Insider’s Secrets
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Controlled Distortion
The unique sonic characteristics of the 2-1176 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 2-1176, 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 2-1176 will occur when you select ALL ratio, 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 Mastering
As reviewer Hugh Robjohns points out, the 1176 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 1176 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 2-1176 (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.
Because of its perfectly matched circuit components, you can
use a 2-1176 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 sonic elements 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. Reported Michael
Cooper, “Using the stereo-linked 2-1176 as a stereo bus compressor (with a 4:1 ratio and fast attack)
on a rock mix, the image was consistently stable. The trap drum's attack sounded gloriously slappy
and the drum's decay envelopes were tightened up beautifully. Hard-panned, double-tracked power
chords were firmly controlled in the compressed mix, creating a steady level wall of sound... For the
best results, I liked compressing stereo subgroups of drums and/or guitars with the 2-1176 and
combining the processed output with other elements of the mix at the stereo bus.”
Darwin Grosse took a slightly different approach. “I set up
my mixer with a subgroup bus containing the 2-1176 as an
insert effect,” he wrote, “then selectively sent a variety of
instruments and vocal tracks to that bus (in addition to the
main bus). This proved to be the perfect use for All Button
Try processing entire stereo
mixes through a 2-1176.
Try using the 2-1176 as a bus
insert effect... or even as an
Aux send effect!
