This suite features emulations from three ‘generations’ of 1176 hardware, which feature identical parameter sets but different sonic characteristics.
UAD’s original 1176 clone (one of the first to be released on the UAD-1 platform) was replaced in 2012 by the Classic Limiter Collection, a painstaking remodeling of Bill Putnam’s most famous dynamics controller by the digital division of the audio company he helped to set up. Recently ported to the UAD platform, it continues to flourish as a native plug-in as well. In particular, it has a highly ‘musical’ response, which means that it translates extremely well to material with a wide frequency range, so that it is as happy working across the stereo output bus as it is on a single sound source. The CL1B plugin models the optical hardware compressor of the same name developed by TubeTech and it’s capable of wonderful results it’s just as suited to warm and subtle treatments on vocals as it is something more mangled and trashy on a drum parallel channel. Find out more about our Diploma courses here. With modules in mixing, sound engineering, mastering and even music business, it’s one of our most comprehensive courses and can be taken for up to 64 weeks. Of course owning all the compressors in the world won’t help if you don’t know how to use them and our Diploma courses are the perfect place to start. We decided to pull together our favourite compressors in a new top 10 list. With feedback types, solid-state, Vari-Mu and many more, there are literally hundreds of plugins all with different responses. While compression can enhance and control your tracks, there are so many ways to use and misuse the technique, it’s hard to know where to start.
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