This is the stereo version of what is, in my opinion, the best compressor ever made, the 1176. A lightning-fast FET compressor with ultimate pedigree and sonic excellence

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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• 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!”

The post Altec 1612A Limiter Amplifier (Modified & Recapped) appeared first on BN1studio.

• Audio board recapped
• Electrolytics in the audio path upgraded with higher-value bipolar caps
• Pots & switches cleaned
• Release times modified to make them shorter
• Voltage switched to 220 Volts for use in UK & EU
• New UK plug fitted (Euro plug available on request)
• XLR pigtails made & fitted

The 1591a is a preamp / compressor from Altec. It has two inputs – mic & line – and the characteristics of each can be configured using plug-in preamps or transformers. Both inputs have lots of gain and, even with the compressor section switched out,  it’s possible to get great overdriven sounds using just the preamp section

The optical compression seems to like being driven hard. The sound gets denser and more compressed as you increase the input level but the output level remains constant. It’s a great device for compressing room mics. The compressor is relatively slow-acting but we’ve shortened the release time to give settings more suitable for drums

Compression ratio is selected by a front-panel rotary switch. Off turns the 1591A into a preamp with lots of character

We will continue to look at modifications & settings with the Altec compressors we have in stock and welcome feedback from customers on these

“When i crank up the input gain I can make it distort in a musical and useful way. I’m glad to have it. A unique sound, and cool as heck looking”

“I use it on a snare all the time. If you want a FAT snare drum, I haven’t found a better box to get you to maximum fatness. Adds like, 2 inches to the height of your snare…”

“I like them for parallel compression on room mics and/or El. guitars…
And the mic pre’s are great!”

“Really excellent crunchy midrange thing going on that works well for snares and guitars”

“Those are beautiful pre’s for electric guitars. Nice distortion!”

“I have a couple 1591a and i love them, they are huge sounding, a little noisy but if you got some gates on the outputs no worries, i would not use them for SUPER quiet stuff or voice over, but for band work the compressors are HUGE and warm”

“Definitely a character piece. If not modded it doesn’t have 48v. Mine’s not but I mainly use it for dynamics and ribbons and even then you kinda need an inline pad in front because this thing distorts like crazy. But it actually sounds really good, kinda like a API on crack. Recently tried it on snare with a Beyer M160 and it sounded thick and meaty. Good for thrash room too, MD441 on the floor and Bob’s yr uncle.”

“The sound quality of the Altec Lansing 1591 A compressor is pretty awesome. It will add punch to your sound without coloring it. I’ve used it mostly on electric and acoustic guitars, drums, and bass guitar, but is suitable for just about anything. Getting a good sound is quick and easy, as it has your basic compressor parameters, and anyone who has experience with other compressors should be able to figure out how to use this pretty quick. The rich tone makes it a great overall compressor”

“What a fantastic 60’s/Beatles/Motown mushiness this unit has. I expected it to be a bit more slow and dumb like a CBS Audimax, but it’s really usable once you get the input padding correct”

“They make pillowy too-much-low-end direct basses sound thick and muscular, and they’re so unique sounding, that they’ll make anything you put into them cut through the mix”

“The compression it yields sounds huge, very API; think Sly and the Family Stone. Great character on distorted electric guitars, vocals, and bass”

In excellent used condition for a vintage piece. This 1591A has all original knobs & switches and is pretty much unmarked. There’s a hairline crack in the lower half of the meter cover but it’s not noticeable. Tested & working 100%. Modified & recapped. Supplied with two input preamp / transformers (mic & line) and with short XLR pigtails (the standard connections are on a terminal strip). Photos show the compressor for sale

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