I just accepted a quick mix job for a dude who’s probably the least picky client I’ve ever met. Everything I’ve ever handed this guy, he’s been like…
“duh!! Wow. That’s amazing.”
…you want anything fixed or tweaked?
His answer is always : “uhh…nope. Sounds good.”
Monday I’m gonna try and do a real mix for him only using 1176 compressors just to see if I can. I did one last week using only Distressors. I had them on about 40 channels, and forced myself to use them. Just to get out of the comfort zone little.
So in this theoretical challenge (which I’m gonna actually attempt), all plugins are fair game, except any channel dynamics or bus group dynamics processors MUST be an 1176, (but you’re allowed to use a multi-band compressors). Would you be able to do it?
Did you get all those Hairball1176’s going then? alright!..
Sounds like an interesting project using the same comp on numerous tracks/sources.
Distressor gets a lot of good praise. I had the ELP/MikeE vocal was like a pre+76 and it was frkn too good. Easy to use, versatile from clean to grunge.
Supposedly the 1176 can do a lot too.
Reading the UA LA2A manual and the 1176 is mentioned more than the LA2A in the “users comments”.
No I didn’t. They’ve been sitting in a box for ages now, because I’m way over my head on this. I’m gonna garage sale them off to a dude from Produce Like A Pro who can give them a nice home lol. The parts are sitting in my garage freezing their poor little asses off lol. They need to be adopted by a loving family.
what 1176 are you referring to then? ITB? I cant recall but I was always curious how you compared them to other comps.
a lot of great records made with those things, but then again they didnt have 5 million other options either.
kind of like Leo Fender being the only one who made stratocasters and now theres 10,000 versions of it.
First of all, models A, A/B, and C are all blue STRIPE (Serial numbers 1-1087). models D thru G are black FACE (Serial umbers 1088-7651). And H, H-LN are silver.
They can all be used on vocals, drums, or whatever.
When using hardware stuff, you kinda just use whatever wherever you need it. I don’t think many people, even big studios have much of a choice when it comes to what goes where. Mainly because these things are soooooo ridiculously expensive.
But for the software, I don’t know if I’d say its that cut and dry. Both sound amazingly good on either. The Waves blackface CLA was based on a D, the UAD blackface was based on an E.
The Slate blackey version acts like an A (in my opinion) with broken dysfunctional attack, release, and ratio knobs.
To me, the Slate FG-401 does is actually close to what I like about the UAD E.
They CC. There were quite a few things that happened. First of all, I got pretty sucked into the all-digital workflow. The mixer, the CraneSong units, the Madi converters…all digital. Set up to handle a lot of tracks for film, broadcast and gaming, which have almost purely digital workflows. I’m down to two types of preamps (Blue and Avid) and only have one outboard compressor (its a BSS DPR 402) . Here’s a picture of the analog version.
And this is the Waves software version.
I got it so if I ever ran into a situation where I needed to compress something before committing it to track, I could. But the thing isn’t even hooked up right now. I haven’t used it once. That’s also the reason that I’m selling off those hairball parts. As crazy as it sounds, I’ve never actually found a distinct need for the outboard stuff. I do use my inline compressors on the console. Both the analog and digital. But as far as the outboard gear…I just couldn’t find a place for it.
