The Urei Universal Audio 1176 Compressor

Does any other audio hardware have so much mythology surrounding it?

History of the 1176 Compressor

The 1176 compressor has become one of the most legendary pieces of studio hardware in music history. First released in 1967 by Bill Putnam Sr. and Universal Audio, it stood out as one of the very first compressors to use solid-state technology instead of vacuum tube designs. This shift gave the unit a faster response and a signature sound that engineers quickly fell in love with. Even after decades, it remains a go-to tool in both professional and home studios.

The Birth of a Classic

When it first appeared, the 1176 was built around a field-effect transistor, which gave it a distinct personality compared to other compressors of its time. Early versions like the Rev A and Rev B, known as the “Blue Stripe” models, had a raw and somewhat colorful tone that made them stand out. They weren’t perfect on paper, but their quirks became part of the charm. Producers and engineers used them not only for control but also for the unique character they added to vocals, drums, and instruments.

From Blue to Black

By the early 1970s, the design had evolved into the blackface revisions such as Rev D and Rev E. These models smoothed out some of the rough edges while keeping the magic intact. They were more more consistent from unit to unit and became the versions most people think of when they imagine the 1176. With its sleek black faceplate and improved reliability, the compressor had fully cemented its status as a studio essential.

A Modern Revival

When Universal Audio relaunched in 1999 under the leadership of Bill Putnam’s sons, the 1176 was the first piece of gear to be reissued. This move proved that even in a digital world, classic analog hardware still had an important place. In 2008, the company introduced the 1176AE, an anniversary edition that honored the original while adding a new 2:1 ratio option. It was a nod to tradition while keeping the design relevant for modern studios.

 

Software emulations

• Arturia Comp FET-76
• IK Multimedia Black 76 Limiting Amplifier
• Native Instruments VC76
• Pulsar Audio Smasher (based on the 1178)
• Softube FET Compressor
• UAD 1176 Classic Limiter Collection
• Waves CLA-76

Tips and Techniques

• Understand the “backwards” controls

  The 1176 attack and release work in reverse compared to most compressors: faster settings are to the right, slower to the left. Double-check before adjusting, or you may set the opposite of what you intend until you get used to this.

• Dial in attack times properly

  The 1176 is ultra-fast, with attack times from 20 microseconds to 800 microseconds (0.8 ms). For vocals, start slower (around 1-3 on the dial) so consonants and detail come through naturally. For drums, go faster (5-7 on the dial) to tighten hits, but back off if you hear clicks. UAD Anniversary Edition users can try the “Slo” mode (10 ms) for a more relaxed attack.

• Shape groove with release

  Fast release (right side) lets the compressor reset quickly, adding bounce and intensity—great for drums and guitars. Slower release (left side) smooths things out for vocals and bass. Watch the gain reduction needle: it should move in rhythm with the track for the most musical result.

• Experiment with “All Buttons In” mode

  Engaging all ratio buttons creates more saturation and an aggressive but unpredictable compression curve. On plugins, just push the buttons (UAD, Waves, Slate, etc.). Use it on drum rooms, parallel tracks, or synths for grit and energy. Combine with fastest attack/release for over-the-top pumping, or slower settings for a punchy but controlled sound. A practical way to use this is to have the ratio at 4:1, set it to have 4-5 dB of reduction, then shift to all-in mode.

• Try the “Dr. Pepper” starting point

  Set attack to 10 o’clock, release to 2 o’clock, and ratio at 4:1. This classic works on many sources and serves as a reliable baseline for vocals, guitars, and general compression. Adjust from there by ear.

• Avoid clicks with careful attack choices

  Too fast an attack on transient-heavy material can “clip off” part of the transient, producing a click. Back off the attack slightly until the sound is smoother but still controlled.

• Use extreme settings for character

  Both attack and release at maximum speed can create pumping or distortion-like artifacts. On bass or kick, this may sound unstable, but on a parallel bus it can add edge. Push it hard, then blend with the mix knob for control.

• Use the mix knob for parallel compression

  Most plugin emulations (Waves, IK Multimedia, Slate) include a mix knob. Push compression hard (10–15 dB reduction), then blend 10–20% of the dry signal back. This maintains natural dynamics while adding energy.

• Leverage UAD’s Headroom control

  Unique to UAD 1176 plugins, the Headroom knob adjusts how hard the signal hits the modeled circuitry. Lower it for cleaner results, raise it for more saturation. It’s also a workflow shortcut for adjusting compression intensity without changing main controls.

• Stack two 1176s in series

  Instead of driving one compressor hard, use two in a row with lighter settings. The first catches peaks with a faster attack; the second smooths the overall level with a slower attack and release. Plugins make this easy and CPU-efficient.

• Blend different plugin models

  Just like hardware,not all 1176 emulations behave the same. UAD has multiple versions (Rev A “Blue Stripe” is a tiny bit more aggressive; Rev E is smoother). Waves CLA-76 has “Bluey” and “Blacky” flavors. Try different versions on separate tracks (vocals, guitars, drums) to avoid a uniform “processed” sound. In other words, pretend you have a rack full of 1176s.

• Use 1176 as a limiter

  Set the ratio to 20:1, attack as fast as possible, and release medium-fast. This catches loud peaks without pulling down the entire performance, often cleaner than a brickwall limiter because of the slight knee.

• Combine with slower compressors

  1176 excels at fast peak control. Stack it before or after a slower compressor (like an LA-2A plugin). For example: use 1176 first to catch peaks, then LA-2A to smooth the body, or vice versa. This serial (one after another) compression approach is common in vocal chains.

1176 Plugin Quick Settings

Here’s a handy cheat sheet for dialing in starting points with the 1176. These aren’t rules—just places to start. Use these to listen and learn and then tweak to fit your track. Getting used to varying the input and output levels rather than having a threshold control can be both tricky and frustrating, so patience and practice!

Source	Attack	Release	Ratio	Extra Tips
Vocals	1-3 (slower)	3-5 (medium)	4:1	Start with the “Dr. Pepper” setting (Attack 10 o’clock, Release 2 o’clock). Try stacking with an LA-2A plugin for smoother leveling.
Bass	3–5 (medium-fast)	1-3 (slower)	4:1 or 8:1	Slower release preserves weight. “All Buttons In” mode in parallel can add growl and energy.
Kick / Snare	5-7 (fast)	5-7 (fast to medium)	4:1	If you hear clicking, back off the attack slightly. Parallel compression with the mix knob keeps punch intact.
Drum Bus	4–6 (medium)	7 (fast)	4:1 or All Buttons In	Use in parallel for pumping energy. “All Buttons In” mode gives a raw, aggressive room sound.
Acoustic Guitar	1-3 (slower)	3-5 (medium)	4:1	Slower attack keeps strumming detail, while a medium release maintains groove and flow.
Electric Guitar	3–5 (medium-fast)	3-5 (medium)	4:1 or 8:1	Try “Blue Stripe” emulations (UAD, Waves Bluey) for extra grit. Blend in parallel for crunch without harshness.
Mix Bus	1-2(slower)	2-4 (medium-slow)	4:1	Use lightly (1–2 dB reduction). Plugins with a mix knob (Slate, Waves) let you blend for subtle glue.