Universal Audio 175

$26.00 to $49.00 Price Tier: Budget

1 Critic Review

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Page last updated Jun 19, 2026

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Average Price: $45

Budget/Beginner

$100

$501+

Price Tier

In the Effects Processors category, Universal Audio 175 is priced in the Budget/Beginner range. This is great gear to get started with or for creators on a budget.

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Description

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Step into the realm of classic compression with the Universal Audio 175, a digital homage to the first compressors engineered specifically for music. Originally crafted by audio pioneer Bill Putnam Sr., the 175B and 176 compressors became legendary for their rich tube gain reduction and sonic versatility. Now, musicians and producers can access these classic sounds with the Universal Audio UAD 175B & 176 Tube Compressor plug-in collection. This meticulous emulation captures every nuance of the original hardware, offering fast attack times and independently variable Attack and Release controls.

The Universal Audio 175 is not just about compression; it's a sonic chameleon that adds depth and character to any track. Whether you're looking to inject energy into vocals, give definition to guitars, or add punch to a drum bus, this plug-in collection delivers. The 175B offers a fixed 12:1 ratio with a hard-knee for robust, near-brickwall limiting, while the 176 provides multiple ratio selections and a softer knee for more nuanced compression. The collection also features presets crafted by renowned studio wizards like Jacquire King and Joe Chiccarelli, ensuring you find the perfect tone.

Ideal for musicians of all levels, the Universal Audio 175 brings a piece of audio history into your DAW, offering unparalleled tonal richness and harmonic complexity without the hefty price tag of vintage hardware.

Key Features:

Authentic emulations of the original UA 175B and 176 compressors
Fast attack times (100–1,000ms) with independent Attack and Release controls
Rich harmonic saturation for use as a "tone box"
175B: Fixed 12:1 ratio with hard-knee limiting
176: Selectable ratios of 2/4/8/12:1 with softer knee
Artist presets from Jacquire King, Carl Glanville, Joe Chiccarelli, and more
Dry/Wet Mix controls for parallel processing
Usable with any audio without requiring UA hardware

Product specs

Software Type	Tube Compressor
Platform	Mac, PC
Upgrade/Full	Full
Download/Boxed	Download
Bit Depth	64-bit
Format	AAX, AU, VST3 (UAD Native), UAD DSP
Authorization Type	iLok Account Required (UADx Native version)
Hardware Requirements - Mac	Intel Core 2 Duo or higher, 4GB RAM minimum
Hardware Requirements - PC	Intel Core 2 Duo / AMD Athlon 64 X2 or higher, 4GB RAM minimum
OS Requirements - Mac	macOS 10.15 or later
OS Requirements - PC	Windows 10 or later

FAQs

What type of compression does the Universal Audio 175 provide?: The Universal Audio 175 offers vintage tube compression, known for adding warmth and harmonic richness to vocals, drums, guitars, and other instruments.
Is the Universal Audio 175 compatible with my DAW?: Yes, the Universal Audio 175 is compatible with DAWs that support AAX, AU, and VST3 formats, making it versatile for use with popular software like Pro Tools, Logic Pro, and Ableton Live.
Do I need any specific hardware to use the Universal Audio 175?: You do not need UA hardware to use the Universal Audio 175, but you will need an iLok account for authorization and a compatible Mac or PC with at least 4GB of RAM.
Can the Universal Audio 175 be used for parallel processing?: Yes, the Universal Audio 175 includes plug-in-only features like Dry/Wet Mix, which allows for parallel processing to creatively enhance your audio tracks.
What are the compression ratio options available on the Universal Audio 175?: The Universal Audio 175 offers multiple compression ratio options, including 2:1, 4:1, 8:1, and 12:1, allowing for flexible dynamic control over your audio sources.

Videos

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Universal Audio

Return of the Original - UAD 175B & 176 Tube Compressor Collection

Universal Audio

Add Presence and Punch to Your Mix with the 175B & 176 Tube Compressors | UAD Quick Tips

Universal Audio

175B & 176 Tube Compressor Collection Sound Examples | UAD Native & UAD-2

Universal Audio

UA 175B & 176 Tube Compressor Collection - Mixing With Mike Plugin of the Week

Mixing With Mike

Universal Audio 175B & 176 Tube Compressor Collection

Home Recording Made Easy

Universal Audio UAD-2 9.10 Audio Examples of 175B and 176 Compressor

Production Expert

Universal Audio 175b & 176 a new level of analog emulation?

Heron Island Studio

Reviews

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Owner Insights

We analyzed real musician discussions from forums and Reddit to find what players love, question, and tweak about Universal Audio 175.

Use cases and applications

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The 175B is favored for drums and bass guitar, offering a distinct break-up when pushed.
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The 176 is considered a vibey alternative to the 1176, especially effective for lead female vocals in energetic soul music.
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Acoustic guitars benefit from the 175B's ability to add a pleasant tonal "sauce," especially on full-bodied guitars.
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LA-2As are recommended for use on vocals, bass, brass, and strings rather than on the master bus due to their auto attack/release characteristics.
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Features and functionality

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The 175B and 176 add 3rd order harmonics and tube saturation, enhancing mix presence.
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The LA-2A compressor is known for having auto release and attack, making it significantly simpler to use with just a compression and a makeup gain knob.
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Comparisons

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The 176 has a fast attack similar to the 1176 and is preferred for less extreme compression tasks.
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For more control over compression styles, the 1176, Distressor, 175B, or 176 are suggested as alternatives to the LA-2A.
Source

Software and compatibility

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UA plugin users should be aware of headroom adjustments and gain staging to avoid unwanted side-chaining effects when using LA-2A emulations.
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User experience

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Some users have found the +4 and +10 output meter calibration on UA compressors to be confusing, indicating a need for experimenting with the switch to understand its effect.
Source

Critic Reviews

UA Capitol Chambers, 175B & 176

soundonsound.com

Universal Audio's 175B and 176 compressors deliver classic warmth and musicality, breathing life into your mixes with their vintage character. The intuitive controls make it easy to achieve desired compression effects without overwhelming your sound. However, while the plugins shine in many contexts, they may not suit every scenario, particularly for those seeking extreme compression or specific modern tones. Overall, these emulations capture the essence of the originals beautifully, making them a worthy addition to any studio setup.

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Artist usage

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Dave Grohl

Guitarist, Drummer

Nirvana

Verified via Soundonsound

Used on Grohl's vocals for "The Pretender", as stated by mix engineer Rich Costey in this March 2008 Sound on Sound interview.

Vocals: Mercury EQH, UA 175, Roger Mayer RM58, Waves DeEsser, Digidesign Reel Tape Saturation, Sound Toys Echoboy, Pultec EQP1A, SPL De-esser, Neve Portico 5042

"If I recall correctly, the lead vocal is doubled throughout the song. I used a Waves DeEsser plug-in on it, which I'm quite a fan of, as I've not heard a hardware de-esser that is competitive with it. The main signal chain after that was a Mercury EQH tube EQ and then a couple of vintage UA 175s. I hit the background vocals with the Roger Mayer RM58. I haven't mentioned any plug-ins yet, apart from the Waves DeEsser, because I hardly used them on 'The Pretender.' The only other ones I used were the Reel Tape Saturation and the Pultec EQP1A on the intro vocals, and the Sound Toys Echoboy on one of the end vocal overdubs.

"I used board EQ on all the vocals. The Pultec EQP1A plug-in on the intro vocals was to help them cut through. The Reel Tape Saturation was a plug-in that I had just bought. I wanted to warm the vocals up a little bit with it and make them a little bit crisper. Nothing too distorted. The Echoboy plug-in was used on a vocal overdub at the end for a tight delay. I don't tend to use plug-ins that much; they're really not that interesting, in my opinion. Finally, I also used an SPL De-esser on some vocals, and the Neve Designs Portico 5042 for a bit of crispness. It has its own sound, and I used it a lot on the whole Foo Fighters album.

"To complete the picture, I used an EMT plate and the room mics for general reverb, and my two EAR 660 limiters were my bus compressors, together with the Manley Massive Passive. We printed the mix to the ATR102, on half-inch analogue tape, from which it was mastered."