I put an 1176 as my first vocal compressor with 12:1, fastest attack and release. This is true for any of the 1176's ratio settings, and is part of the 1176's sound. At the source, raise the level of the input signal until the 1176LN meter shows optimum signal strength (around 0 VU, with Then I'd smack them with an 1176 on a fastest release and slow-ish attack to make them truly stand out in a mix. Share this page: By Sweetwater on Aug 8, 2012, 12:00 AM. For a pop style vocal I tend to go for a 12:1 ratio with a fast attack and fast release. Quick Tip: Remember that the Attack and Release controls on the 1176 compressor/limiter operate in the opposite direction you might expect. 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 … I can still remember when I actually heard the sound of compression for the first time. Upon its release in 1967, the 1176 Limiting Amplifier became an instant classic because of its unique lightning-fast attack and release times, musical Class A output stage, and its wide range of sounds, ranging from subtle, near-transparent compression, to all-out drive and distortion. Instructors had given me countless demonstrations, but I could never really hear the difference between the various settings—especially when it came to the attack and release ti.

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