Upon its discharge in 1967, the 1176 Constraining Enhancer got to be a moment classic since of its special lightning-fast assault and discharge times, melodic Lesson A yield arrange, and its wide extend of sounds, extending from unpretentious, near-transparent compression, to all-out drive and distortion. Universal Audio’s 1176LN Classic Constraining Enhancer may be a handbuilt, loyal propagation of Putnam Sr.’s unique visionary design a notorious piece of sound history that had a hand behind classic recordings from Led Zeppelin, The Rolling Stones, Michael Jackson, and more.
Charged as a “true top limiter with all transistor circuitry and prevalent execution on all sorts of program fabric,” the 1176’s major offering point was its ultra-fast assault time an unimportant 20 µS (.00002 seconds) at its quickest setting. But engineers before long found out that 1176 too infused character, state of mind, and vibe to anything run through its circuitry. A few indeed utilized 1176 with the compression turned off, fair for the particular tone it confers. The unit’s speakers and transformers all by themselves provide an alluring “hot” quality to anything passing through them.
In 1999, when Bill Putnam, Jr. relaunched All-inclusive Sound, a generation of the Blackface 1176LN was the company’s, to begin with, item. Reissued in 2000, it was based on the circuit plans of the C, D, and E revs of the classic 1176. One of the foremost basic perspectives of recreating the sound of the initial equipment was reliably duplicating the initial output transformer, total with the extra windings that gave the input flag to the ultimate line yield enhancer circuit. Charge Putnam Jr. found broad plan notes that empowered him to reproduce and make strides in his father’s unique plan.
One of the 1176’s popular highlights is its push-button selectable proportions of 4:1 and 8:1 for compression, and 12:1 and 20:1 for constraining. 1176 at 4:1, to its most outstanding setting, the “All Buttons In” mode, where all the proportion buttons are discouraged at the same time. This permits 1176 to form a sound, not at all like any other processor ever heard before. Twisting increments, at the side a plateaued incline and a slack time in reaction to introductory homeless people, making a hazardous sound on drum room mics, fuzzing-out bass or electric guitar sound, or pressing a vocal to bring it front and centre of your mix.
Image: Universal Audio
