Universal Audio 2-1176 Dual 1176LN - Manual (Page 24)

The Technical Stuff
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Output (Makeup Gain)
Finally, output controls are employed to make up for the gain reduction applied by the gain reduction
circuitry; on the 2-1176, this is the function of each channel’s Output knob. Makeup gain is generally
set so that the compressed signal is raised to the point at which it matches the level of the
unprocessed input signal (for example, if a signal is being reduced in level by approximately -6 dB, the
output makeup gain should be set to +6 dB).
As you are adjusting a limiter or compressor, switchable meters such as those provided for each
channel of the 2-1176 can be helpful in order to view the strength of the outgoing signal (displayed
when the meter is set to +4), or the difference in levels between the original input signal and the gain-
reduced output signal (displayed when the meter is set to GR). When in GR mode, the channel’s meter
will read 0 dB when there is no incoming signal or when no compression is being applied.
About “All-Button” Mode
One of the most unique features of the 2-1176 is the ability to select a compression Ratio of ALL
(equivalent to pressing all four Ratio buttons in simultaneously on an 1176LN) to create extreme
amounts of compression or limiting. In this “All-Button” mode (sometimes also known as “British
Mode” because of its extensive use on many seminal British recordings of the 60’s and 70’s),
distortion increases radically due to a lag time on the attack of initial transients (a phenomenon which
might be described as a "reverse look-ahead"). The ratio goes to somewhere between 12:1 and 20:1,
and the bias points change all over the circuit, thus changing the attack and release times as well.
The unique and constantly shifting compression curve that results yields a trademark overdriven tone
that can only be found in this family of limiter/compressors.
About “Class A”
Most electronic devices can be designed in such a way as to minimize a particularly unpleasant form
of distortion called crossover distortion. However, the active components in “Class A” electronic
devices such as the 2-1176 draw current and work throughout the full signal cycle, thus eliminating
crossover distortion altogether.
Operating The 2-1176 In Link Mode
The circuitry in the two channels of the 2-1176 have been carefully matched to allow smooth and
musical operation when stereo linked. When operating the 2-1176 in Link mode (

see #8 on page
6), the Input knobs in each channel serve to mix the two incoming signals to the side-chain circuit of
both channels. In most musical applications, you will want the compressor to equally affect the left
and right signals, so that a transient occurring in one channel will serve to increase compression or
limiting in both channels the same way. Thus, for normal operation in most musical and recording
applications, it is important that the Input knobs (as well as the Output, Attack, and Release knobs)
for both channels be set to the same value. However, because there can be minor variations in the
tolerance of any potentiometer, we recommend that you calibrate the two Input controls as follows: