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The first compressor I want to talk about
is the Yuri 1176 Now the 1176 isn't one
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of the first compressors to be used.
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In fact, it wasn't even the most popular.
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But for some reason it does seem to be
the most replicated.
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Not sure exactly why, but there are many
plugins based on the 1176 It's probably
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the most emulated model made into a
plugin or have a plugin based on it.
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So around 1968 Bill Putnam creates his
compressor as he transitions from the two
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base models of the time into solid-state
models.
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It was touted as a true peak limiter with
all transistor circuitry, but its real
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selling point was its all too fast attack
time.
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Nothing really competed with it at the
time.
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Similar to the one seventy six the eleven
seventy, six didn't have a threshold
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control like the L2A It had input and
output controls and included a
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continuously variable attack and release
which is very different for the time.
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The amount of compression was determined
by setting the input level.
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The higher the signal reaching the unit,
the greater the compression.
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Another unique feature was a selectable
ratios.
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We could set it at four to one eight to
one twelve to one or 20 to one.
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The first or earlier units were silver
with a blue stripe.
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While later versions were all black and
were labeled 1176 LNLN for low noise.
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Because of the input and output
Transformers and the Class A output
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circuitry, the 1176 had a very
distinctive sound even when it wasn't
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compressing but turning the attack knob
fully counterclockwise to the off
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position. The unit could be used as a straight line
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amp just for its color while unique
sound.
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But what really made this unit Shine was
its ability to tweak its controls well
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beyond anything that came before.
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So let's check out a few common sources
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using some 1176 plugins.
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With John loop.
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First let's hear it.
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Now let's add a log in to it.
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We'll start off with the bomb factory
1176 This is one of the first ones to
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come out, and it does a pretty good job
of replicating the real unit.
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Let's see what it sounds like.
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These are attack and release.
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Now my throw you at first is attack and
release.
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Slow and fast are actually backwards.
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This is fast, and this is slow.
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So that might throw you at 1st.
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So I'll start a little fast when the
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attack and release.
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Let's hear the loop sounds like through
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this plugin.
At four to one.
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Now it's a good idea when dealing with
these compressors to get the meter to
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game. Reduce about halfway.
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It's a good place to start, and then you
can adjust from there.
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Now as per the attack and release
settings, let's make it quicker attack
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and notice it'll cut off the attack of
the sound a bit more.
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And if we bring it U?
It'll allow the transients the beginning
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of the note to cut through.
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Let's do the same thing with the release.
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Let's go really quick.
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Notice how quickly it snaps back.
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And if we slow down the release, it's a
lot smoother sounding, but it won't move
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as quickly.
And for more extreme setting, we'll make
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the attack amities as fast as possible.
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Now another setting that was very popular
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on this unit was all buttons pushed in.
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Actually push all the ratio buttons in.
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We can't do that on the lugin.
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But there's a preset for it, or buttons
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in. And they'll do the same thing.
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It creates a really good pumping sound,
which is good for room mics and extreme
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effects. Let's check out another lugin based on
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the 1176 This is the CLA 1176 by Waves.
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Let's hear that sounds.
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Again, we'll start 4 to one.
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Pretty quick attack and release.
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Let's set the attack quicker and notice
how it cuts off the transients.
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And let's set the release quicker and
notice how much quicker it grabs.
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And in this plugin.
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Is a special button for all buttons in.
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Let's check out another one.
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Somewhere in the mid to late nineties,
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Purple audio created their own 1176 a
hardware unit.
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So this plug-in is based on that.
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The hallway unit is pretty good.
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Sounds a bit brighter to me than the
original, so if you get a chance to check
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one out, it's definitely a good
representation of the original unit.
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Let's make the attack a little faster.
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Not really getting much from this unit,
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but like I said, the real one from Purple
Audio is a pretty good piece to check
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out. Let's try another one.
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This one made by T Rex and again all the
buttons are here.
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Let's set the attack and release as fast
as possible for more extreme setting.
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Then we can hit this button to recreate
all buttons in.
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For an even more extreme setting.
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Sounds pretty good.
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Now let's try a different source.
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Let's try a kick drum those individually
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miked material sounds like now.
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Let's try the bomb factory on this one.
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Once again, we'll start off with a
quicker attack.
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Let's make the attack as fast as possible
and notice how it cuts down on the early
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transients. And if we slow down, the attack lets
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those transients through.
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It's here with a quick release.
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Now, it's important to note that because
this compressor was one of the first to
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have attack and release times, it made it
a favorite for things like individual
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kick or snare mikes because as you can
hear, you can really shape the sound.
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Now show the CLA.
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Well, the waves.
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Notice that this plugin has a more soft
or pillowy sound to it.
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Which sounds quite good.
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I'm not sure how accurate that is, but
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either way it works for this kick drum
and if we adjust the attack and release
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times we could sculpt it even more.
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Let's try some of the higher ratios,
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which will clamp down or compress a bit
harder as the sound goes above the
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threshold. Gives it a bit more attack.
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Natural T Rex.
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Remember on the 1176 the input sets our
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threshold. Notice each one has their own color and
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reacts a bit differently with the attack
and release knobs in different positions.
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Now let's check out a snare track.
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Without the bomb factory.
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Notice how the attack really changes the
tone of the snare drum.
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And the release controls how quickly it
snaps back, creating a very modern snare
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sound with a tight transient.
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And remember, it's very important to
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bypass it to make sure we're not doing
more harm than good.
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Now it shows the CLA.
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And it's all about those attack and
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release knobs.
Now let's hear the T Rex version.
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Listen for how the transient on the snare
drum is affected by the attack knob.
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That's the end of part one.
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Let's check out Part 2.
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