the robot technology and massive MUSIC GROUP chaired by Uli Behringer pushes the KT 1176 and takes the low end price from WARM.
Its almost like just following the herd and buying a MICROPHONE > 1073 > 1176 and be like all the known to work mic chains. Why go through 300 other combos.
Like sticking a SM57 on a guitar, we can try 23400 other mics but the SM57 is known to work well enough…
follow the herd because it works…like 4 tires on the car, …just be normal and buy the 1073+1176 and fuhget bout it.
or just get the plugin version ITB on everything and buy a UA Interface and ITB plugs of near equal sound of 1176 and sim Preamp 610 and 1073 and use on 4000 tracks with unlimited instant recall SAVE AS functions instead of one mono unit for $500?
or just repeat myself and try and buy a MIke E or LA610mk2 for $1000… then sell them at a loss later and keep going back to ITB or some ART thing with a $100 mic thats supposed to sound like a U87.
Anyone here have any 1176 love and review and comments?
I almost bought a KT this morning… but kind of looking at ITB too maybe buy a UA interface with UA plugins about the same price.
Boz I dont think my setup allows real time tracking with any plugins but my dongle device stuff (L6)… during mix I can obviously. your +10DB is still my fav EQ and layout, all on one screen but I wasnt able to use it tracking realtime.
the 1176 is the going in with standard Mic>1073>1176 thing …I meant tracking really in the post.
I’m not sure what you’re trying to ask. Are you debating buying that KT? Vs one of the other 1176 model compressors?
I’ve used them a good bit over the last few years. I never bought one because I haven’t felt like I needed to own a hardware piece. But when I track in studios that have these as an option, I’ve always liked how they sounded. Though there’s not necessarily the first choice or the automatic go-to. It depends on the singer, the mic, and the song. I use the plugins religiously when mixing. But only the UAD 1176 plugin these days. Then I go to the Waves when max out the UAD card and run out of processing power. I haven’t used the Slate 1176 at all after I started getting comfortable with the UAD.
Remember that all 1176 shaped objects do not sound the same. Just because it looks like an 1176 doesn’t mean that its going to act like the ones that were used on the records. I sold the hairball kits because assembling them was over my head.
So obviously you’ve studied these enough to know what they’re all about. I think you’ve wanted one of these for long enough that you should probably go ahead and buy one.
Not necessarily. The beauty of the 1176 (like the EL8 Distressor) is the extreme versatility. I often use a gentle 4:1 with medium attack and fast release for tracking vocals (a pretty common setting) But all buttons in and smash smash smash on drums Sometimes 8:1 fast/fast for exaggerating edge on a guitar. 4:1 slow/slow for adding sustain to a piano…the possibilities are endless!
I use the 1176 plugins as if they were a hardware piece. Here’s my general thought on buying one. If it sounds good, then great. The way I judge the quality of any unit that purports to act like a Urei or Universal Audio outboard box is this:
The potentiometers and the input transformers have to be dead-on accurate to the industry standard units like the Universal Audio or Urei hardware versions. Because for me, those are the ones I cut my teeth learning to mix on in college. Otherwise its not an 1176. Its just looks like one. What I listen for is a distinct tone and color change/heat/saturation even when the compressor is off.
It MUST behave the same way when you drive it really hard and it starts to clip a little bit. I EXPECT this to be a feature of the sound whether its a hardware unit or a plug.
You ought to be able to use it on a wide variety of sources and find some setting that it works on. Though its not ideal for everything, it should give you a pleasant usable sound on MOST things. If it doesn’t, get rid of it. Even if its an original Urei. The WHOLE POINT of the 1176 is that it does so damn much and does it all well.
That 1176 plays really well with a BAE 1073, but honestly, the 1176 doesn’t give a shit. It’ll work with anything you put infront of it. Throw any decent pre on planet earth infront of that thing, and it’ll love you. Within the last year I’ve used a Trident 80B, Portico, BAE, Shadow Hills, Manley, SSL, Grace, and API with the 1176 hardware unit during tracking, and gotten amazing results every time. You don’t have to use a 1073. But if you were to invest in a good 1073 re-issue and then chase it with a 1176, I assure you that you’ll be set for a very very long time!!
Ps… DO NOT get distracted by whether it has a blue stripe or not. The color of the faceplate doesn’t mean shit. An 1176 is an 1176. It either sounds good to your or it doesn’t! If there’s any way you can afford it, go for the Purple Audio or the Universal Audio version.
I have a 1176LN (from universal Audio) hardware unit. I have the Lindell 500 series 1176 inspired hardware. I’ve owned a pair of distressors. I own the waves CLA 1176, I used to own the original 1176 plug in from UAD, I’ve also used a mirid of other plugin’s that are supposed to be 1176’s.
From my perspective, there is nothing that does what the UA 1176 does. Many people do just fine without hardware. If your heart is set on hardware it is a fine choice.
I mostly use hardware because my brain is wired that way. It works better for me. It does retain value better. If you’re wise you can use it on multiple tracks as well. I’ll use my Manley vari-mu for almost every overdub, and then run certain things through it as I am getting sounds to mix and finally it will sit on my parallel mix buss.
You may want to keep in mind that the KT1176 is essentially a Behringer product. There are a lot of these thing up for grabs used. I would try and poach one of these things off Ebay for $300 if you’re gonna make a go for it.
I simply do not buy that the KT1176 was a joint Midas/Klark engineering initiative. I smell bull shit here.
…look. I’m not saying don’t try it. For $300, you may not have much to loose since you can probably re-sell it for that price. But if what you’re after is the subtleties, the heat, the vibe, the ‘noise’ from a good solid 1176 unit, I’m highly skeptical that something from Behringer is going to deliver that.
I agree with you, Jonathan. Like you my guess, because I haven’t used it, is that it will deliver similar behavior without the wonderful grit and smoothing quality that the UA1176 has. To me, that is worth the $600 them and warm are asking new.
I haven’t used the warm stuff. I would love to try it. I’ve used the Lindell 500 series copies that are distant copies. They do a cool thing. They don’t have the “transistor” smoothness that the UA 1176 does. My guess is that the warm and KT stuff is much the same. 80% there are 50% of the budget. I have four of the lindells. I use them on things like Room mic’s and ultra crush type sources. With those sources, there is so much character happening that you don’t miss the transformer niceness at all. I use the UA 1176 on snare, vocals, and really important sources.
To summarize I think you’ll get the same compression behavior without the extra color. That is sort of what I get with the Lindell stuff. With the 1176 plugins I have, You don’t get the same behavior as the hardware and you don’t get the color either. I look at 1176 plugins as a totally different thing absolutely unrelated to the hardware. They are cool in their own right. They are not 1176’s.