The 2-1176 sounds better engineered and cleaner. On the 2-1176’s rear panel are balanced XLR I/Os for each channel. 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). 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. All rotary controls sport highly visible white hash marks on contrasting black plastic knobs. A bit off topic, I wonder why they decided to rescale the control markings on the 2-1176. 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. Another switch toggles between dual-mono and stereo-linked operation modes. 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. Published: 11/01/2004. 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. Re: UA 1176LN vs. 2-1176. 1176LN. Universal Audio, 831/466-3737, www.uaudio.com. Selling for $2,795 list, the 2-1176 gets my highest recommendation. 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. 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. 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. Christian - Professional Mixer/Producer/Engineer. Visit our corporate site. Right, and why new gear doesn't sound like old. 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. 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. Each of the 2-1176’s two channels sports continuously variable attack, release, input level and output level controls. © 2020 MIX is part of Future plc, an international media group and leading digital publisher. The All setting duplicates the compression curve and added distortion produced on a vintage 1176 by pushing in all four ratio pushbuttons simultaneously. Comparing Universal Audio Plug-Ins To Their Hardware Counterparts. The new unit employs metal-film resistors, which produce a lower noise floor than the carbon-film resistors used in the vintage 1176. You might like the 2-1176 on bass if you’re shooting for a lean sound. 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. Obviously, being able to split the two and use just the 1176 is a huge plus. 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. and suddenly every knob labled 1-10. The 2-1176 excelled at most applications I threw at it. Vintage King's Inside Look At Universal Audio. I have two 2-1176's and two original 1176's from the '70s. 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. 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. He was also However, I felt that the bass guitar lost a bit of body and sounded somewhat squashed. The trap drum’s attack sounded gloriously slappy and the drum’s decay envelopes were tightened up beautifully. The All setting also sounded incredible on drum mic overheads (using the 2-1176’s stereo-link function), producing hyperventilating Led Zeppelin — style tracks. The 2-1176 Dual Channel 1176LN Compressor Thank you for purchasing this version of the classic 1176LN compressor. I've been very happy with my 6176 (610-1176 combo), and I'm picky. Nearly 40 years of setting the input and output attenuation in dB (even the 175!) 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. 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. Have you ever compared these two units side by side? A single bypass switch deactivates compression on both channels simultaneously. The 2-1176 sounds better engineered and cleaner. 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. 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