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#UNIVERSAL AUDIO 1176 COMPRESSOR PLUGIN PRO#
Check out the FabFilter Pro C2 for access to a large toolset within one beautiful plugin.
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Combine this with the 4x oversampling and GPU acceleration and you have one accurate plugin.Īll of this functionality and versatility make this compressor a great choice for any engineer looking for a lot of features in one package. The size and the accuracy of these meters have increased, and FabFilter adjusted the Pro C2 to comply with the EBU R128 loudness standard. Mastering engineers will appreciate the new metering. Version 2 adds five new modes: Vocal, Mastering, Bus, Punch, and Pumping to give you access to tailored responses to match what you are working on. The eight modes of the compressor allow the Pro C2 to add some coloration to your mixes. This compressor manages to pack eight compression character styles, lookahead gain reduction, 4x oversampling, mid/side control, and the ability to affect each channel independently or linked as a stereo pair with the Stereo Link control into one of the most incredible interface designs plugins have seen. Whether you already own it or are considering it, now is the time to revisit the dbx 160 UAD plug-in.This low CPU intensive plugin, offers immense functionality, and can be used on every track during mixing.įor those looking for a great “do everything” compressor, the FabFilter Pro C2 has exactly what you need and a ton more. I frequently use it on kick, snare, room mics, and bass guitars. Alternatively, the plug-in can be inserted on each channel and the mix set individually to get the desired sound – and it can really add some squish or smack to specific drum tracks (if you want that). I’ve always used the dbx 160 UAD plug-in on an aux bus for parallel compression of drums, but this means sharing one setting for all tracks routed to that bus, which is not always optimal. The sidechain filter is activated by “pulling” the threshold knob (accomplished via a shift-click). Clicking the label “Mix” above the set screw will set the ratio to 50% while clicking “dbx” or “160” located on either side of the set screw will increment or decrement by 10%. On the plug-in, the set screw adjusts the mix ratio by clicking and dragging with a mouse. On the actual hardware unit, that set screw is for calibrating the meter.
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On the front of the plug-in GUI, in the middle of the logo, is what resembles a recessed set Mix screw. The original hardware (or follow-on products like the 160X that I have in my rack) certainly did not have a wet/dry mix or sidechain control, but in the digital realm, all things are possible. Above the Threshold knob, two LEDs indicate if the incoming signal level is Below or Above the threshold setting (this can be a good starting point, but you know you want to mistreat it!). Three virtual knobs control Threshold, Compression, and Output Gain. There is a push-button for power, and three more buttons that select Input, Output, or Gain Change (reduction) meter modes. The hardware dbx 160 is sometimes referred to as the “dbx 160 VU” because of the large VU meter on the front of the unit – the UAD plug-in’s GUI faithfully reproduces that layout. And in case you also missed it, the LA-3A and 1176 UAD plug-ins got a mix control a couple of months earlier! Buried in the fanfare of other new features, I noticed “Updated dbx 160 Compressor/Limiter.” Digging into the release notes, I saw that the dbx 160 plug-in had finally received the coveted wet/dry mix control. Fast-forward (gratuitous tape reference) to today, and Universal Audio has released version 9.14 for the Apollo and UAD accelerators. Even though it sounded amazing, I always wanted a wet/dry mix control like their competitor’s plug-in already had. At the time, I left a four out of five stars customer review on the Universal Audio site. About four years ago, I purchased the dbx 160 UAD plug-in. Universal Audio has been quietly updating some of their previously released plug-ins with new features that you may have overlooked if not watching closely.