Built in the familiar UREI style, the 1178 is a two-channel or stereo compressor but, as the channels share attack & release times as well as ratio, consider it a stereo unit. It has the usual 1176 input & output pots, threshold being a function of how much input you feed into it. Attack & Release go from super-fast to slow – very slow, in the case of release

You’ll find a setting that works just right for your drum sound by leaving it on fast release and varying the attack timing to give just the right amount of attack. Many users leave the 1176 & 1178 in 4:1 at all times, but there are different sounds to be had with other ratios – all-buttons-in gives classic over-the-top smashing compression but often it’s better to use 8:1 and more input gain

The 1178 is equally at home crushing drum mics as it is gently shaping backing vocals or stems. Like the 1176, it’s capable of lots of gain reduction without killing the vibe of a sound so it’s suitable for all kinds of singers. At 4:1, with attack at mid-position and fast release and plenty of input, it will sit a bass guitar in a track like no other compressor

In many ways an 1176 or 1178 is all the compressor you’ll ever need. They’re both super-fast, but can be super slow. Can do massive over-the top compression or massive, subtle compression. Tickle a sound or mangle it

In excellent condition with minor marks & rack rash. Supplied with newly-made XLR pigtails anchored to the rear of the compressor

Tested & working 100%. Metering aligned & pots cleaned. Photos show the compressor as it arrived

“I just got an 1178 and used it tonight, sounds so great. Very deep, sounds like a record. We used it on a mix buss, drum buss and lead vocals. Just great” – James Lugo, Gearslutz

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Like all previous versions of the 1176 this has a balanced output via an output transformer. The input  is electronically-balanced like the last few versions of the original. From there it feeds the FET gain-reduction element, a make-up gain amplifier, a line amplifier and the output transformer

In my opinion the 1176 is the best compressor available for bass guitar and vocals. On my Compressors page I say:

“Nothing sounds like an 1176 – it’s a one-off, a freak, an outlier – and that’s why it’s stood the test of time. For vocals and bass guitar, nothing betters it for a punchy, aggressive sound. Set it for a fairly slow attack, fastest release and 4:1 compression then just ramp up the input level till the vocal sits where you want it. A little tweak on the attack time, a hint of EQ and job done”

This 1176LN is in excellent condition with the typical surface discolouration of the aluminium case but an almost-unmarked front panel. All knobs & switches are original. Photos show the compressor for sale

The post Universal Audio 1176LN Compressor #1 appeared first on BN1studio.

• Audio board recapped
• Electrolytics in the audio path upgraded with higher-value bipolar caps
• Power supply recapped
• Pots & switches cleaned
• Modified for shorter release times
• Voltage switched to 220 Volts for use in UK & EU
• New UK plug fitted (Euro plug available on request)
• XLR output socket fitted on rear panel

This Altec 1612A preamp / limiter dates from the mid-1970s.  It’s a two-input device with separate gain controls for each input and a switchable FET-based limiter. Sensitivity is set by plug-in preamplifier or transformer modules. There’s plenty of gain available on each channel and it’s suitable as a mic or DI preamp

The limiter has an on / off switch and a limit / line control to match levels when the limiter is in circuit. When driven hard the limiter is capable of super-audible compression. With the limiter disabled the preamp can be overdriven to produce lots of harmonic niceness, so there is plenty of colour available from this big green box

Limiter attack / release times are fixed but switchable between 10µs / 0.8s (fast) and 33µs / 2.8s (slow).  10µs attack times are well into UREI 1176 territory – it’s a FET limiter party trick to be able to respond so quickly. FET compressors are the Muhammed Ali of compressors – turn the light out and they’ll be in bed before the room goes dark. I am experimenting with faster release times – enquire for details

I’ve modified this limiter with an upgraded power supply and a recapped audio board feeding a new XLR output socket on the back panel. The original output terminal strip is still in place and offers various impedance taps on the output transformer

The unit is supplied with two input modules: one a Peerless line  bridging transformer and the other an active preamplifier with 12 dB gain. There’s more than enough gain available to use the 1612A as a mic preamp for dynamic or ribbon mics. Condensor mics will require an external phantom power source

These Altec limiters offer a characterful alternative to clean modern recording gear. With transformer-coupled inputs, transistor circuitry and a fairly unsubtle FET limiter the 1612 A is capable of generating all kinds of overdriven sounds. Use it on a snare mic or room mic to add heft & character or try it on bass guitar – it won’t sound like anything else you own

“The 1612a is a lots of color thing”

“It’s a really awesome sounding unit that can be cleaned up with some better caps and power supply filtering”

“But its got tons of flavor and its one of my favorite units on bass, kick, drum, electric guitar and the occasional metal vocal”

“For serious baseball announcer squish, exploding bass and guitars and major cymbal/snare battle ..try an Altec 1612a.. they are still around for kinda cheep… very thick and meaty”

“I L O V E it on Bass, Guitars, and if I want the OH really pumping (which is not really very often) it is the one.. it is my go to for overdrive lead GTR and in your face bass…”

“+1 on the Altecs. I have a 1612B that I use on rock vocals all the time. Love it!”

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