How to use an 1176 compressor
For those of you using or curious about how to use an 1176 (hardware or plug-in), Fad Dupont http://puremix.net/video/… a new video on it. As usual, this new tutorial is excellent.
This video has a fee attached to it and also a short trailer.
Really good vid. Learnt a lot!
1176 is much more versatile. You can set the attack and release. Also, it has a cool sound. Sort of a bite.
The 1176 is more versatile. If you have the budget, go for it.
(right on chavernac, good to see you posting here! You are more than welcome to share your wealth of info here)
chavernac and Chris, thanks to you both for your replies to my inquiry.
Whereas audiokid might like using his 1176 before his LA-2, radio stations did that in the opposite manner. They would stick the LA-2 in the front of the peak stopping limiter, of which some utilized 1176's. And that's the way I frequently do it. But sometimes just like the way Chris does it even though my LA-3's are transistor and not tube. So this is another reason why software has become so popular. You can have anything and everything you want. You can make it do whatever you want it to do and then some. And it does sound like the real deal because it is. Maybe you should consider an EMT or, PYE, PDM limiter, a.k.a. PDM or, pulse duration modulation limiter. This is an analog limiter that uses a clocking pulse oscillator to digitally chop up the analog audio to effect gain reduction. And a lot of folks think those are real nice. I sold my eight PYE's some 20 years ago or more. And all because they did not have an output gain compensation control and their frequency response was limited to 15 kHz. But a lot of people thought those were the crème de la crème. And you don't see anybody doing that anymore.
I love my 1176's and my LA-3's a lot
Mx. Remy Ann David
RemyRAD, post: 392626 wrote: So this is another reason why software has become so popular. You can have anything and everything you want. You can make it do whatever you want it to do and then some. And it does sound like the real deal because it is.Not sure if this is a typo or what you meant, Remy?
Mx. Remy Ann David
Re Software: although it may simulate the real deal and look like it, it does not always sound like the real deal or respond to transients the same from my monitoring chair. I've noticed some software compressors actually have a noticeable latency between the first and second hit of a double kick or similar quick transient attack. These sonic differences are subtle but can really goof up a track. When it comes down to having upper mids stable or randomly brighter, that's a game changer. If you dial in a nice tick at example, 2.5k to a kick, and the tone varies between single and double kicks, that's enough for me to go bonkers. Where as, quality hardware is pretty solid and un effected like plug-in processing and often over taxed CPU's during final mix time ( many instances running).
A fast attack and its sonic setting on an 1176 in a mix stays acceptability the same no matter how many 16th hits you feed it. This is one of the biggest reasons why I like some hardware over software.
Jeff, having the LA2A is the Cadillac for vocals. There is a reason why most people love them. An 1176 is like adding more variation and additional control to your already lush LA2A. I notice the LA2A as soon as I plug it in. What you have already is gold.
Check out the video when you have time. )
I use the LA-2a always when tracking vocals and bass now (mostly acoustic stand-up bass) and get the best results I ever have.
Back in the hardware days, the 1176 & the LA-3 were my favorite tools. Now that I am fully 'in the box' the LA-3 & 1176 plug-ins are still my favorites. I also have a Waves Fairchild 660 & of course the Digirack dyn III but I never use them.
The LA-3 like the LA-2 that proceeded it used an optical device to do gain reduction. That's kind of slow but IMO the results are nothing short of wonderful.
The 1176 uses a FET and can be much faster.
The gain reduction curve of the LA-2 & 3 is something like the 'over-easy' curve that dBX compressors use.....the more GR you use, the higher the ratio.
As Remy says, it is customary to put the LA-2 before the 1176.....but that's for broadcast. Do whatever works for you.
Often you hear people saying something is good for drums or vocals or whatever. The LA-2 & 3 work great on just about everything.
It is very common to skim vocals with just an 1176.
It is very common to use just an 1176 on snare drums....often with fairly deep GR. Try this & you will immediately recognize the effect.
Remy, Davedog, mberry593 and others here have a longer history using 1176's, LA2a's, LA-2's, LA-3's stereo versions, vintage etc; than me so I'm not the guy to give much more advice on all the various tracking apps these gems work on. As you know, I got the first LA2a last year before the big price increase, before that, I've been using plug-ins.
This was the best hardware investment I've ever made for a vocal chain. Like you, vocals are the big thing for me so I didn't have any hesitation investing in them.
1176's followed because of extensive research on the LA2A and my thirst for classic hardware. I would say, I would put an 1176 more times than not in front of any vocal that is remotely aggressive followed by the LA2A ( or vise versa :biggrin:). For lush lead and choirs, the LA2A is golden on its own. The opera singer that was just here would have benefited from the 1176 but I didn't have it in time. Rock, or any lead with attitude, I would say the 1176 is the ticket.
When hitting the LA2A really hard, which I don't find necessary so far (but I'm sure I'll be loving that in no time), I have a feeling you would love an 1176 because its FAST where the LA2A isn't. 1176's have a lot of control which will allow you to dial in and get more of that LA2A juice without squeezing so much to get deeper into the lush sound LA2A's are known for. If I recall, you are doing this to reach deeper into a quiet passage, therefore, I think the combo would be exactly what you need.
I have two of each because I have two LA2A's for choirs and I am doing the hybrid summing trip for the 2-bus. Acoustic work and building a mixing/remix business with a touch of analog classic is growing for me. An 1176 had to be part of this, its the most versatile comp you will ever want, choice for everything but that rich LA2A vocal sound alone. I only say that because I have both now and know the difference :) However, the 1176LN (low noise) will work for almost everything you put in front of it, where as, the LA2A will not.
For drums, the SPL transient designer is the ticket. I sold my TD2 and got plug-ins and hate them compared. Anyone that thinks the TD plug-in is just as good, no offence, you are suffering from hearing loss or really bad monitoring. The plug-in version has audible issues compared to the hardware. For my tastes TD are the thing for drums, although the 1176 would be my next choice had I never owned a TD before..
I'd be really interested in trying the Apollo because you can track with the plug-ins. That's got to be a game changer for sure. But I still hold fast on hardware being better sounding.
Hate to push GS here but a few years back there were quite a few there that use these. Here is some ref on how I combo them for vocals, 1176 first with other comments on the opposite:
Note: The TD plug-in is very cool but like most compressor plug-ins, isn't as open and precise as the hardware.
and a few others.
I finally had a chance to try some very basic experimenting with an LA-2A first and after an 1176. The 1176 first (1176 > LA-2A) sounds much more detailed and punchy, or less processed with more vibe. I would use this conf for lead VOX and possibly other apps. The 1176 grabs the transients right a way that would otherwise force the LA-2A into more compression that it doesn't handle well (a bad crossover of who gets what). What happens is an audible tone and drop in volume going into the LA2A first that is more muddy or dark. The opposite is more open, tighter and a nicer vibe. And if I want more tube, I can add more and its doesn't seem to loose the edge.
I didn't hear what some opinions claim that the fast transients will pass through for the 1176 to catch later being a benefit. It didn't work as nice that way in series but it might for a more mellow performance or desired effect.
Whatever technical reasons are behind it all, on this first serious round, it definitely creates a more mellow process when flipped (LA-2A > 1176). I personally feel its like a front wheel drive car apposed to real wheel. Or, putting your wife at the bottom end of the sofa while moving it up some stairs. The 1176 is better at taking the hit (or weight) where the LA-2A softens the load or helps balances it evenly and ultimately sends it further into glorious sonic wonderland. :)
The two are very compatible. smoke Beautiful
Bottom line, the combo is one killer set-up. 1176 > LA-2A is still my fav for Vox
And now for kicks... I'm now going to order a different set of tubes.
In a manner of speaking I too go both ways. LA to Hollywood, Hollywood to LA.
Mx. Remy Ann David
Now I'm playing with the A-Design Hammer and its kicking a serious sweet glue into an entire mix. Highly recommend that piece too.
After using the BF 1176, and the CLA 1176 (blackface/blue stripe), i find i can't get that grit. It does come down to whatever particular unit they modeled. Which is why hardware is such an allusive thing. Software offers undeniable consistency and convenience. I like to get my 'dirt' in the analog realm and use digital to correct analog deficiencies.