Insider’s Secrets
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16
Controlled Distortion
The unique sonic characteristics of the 1176LN make it an effective tone shaper as well. One of its
features is ultra-fast attack and release times, and used correctly (or incorrectly, depending on the
way you look at it), you can use it to add distortion to any otherwise pristine audio track.
Running most sources through a distortion device can cause the signal to lose some of its definition
as you increase the effect. Also, distortion devices tend to add a significant amount of noise. But with
the 1176LN, you can compress your signal and add distortion without losing definition, and while only
minimally adding noise. Since the attack and release can happen so fast, set at their fastest values,
they impart minute level fluctuations over the audio. The result is a special kind of distortion not
available through any other means. This distortion can be adjusted to taste by altering the attack and
release times, and by the compression ratio. Of course, you can also adjust the Input control to set how
often the source will go into this distorted compression. Probably the most distorted sound you’ll get
out of the 1176LN is in “All-Button” mode, with attack and release set to their fastest times. By simply
backing off on the Input, Attack or Release controls, you can lessen the effect.
Mixing and Premastering
As reviewer Hugh Robjohns points out, the 1176LN has a “slightly bright character—actually more of
a subtle spectral tilt than an obvious high-frequency lift—which generally helps tracks to cut through
in a mix without you needing to even reach for EQ.
Throughout the years, engineers have variously
referred to this characteristic sound as edge, growl, present and urgent. Generally speaking, the higher
the Input level, the more these descriptive terms come into play.”
You’ll find that the 1176LN
is most
transparent when doing gain reduction of 4 dB or less. This will serve to subtly reign in dynamic
variations in the audio while still adding its characteristic tone.
In addition, the extremely fast attack
time offered by the 1176LN (which enable it to control peak levels as well as sustained tones) allows it
to effectively tighten up individual drum tracks in the mix stage.
When linked together in stereo with an optional 1176SA and
correctly calibrated, you can use a pair of 1176LNs to process
even an entire mix without any alteration of the stereo image.
A little gentle compression or limiting can add polish to a final
mix and help “glue” the many components together (similar to
the way that the limiters that are used in radio and television
transmission sometimes improve the sound of mixes). Also, by
reducing the overall dynamic range, the apparent loudness of the overall track is increased—
something that is becoming increasingly important in today’s loudness wars.
Even if you don’t opt to compress or limit the final mix, it’s often worth trying passing the signal
through a pair of stereo linked 1176LNs in bypass mode (that is, with the attack knobs on both units
set fully counterclockwise, to their “OFF” positions). Even though the gain reduction circuitry is
disconnected in that mode, the signal continues to pass through the 1176LN transformers, picking up
their signature sound.
Try processing entire stereo
mixes through a pair of
stereo linked 1176LNs.
