In addition to the four standard ratios selected via push buttons on the front panel, engineers soon discovered a secret (and unintended) trick up the 1176’s sleeve. But it’ll also work on just about anything else, from kicks, snares and claps through to synths and even full drum sub-mixes. For grabbing vocals and placing them at the front of the mix it’s near impassable. Sound-wise, the 1176 Peak Limiter can be many things, but it is probably best known for the energy and high-class grit it bestows, a musically-pleasing pushing of the tone in the lower mids. It offers no threshold control – just input and output dials, with the amount of compression decided by the input level. The main selling point of the all-solid-state device was its ultra-fast attack time – a startling 20 µs. In doing so he created the first incarnation of the 1176 Peak Limiter, a box that would go on to find a home in almost every serious pro studio in the world. In 1966, Universal Audio founder Bill Putnam redesigned his successful 175/176 limiting amplifier design using FETs instead of valves.
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