Arturia 1176
Brandi Wendelberger
Detection is also versatile on each compressor with the ability to choose between Linked Stereo, Dual Mono, Reversed, Mid Only and Side Only. Each mode adds subtle changes to how audio detection triggers the compressor and offers more options for dynamics control. The side-chain source can be toggled between internal and external side chain with the option to increase the side-chain gain with a knob just below the source switch.
Coupled with the Advanced Mode, this is easily one of the most versatile and scalable versions of an 1176 plugin. The COMP FET-76 can be every bit of an 1176 when you want it, but much more with the click of a button. While it would be very easy to overcomplicate things, Arturia really did a great job of placing a myriad of controls in one elegant interface.
The controls are simple. To compress, turn up the input. The TUBE-STA has the same input output linking that the FET-76 has, so dialing in the right amount of compression is a bit easier but not level matched. For Modes, you have Single, Double, and Triple. These modes determine both the attack and release times. Single mode has a very slow response to allow transients through, Double behaves more like the original Gates version with program dependent response, and Triple mode responds more like the Fairchild compressor is a faster attack time and slightly slow release time. Further control of the release can be controlled with the Recovery Time knob, which goes from 2 seconds all the way to a very long8 seconds of release. Lastly, this compressor has a compression bypass switch to just use the TAE, an Output knob and the same mix control as seen in the FET-76.
Actually I believe they called the Vintage FET wrong in that article. I more firmly believe its based on an 1178. The two look similar, but the devil is in the detail. Plus it would make sense for Apple to not give us two versions fo the same compressor.
Well, the 1178 is based largely on the 1176, but it was stereo and also made further improvements on its design. It's not as common, but there are still a few old school engineers who own one. I believe Bob Clearmountain maybe one and Alan Meyerson may be another. If I recall correctly.
I am not quite sure if I share your point of view. The attack parameter indicates that the lowest setting is 0.1ms, which is 100s. The original 1176 starts with 20s, the difference is a factor of 5. Of course, that can make a difference but it still is fast.
As with the previous bundles, we get three processors, each of which is based on a classic studio effect. These are the FET-76, emulating the UREI 1176, the VCA-65, based on the dbx 165A, and TUBE-STA, which takes its cues from the Gates STA- Level. The latter is certainly the most interesting; both the 1176 and 165A have been replicated on multiple occasions, but the STA-Level will likely be new to most producers.
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The UREI (United Recording Electronics Industries) 1176 is one of the most significant and coveted pieces of professional audio equipment in history. The design of the 1176 was conceived by Bill Putnam, who began his work with the independent Universal Recording studio in Chicago.
After establishing himself as one of the best engineers in the United States and with the support of Frank Sinatra and Bing Crosby, he decided to open United Recording Corp in Hollywood and equip it with his unique and innovative designs.
The FET is responsible for sending more and more audio signal to ground as compression increases. Following this gain stage is an 1108 amplifier, essentially a pair of Darlington transistors serving as a preamplification stage, and at the output, a Class A amplifier incorporating coupling with a 600-ohm transformer, specially specified by Bill Putnam for the 1176.
The UREI 1176 is a feedback-type compressor, meaning the signal is monitored after gain reduction. The rectified control signal that controls the bottom resistor of the divider is generated in the sidechain circuit, fed from the compressor output, just before the output gain.
This rectified signal is used to feed a capacitor that charges/discharges according to the speeds set in the attack and release controls. The voltage on this capacitor is what controls the bottom resistor of the FET divider.
Operating in feedback, the response of the attack and release ramps varies completely compared to a push-pull system due to its operating principle, making it a program-dependent or material-dependent limiter.
The 1176 stands out as a feedback-type compressor, monitoring the signal post-gain reduction. This design choice, combined with the rectified control signal from the sidechain circuit, creates a program-dependent limiter, where attack, release, and ratio adapt to the input material.
Over its history, the 1176 underwent around 13 revisions and variations. Revisions C, D, and E have stood the test of time and are particularly revered among audio professionals for their sonic characteristics.
Around 13 revisions and variations existed in the history of the 1176. Historically, revisions C, D, and E are the most coveted by audio professionals. The equipment developed by UREI has had such an impact on the professional audio community that the 1176LN was included in the TEC Awards Hall of Fame in 2008.
The 1176 is a limiter-amplifier, which perfectly gives it the authority to function as an amplifier as well. Not selecting any compression ratio would make it behave at 1:1 and work as a line amplifier. It can even function as a microphone amplifier for those transducers with a high output level, such as some dynamic or condenser microphones with their power supply.
The 1176 has been an iconic piece of audio, and several manufacturers have taken on the task of replicating and modifying its circuit. In 2000, Universal Audio introduced the Re-Issue of the 1176 based on Revisions C, D, and E. They also presented an anniversary version of Revision A with a limited batch of 500 units and maintained the 6176, which is a hybrid of the 610 preamp with an 1176LN. Purple Audio has the MC77 based on Revision E.
Many companies base their circuits on the 1176, both in rack and 500 series, but these are some of the most recognized in the professional audio market. Several software emulations of the UREI 1176 compressor are also available, allowing users to harness the iconic sound and functionality of the hardware unit within digital audio workstations (DAWs).
Universal Audio, known for their high-quality audio interfaces and DSP-powered plugins, offers a collection of 1176 emulations. This includes the classic 1176LN, 1176SE, and various other models that faithfully reproduce the characteristics of the original hardware.
Part of the T-RackS mixing and mastering suite, the Black 76 plugin by IK Multimedia emulates the classic 1176 compressor. It provides a simple yet effective interface for users looking to add the 1176 sound to their mixes.
The CP3V, is a dynamic audio compressor plug-in that draws inspiration from the timeless 1176 analogue compressor. Through meticulously modelled analogue saturation and compression stages, this plugin gracefully infuses your compressed signal with increasing warmth at higher levels, ensuring a rich and inviting sound without ever veering into the harsh territory.
With its ultra-fast attack and release times, the CP3V opens up a realm of creative compression possibilities, allowing your tracks to seamlessly slice through any mix. Elevate your sound with a tool that combines vintage charm with modern precision, giving you the flexibility to sculpt your audio with finesse.
Arturia, known for their software instruments, also offers a plugin emulation of the 1176 called Comp FET-76. It provides a user-friendly interface and aims to capture the sonic characteristics of the original unit.
Before choosing a software version, consider your specific requirements, DAW compatibility, and the unique features offered by each plugin. Additionally, some DAWs come with their stock compressor plugins that may include 1176 emulations or similar models.
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The Apollo Solo Heritage Edition interface comes with a special collection of five Universal Audio plug-ins. These include full suites of Teletronix and 1176 compression, UA 610 Unison preamps, the Pultec Passive EQ Collection and Pure Plate Reverb. Together, these award-winning UAD plug-ins are valued at over $1,300. As with every Apollo, the Solo Thunderbolt 3 Heritage Edition also comes with the Realtime Analog Classics software package, so you can get familiar with the UAD ecosystem from the moment you plug it in. These inclusions are just a taste of the comprehensive UAD library consisting of plug-ins featured on hits by Billie Eilish, Kendrick Lamar, Foo Fighters and countless other chart-toppers.