Universal Audio 1176LN Limiting Amplifier

Used on the album 'Lazarettto'. "I recorded Jack’s vocals mainly with a Shure SM57. Sometimes we used a Neumann U47, as well as an RCA 77D and a Shure SM7, and I often pushed his vocals hard through an 1176(...)"

"And I have six old 1176 compressors, a Fair-child, three Lang equalizers [a PEQ4 and two PEQ2s], two Pultec [EQP-IA3] equalizers, an EMT plate reverb, and an EMT 250 digital reverb."

Two were used in series for "Black Dog", as stated by producer Andy Johns in this Universal Audio interview. The article is accompanied by [a photograph of Johns with three 1176LNs](https://media.uaudio.com/blog/2012/04/johns_hero.jpg). > Would you like the “Black Dog” guitar tone story? > **Absolutely! Which Led Zeppelin album was that?** > That is the fourth one, the really, really big one. “Stairway To Heaven,” “When The Levee Breaks,” and “Black Dog.” It sold about 18 million — something bloody ridiculous. Who would have known, you know? I had been trying to get this sound from Buffalo Springfield for a long time and I met Bill House. He said, “I just put two of them in series.” He didn’t really want to let me know what “they” were. > It was a direct sound and I thought that I knew what to do. There were three guitars on “Black Dog” so I triple tracked it. When I mixed it, these three guitars were down here and the rest of the tracks were up here. Since the sound was so loud, it gave me much more room for the other stuff. Anyways, he meant two 1176s in series, one of which has the compression buttons punched out, so it is like an amp. You hit the front of the next compressor really hard and make the mic amp distort a bit with the EQ —a bit of bottom to make it sing. So “Black Dog” has a direct Gibson Les Paul Sunburst 52 or something, going right into the mic amps on the mixer, which is going through two 1176s, and it sounds like some guy in the Albert Hall with a bunch of Marshalls. I couldn’t have done it without the 1176s. There is not another compressor that will do that, because you can take out the compression stuff.

appears at 8:45 among his other external equipment.

Steel guitar for Daft Punk was recorded using a Neumann U87 mic, which went through a Neve 1073 as well as the Universal Audio 1176LN. The 1176 was also used on the kick and snare for parallel compression during the mixing process.

Used on Lullabies to Paralyze by engineer Joe Baressi for Josh's vocals. "I tend to compress when I go to tape. The 1176 is my favourite on vocals, but sometimes the LA2A works really well. If you're looking for more dirt you can turn a tube compressor up a little more. I'm not opposed to dirtying the signal up and blending that in with the original. I'm not a transparent compressor guy. I may send one compressor into the other as well. That works well if you need a very up-front vocal. When I'm mixing I'll compress the vocal further, perhaps using an 1176 again."

Mix engineer Tommaso Colliva on recording Drones : "Matt always tracks the vocals by himself. I set things up for him, and the mic pre we use is always a Neve 1073, usually with an 1176 compressor. I dial in some settings and he may nudge things up or down, depending on the kind of vocals he’s tracking. We also very occasionally used a Mercury M76 tube mic pre, and on a few songs Matt wanted to hold the mic in his hand, but we didn’t like the sound of a dynamic mic too much, so we ended up using a FET47 which I took out of the mic mount and wrapped in foam. "

When asked if he has any Universal Audio analog gear int he studio, Diplo responded "Yeah, in our studios we have both a 6176 Vintage Channel Strip and a reissue 1176LN set up in our vocal chain. Much of the vocals on the record were recorded through those. Usually we’ll track with very light compression via those two components, so we are almost always choosing the UAD Powered Plug-Ins versions again later for the final mix or further sound design."

"These compressors here, they're always coming on the market and you need to keep an eye for them. I kind of sometimes trade gear for them. My engineers are always looking for this kind of stuff for me," says Steve Vai about the Universal Audio 1176 LN Compressor which he uses in his studio.

Two of these are visible behind Steve Angello at 10:40. They appear to have a design similar to the UREI version (the manufacturers of the 1176LN before Universal Audio), as they lack UA's distinct blue stripe around the lit meter.

In this magazine on page 67, he is using.

At 1:06:48 in this "Steinberg Studio Sessions EP10 - Deniz Koyu" video Deniz used it.

The UA 1176 Limiter can be found amongst Owl City's studio outboard equipment.

In his QnA, a 1176LN can be spotted in the background.

Watch at 1.13 and you'll see, he's explaining what he's using ! ;-)

In the studio tour of Gojira's Silver Cord Studio, Joe Duplantier's studio gear is shown to consist of various rackmount units and a Diezel Herbert tube amp head.

"Depending on the "flavor" of compressor or reverb I want I am also most fond of: UAD Teletronix LA-2A UAD 1176 LN UAD Ocean Way Studios Waves Renaissance Reverb"

Used for "Cry Me a River", as stated by engineer Jimmy Douglass in this transscribed March 2005 interview. >JUSTIN TIMBERLAKE > "Cry Me a River" >Producer: Timbaland > Engineer: Jimmy Douglass > "Justin came to me with his microphone in his case, and didn't actually take it out because he decided to see what I could do first," says Jimmy of the first session. "He was very happy, so he didn't get into that. I guess he has his mic with him just in case he runs into trouble. He works with a lot of different engineers and everybody has their secrets about their great mics. The thing about the [Neumann] U 87 - I used it because it's really kind of a neutral mic. All the other microphones have characteristics to them that don't work on everybody's voice. The U 87 seems to work on everybody." > "I look for Jimmy to tweak my vocals and make them crisp," adds Timbaland. "That's what I look for - that tone. With Justin, his vocal tone just came. Justin does his own thing." > Signal Path: Tracking > Jimmy explains: "The U 87 went to the Neve VR channel strip in mic position - I used the preamp on the board, and then inserted the [Universal Audio] 1176 across that particular path and then I sent it out to all my individual buses. I tracked Justin's vocals to Pro Tools. That's it. I've found that this is the chain of least resistance; it doesn't effect the vocal as much, and you can always do more creative things later in the mix. It's the most natural signal path I can find. I use the 1176 because it's a very fast limiter and it works well as a limiting tool as well as compressor. > "The reason I don't do anything coming in on the EQ side," he continues, "is because you can always EQ it later, but you can't take away EQ you've messed with on the way in. That gets recorded and you can never take it away." > Missy Elliott received the exact same signal treatment for her Timbaland-produced hit "Get Ur Freak On", as did Aaliyah on "Try Again," Jay-Z "Big Pimpin'," Snoop Dogg "Last Meal," Lil' Kim "The Jump Off," and Bubba Sparxxx "Deliverance," among others. > Signal Path: Mixdown > "I basically added a Teletronics LA2A across the chain," says Jimmy, "and I used the EQ on the VR. I just added a little bit of top and took away a little bit of the low bottom. I put a little bit of high-end just for shimmer. "The vocal to me is God. The vocal sells the record. I've always felt that way. That comes from working with a long line of great singers: Aretha Franklin, Roberta Flack, Donny Hawthaway, and Lou Gramm [Foreigner]. I came from the school of having the vocalist be the most important part of the record. If you listen to the early records Lou did, the vocals are really out there, it's very clear, it's very transparent. I look for transparency in vocals. And I also try to keep them very dry." It was also used on the lead vocals for "SexyBack", as stated by mix engineer Jimmy Douglass in this July 2007 *Sound on Sound* interview. > **Lead vocals: Universal Audio 1176, MXR flanger, Izotope *Trash*** > "The signal chain for Justin's vocals was an Audio-Technica 4060 mic, into a Presonus ADL600 mic pre, and then a Universal Audio 1176 limiter. I normally use the U87 for recording vocals, but I was curious about the AT and I had both mics in front of Justin. The effects I used on his vocals seemed to work better with the AT. I used the U87 on Timbaland's vocals and went straight into the desk. I like using the Neve VR mic pre. It's a little crunchy, it's not quite the 1072 or 1073, but it works.

Mentioned by producer Rik Simpson in this interview from the Universal Audio website, dated shortly after Coldplay's nominations for *Viva La Vida & Death and All of His Friends* for the 51st Annual Grammy Awards. > **What about mic pres on the drums?** > > Different things for different applications. I try and use as few mikes as possible on drums. My recent discovery are ribbon mikes. Maybe three, four feet above the snare, right in the middle of the kit. I put a Chandler PG-1 across the board, which is an old, Abbey Road-style compressor, and it just sounds pure Ringo! It's really fat, and full of character. Over that, I like to add a few close mikes, just to add a bit more weight to the kick, a bit more snap to the snare. But generally the main sound is from this one mono mic. > > Then there’s the [UA 1176](https://www.uaudio.com/hardware/compressors/1176LN.html)s. I use after-processing. I don't like recording with a great deal of compression. It doesn't make you work quite as hard. I try and get the sound as amazing as possible straight through the microphone. That's why plug-ins are so great. Once you've got it well recorded, you can put a digital plug-in across it, and it won't degrade the sound at all, it'll just help it shine.

The limiter is referenced in the description and finally shown at the end of the video, made during a session in Bibio's home studio.

Used for "Last Meal", as stated anecdotally by engineer Jimmy Douglass in this transscribed March 2005 interview about Justin Timberlake's "Cry Me a River". >JUSTIN TIMBERLAKE > "Cry Me a River" >Producer: Timbaland > Engineer: Jimmy Douglass > "Justin came to me with his microphone in his case, and didn't actually take it out because he decided to see what I could do first," says Jimmy of the first session. "He was very happy, so he didn't get into that. I guess he has his mic with him just in case he runs into trouble. He works with a lot of different engineers and everybody has their secrets about their great mics. The thing about the [Neumann] U 87 - I used it because it's really kind of a neutral mic. All the other microphones have characteristics to them that don't work on everybody's voice. The U 87 seems to work on everybody." > "I look for Jimmy to tweak my vocals and make them crisp," adds Timbaland. "That's what I look for - that tone. With Justin, his vocal tone just came. Justin does his own thing." > Signal Path: Tracking > Jimmy explains: "The U 87 went to the Neve VR channel strip in mic position - I used the preamp on the board, and then inserted the [Universal Audio] 1176 across that particular path and then I sent it out to all my individual buses. I tracked Justin's vocals to Pro Tools. That's it. I've found that this is the chain of least resistance; it doesn't effect the vocal as much, and you can always do more creative things later in the mix. It's the most natural signal path I can find. I use the 1176 because it's a very fast limiter and it works well as a limiting tool as well as compressor. > "The reason I don't do anything coming in on the EQ side," he continues, "is because you can always EQ it later, but you can't take away EQ you've messed with on the way in. That gets recorded and you can never take it away." > Missy Elliott received the exact same signal treatment for her Timbaland-produced hit "Get Ur Freak On", as did Aaliyah on "Try Again," Jay-Z "Big Pimpin'," Snoop Dogg "Last Meal," Lil' Kim "The Jump Off," and Bubba Sparxxx "Deliverance," among others.

"**Warren Huart on Steven’s vocals:** Most of Steven Tyler’s keeper vocals were cut at Swing House with a Neumann U 48 that Huart had used previously on The Fray, James Blunt, Adele and others. Other pieces of the chain included a Brent Averill Enterprises 1073, 'and then I mult to two sets of compression and I parallel compress. I have two [dbx] 160 VU’s, which I set pretty lightly, like 2-to-1 or 3-to-1. I split those out of a mult and then each of those goes to an 1176 set to limit on 20:1 and they just catch the peaks. I’ve got one for verses and softer vocals, attacking it lightly, and then when he goes into that louder, crazier Steven thing I have another set of compression set at half that. They’re multed back together and that’s the vocal sound. What it does is give you huge, fat vocals all the time. I ride the 1073—I’ll click the gain settings up and down depending on where he is on the vocal. It’s pretty old school. As an engineer, you’re blessed to work with a singer of that quality, because he makes your life very easy.'"

Used for vocal tracking, the studio has two classic 1176's, two re-issues and two silvers for a total of six 1176's.

Can be seen beneath his right studio monitor

In pictures in the October issue of Sound on Sound Magazine, an 1176LN can be seen rack mounted to the right of the desk they're sitting at.

SCNDL use the Universal Audio 1176 LN ampfilter in their studio (its on the left side)

> On the previous record, we used a Neumann M 49. On this one, we used a Sanken CU44X into a Tube-Tech MP 1A mic pre, then into the line-in of a Neve 1073 mic pre, for a little EQ tweak. Out of there, it went into an 1176 and a Massenberg EQ. From there into a dB [now Lavery Engineering] converter ahead of the R1.

Fred is walking Future music Magazine how he processes the audio on a track with outboard gear

In this article Illangelo says he used the UAD 1176 on The Weeknd's vocal for his song "The Hills"

"Shakira's lead vocals: Urei LA2A, Sony S777, Lexicon 960L, Empirical Labs Fatso, Waves *Renaissance De-esser* and *Renaissance Compressor*"

According to the "equipment list" found on Church Studios, owned by Epworth, one of the things listed is Universal Audio 1176LN.

"He listened to what we had, walked around doing his vocal exercises and getting loosened up, and I put up a U87 going to a Neve mic pre, with a Urei 1176 compressor. We worked with Joey until about six or seven in the morning, using about six tracks for his vocals, and then comp'ed a good vocal which we gave him on cassette."

"I usually record John through a Telefunken U47 from the late 40s. That’s usually my go-to mic on John — I found that I really like him through the classic U47. It’s just such a fantastic mic, it has a lot of great clarity and body for him. John’s a pretty strong singer, and that mic seems to take it pretty well. It’s worth noting that I’ve recorded all his vocals on the album to tape. That adds some nice upper harmonics, and it has a very nice saturation and character to it. This vocal has a dark slap-back delay. Mostly, the signal path would be a U47 going to a Universal Audio 1176, or sometimes an LA2A compressor. Preamp-wise mostly we went through Neve 1073’s or 1081’s. I’m going for character, that’s the main thing. I don’t want neutral, I want character. The 1176 or the Neve impart character on it." — Dave Tozer, executive producer of *Love in the Future*

During an interview/studio tour with Spitfire audio we see a vast array of Johns outboard gear.

As seen on instagram.

The 1176LN is visible in this article's photographs. The article covers MOM's studio gear

His vocal chain: Neumann tlm49 -> UA 1176 -> Logic vhd 500

Used for "Get Ur Freak On", as stated anecdotally by engineer Jimmy Douglass in this transscribed March 2005 interview about Justin Timberlake's "Cry Me a River". >JUSTIN TIMBERLAKE > "Cry Me a River" >Producer: Timbaland > Engineer: Jimmy Douglass > "Justin came to me with his microphone in his case, and didn't actually take it out because he decided to see what I could do first," says Jimmy of the first session. "He was very happy, so he didn't get into that. I guess he has his mic with him just in case he runs into trouble. He works with a lot of different engineers and everybody has their secrets about their great mics. The thing about the [Neumann] U 87 - I used it because it's really kind of a neutral mic. All the other microphones have characteristics to them that don't work on everybody's voice. The U 87 seems to work on everybody." > "I look for Jimmy to tweak my vocals and make them crisp," adds Timbaland. "That's what I look for - that tone. With Justin, his vocal tone just came. Justin does his own thing." > Signal Path: Tracking > Jimmy explains: "The U 87 went to the Neve VR channel strip in mic position - I used the preamp on the board, and then inserted the [Universal Audio] 1176 across that particular path and then I sent it out to all my individual buses. I tracked Justin's vocals to Pro Tools. That's it. I've found that this is the chain of least resistance; it doesn't effect the vocal as much, and you can always do more creative things later in the mix. It's the most natural signal path I can find. I use the 1176 because it's a very fast limiter and it works well as a limiting tool as well as compressor. > "The reason I don't do anything coming in on the EQ side," he continues, "is because you can always EQ it later, but you can't take away EQ you've messed with on the way in. That gets recorded and you can never take it away." > Missy Elliott received the exact same signal treatment for her Timbaland-produced hit "Get Ur Freak On", as did Aaliyah on "Try Again," Jay-Z "Big Pimpin'," Snoop Dogg "Last Meal," Lil' Kim "The Jump Off," and Bubba Sparxxx "Deliverance," among others.

Ian says he uses "1176" on vocals 41:28 into this video.

"New analog 4 the studio"

In this photo of the rack posted by Benton on his Instagram page, one of the things visible is the Universal Audio 1176LN amplifier.

Richard: Outboard-wise, my favourites are the wonderful Universal Audio 1176 compressor, and the Focusrite 330s are very good for vocal processing.

Used for "Try Again", as stated anecdotally by engineer Jimmy Douglass in this transscribed March 2005 interview about Justin Timberlake's "Cry Me a River". >JUSTIN TIMBERLAKE > "Cry Me a River" >Producer: Timbaland > Engineer: Jimmy Douglass > "Justin came to me with his microphone in his case, and didn't actually take it out because he decided to see what I could do first," says Jimmy of the first session. "He was very happy, so he didn't get into that. I guess he has his mic with him just in case he runs into trouble. He works with a lot of different engineers and everybody has their secrets about their great mics. The thing about the [Neumann] U 87 - I used it because it's really kind of a neutral mic. All the other microphones have characteristics to them that don't work on everybody's voice. The U 87 seems to work on everybody." > "I look for Jimmy to tweak my vocals and make them crisp," adds Timbaland. "That's what I look for - that tone. With Justin, his vocal tone just came. Justin does his own thing." > Signal Path: Tracking > Jimmy explains: "The U 87 went to the Neve VR channel strip in mic position - I used the preamp on the board, and then inserted the [Universal Audio] 1176 across that particular path and then I sent it out to all my individual buses. I tracked Justin's vocals to Pro Tools. That's it. I've found that this is the chain of least resistance; it doesn't effect the vocal as much, and you can always do more creative things later in the mix. It's the most natural signal path I can find. I use the 1176 because it's a very fast limiter and it works well as a limiting tool as well as compressor. > "The reason I don't do anything coming in on the EQ side," he continues, "is because you can always EQ it later, but you can't take away EQ you've messed with on the way in. That gets recorded and you can never take it away." > Missy Elliott received the exact same signal treatment for her Timbaland-produced hit "Get Ur Freak On", as did Aaliyah on "Try Again," Jay-Z "Big Pimpin'," Snoop Dogg "Last Meal," Lil' Kim "The Jump Off," and Bubba Sparxxx "Deliverance," among others.

At 9:08 this plugin is pulled up and Frank says "the famous 1176" then they both say its "lovley" and "nice"

Used for "Deliverance", as stated anecdotally by engineer Jimmy Douglass in this transscribed March 2005 interview about Justin Timberlake's "Cry Me a River". >JUSTIN TIMBERLAKE > "Cry Me a River" >Producer: Timbaland > Engineer: Jimmy Douglass > "Justin came to me with his microphone in his case, and didn't actually take it out because he decided to see what I could do first," says Jimmy of the first session. "He was very happy, so he didn't get into that. I guess he has his mic with him just in case he runs into trouble. He works with a lot of different engineers and everybody has their secrets about their great mics. The thing about the [Neumann] U 87 - I used it because it's really kind of a neutral mic. All the other microphones have characteristics to them that don't work on everybody's voice. The U 87 seems to work on everybody." > "I look for Jimmy to tweak my vocals and make them crisp," adds Timbaland. "That's what I look for - that tone. With Justin, his vocal tone just came. Justin does his own thing." > Signal Path: Tracking > Jimmy explains: "The U 87 went to the Neve VR channel strip in mic position - I used the preamp on the board, and then inserted the [Universal Audio] 1176 across that particular path and then I sent it out to all my individual buses. I tracked Justin's vocals to Pro Tools. That's it. I've found that this is the chain of least resistance; it doesn't effect the vocal as much, and you can always do more creative things later in the mix. It's the most natural signal path I can find. I use the 1176 because it's a very fast limiter and it works well as a limiting tool as well as compressor. > "The reason I don't do anything coming in on the EQ side," he continues, "is because you can always EQ it later, but you can't take away EQ you've messed with on the way in. That gets recorded and you can never take it away." > Missy Elliott received the exact same signal treatment for her Timbaland-produced hit "Get Ur Freak On", as did Aaliyah on "Try Again," Jay-Z "Big Pimpin'," Snoop Dogg "Last Meal," Lil' Kim "The Jump Off," and Bubba Sparxxx "Deliverance," among others.

Used for "The Jump Off", as stated anecdotally by engineer Jimmy Douglass in this transscribed March 2005 interview about Justin Timberlake's "Cry Me a River". >JUSTIN TIMBERLAKE > "Cry Me a River" >Producer: Timbaland > Engineer: Jimmy Douglass > "Justin came to me with his microphone in his case, and didn't actually take it out because he decided to see what I could do first," says Jimmy of the first session. "He was very happy, so he didn't get into that. I guess he has his mic with him just in case he runs into trouble. He works with a lot of different engineers and everybody has their secrets about their great mics. The thing about the [Neumann] U 87 - I used it because it's really kind of a neutral mic. All the other microphones have characteristics to them that don't work on everybody's voice. The U 87 seems to work on everybody." > "I look for Jimmy to tweak my vocals and make them crisp," adds Timbaland. "That's what I look for - that tone. With Justin, his vocal tone just came. Justin does his own thing." > Signal Path: Tracking > Jimmy explains: "The U 87 went to the Neve VR channel strip in mic position - I used the preamp on the board, and then inserted the [Universal Audio] 1176 across that particular path and then I sent it out to all my individual buses. I tracked Justin's vocals to Pro Tools. That's it. I've found that this is the chain of least resistance; it doesn't effect the vocal as much, and you can always do more creative things later in the mix. It's the most natural signal path I can find. I use the 1176 because it's a very fast limiter and it works well as a limiting tool as well as compressor. > "The reason I don't do anything coming in on the EQ side," he continues, "is because you can always EQ it later, but you can't take away EQ you've messed with on the way in. That gets recorded and you can never take it away." > Missy Elliott received the exact same signal treatment for her Timbaland-produced hit "Get Ur Freak On", as did Aaliyah on "Try Again," Jay-Z "Big Pimpin'," Snoop Dogg "Last Meal," Lil' Kim "The Jump Off," and Bubba Sparxxx "Deliverance," among others.

Featured in this Instagram post by Coons.