Table of Contents
Related Manuals for Universal Audio 1176AE
Summary of Contents for Universal Audio 1176AE
- Page 1 Model 1176AE Anniversary Edition Limiting Amplifier Universal Audio Part Number 65-0010 Revision 1.0 Universal Audio, Inc. Customer Service & Tech Support: 1-877-MY-AUDIO Business, Sales & Marketing: 1-866-UAD-1176 www.uaudio.com...
- Page 2 This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio 1176AE. The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose.
- Page 3 500–a fitting tribute to the legend that is the 1176, and Bill Putnam Sr.’s amazing audio design legacy. Serial Number Final Assembly by Tested by Universal Audio, Inc. 1700 Green Hills Rd. Scotts Valley, CA 95066-4926 •...
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Page 4: A Letter From Bill Putnam, Jr
1176 before it. I thank you for your purchase of this unit and support for Universal Audio. I hope that it finds a nice home in your rack, and that it plays even a small part in your pursuit of your creative and musical goals. -
Page 5: Important Safety Instructions
Important Safety Instructions ___________________________________________________________ Before using this unit, be sure to carefully read the applicable items of these operating instructions and the safety suggestions. Afterwards, keep them handy for future reference. Take special care to follow the warnings indicated on the unit, as well as in the operating instructions. 1. -
Page 6: Table Of Contents
Table of Contents __________________________________________________________ A Letter From Bill Putnam, Jr....................Important Safety Instructions ....................Two Page, Two Minute Guide To Getting Started ..............Front Panel ........................Rear Panel ........................Interconnections ....................... Insider’s Secrets ......................The Technical Stuff ......................History of the 1176LN ..................... Compressor / Limiter Basics ................... -
Page 7: Two Page, Two Minute Guide To Getting Started
It will tell you everything you need to know to get your Universal Audio 1176AE up and running, without bogging you down with details. Of course, even the most expert of us has to crack a manual every once in awhile. As the saying goes, “as a last resort, read the instructions.”... - Page 8 The Two Page, Two Minute Guide To Getting Started __________________________________________________________ Step 4: On the right side of the front panel, depress the +4 Meter button. This not only turns on the power to the 1176 but also ensures that the meter displays the final output level. (NOTE: Depressing any Meter button other than OFF also has the effect of powering on the 1176AE;...
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Page 9: Front Panel
Front Panel __________________________________________________________ (1) Input - Determines the level of the signal entering the 1176AE, as well as the threshold. Higher settings will therefore result in increased amounts of limiting or compression. (2) Output - Determines the final output level of signal leaving the 1176AE. Once the desired amount of limiting or compression is achieved with the use of the Input control, the Output control can be used to make up any gain lost due to gain reduction. - Page 10 Front Panel __________________________________________________________ (4) Release - Sets the amount of time it takes the 1176AE to return to its initial (pre-gain reduction) level. The 1176AE release time is adjustable from 50 milliseconds to 1100 milliseconds (1.1 seconds). The release time is fastest when the Release knob is in its fully clockwise position, and is slowest when it is in its fully counterclockwise position.
- Page 11 Front Panel __________________________________________________________ (6) Meter - A standard VU meter that displays either the amount of gain reduction, or output level, depending upon the setting of the Meter Function switch. ( see #7 below) Occasionally, the meter may require calibration. ( see page 21 for instructions for calibrating the 1176AE meter) (7) Meter Function –...
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Page 12: Rear Panel
Rear Panel __________________________________________________________ (1) AC Power Connector / Fuse Holder Connect a standard, detachable IEC power cable (supplied) here. If fuse replacement is required, use only a 125 mA time delay (slow blow) fuse for operation at 115 V, or a 63 mA time delay (slow blow) fuse for operation at 230 V. Note that the 1176AE has no dedicated on-off Power button;... -
Page 13: Interconnections
Interconnections __________________________________________________________ (Illustration goes here) (Interconnection illustration—should show 1176AE in standard insert send/return configuration with patch bay, using XLR and, optionally, terminal strip connections) For most applications, we recommend starting with the 1176LN INPUT and OUTPUT knobs set to approximately 24 (their 12 o’clock position) for unity gain. - 8 -... -
Page 14: Insider's Secrets
Insider’s Secrets __________________________________________________________ While there are distinct differences that set 1176AE apart from the 1176LN (the “Bluestripe” program dependency, the “SLO” attack option, and the new ratio array with expanded Multi-Button variations), all of the tips provided in the “Insider’s Secrets” section are certainly interchangeable. Have fun! The 1176LN has long been considered the preeminent tool “... - Page 15 Insider’s Secrets __________________________________________________________ In the world of recording, there’s probably no greater challenge than getting powerful and precise drum sounds. The 1176LN has long been the compressor of choice for engineers for kick drum, snare drum, and overhead or ambient mics. “I’ll always place one big mic, like a U47 (Neumann) or a ribbon mic such as a Coles or Royer, five or six feet in front of the drums,”...
- Page 16 Insider’s Secrets __________________________________________________________ The 1176LN compression or limiting is heavily program-dependent. That’s an important feature which allows it to be used in a musical, percussive way. Let’s say you have a medium tempo, 4/4 rock beat—an excellent scenario for using “All-Button” mode. In this application, you’d probably have a lot of input level, a slowish attack (so that the transients sneak through), and a quick release.
- Page 17 Insider’s Secrets __________________________________________________________ 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.
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Page 18: The Technical Stuff
__________________________________________________________ History of the 1176LN The original Universal Audio 1176, designed by Bill Putnam, was a major breakthrough in limiter technology – the first true peak limiter with all transistor circuitry offering superior performance and a signature sound. Evolved from the popular Universal Audio 175 and 176 vacuum tube limiters, the 1176 retained the proven qualities of these industry leaders, and set the standard for all limiters to follow. - Page 19 Angeles all preserve elements of his room designs. We here at Universal Audio, have two goals in mind: to reproduce classic analog recording equipment designed by Bill Putnam Sr. and his colleagues, and to design new recording tools in the spirit of vintage analog technology.
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Page 20: Compressor / Limiter Basics
The Technical Stuff __________________________________________________________ Compressor / Limiter Basics The function of a compressor is to automatically reduce the level of peaks in an audio signal so that the overall dynamic range—that is, the difference between the loudest sections and the softest ones—is reduced, or compressed, thus making it easier to hear every nuance of the music. - Page 21 The Technical Stuff __________________________________________________________ The first and perhaps most significant factor in compression is the level of the input signal. Large (loud) input signals result in more gain reduction, while smaller (softer) input signals result in less gain reduction. Threshold is another important factor. It is a term used to describe the level at which a compressor starts to work.
- Page 22 The Technical Stuff __________________________________________________________ A compressor's knee determines whether the device will reach maximum gain reduction quickly or slowly. A gradual transition (“soft knee”) from no response to full gain reduction will provide a gentler, smoother sound, while a more rapid transition (“hard knee”) will give an abrupt “slam” to the signal.
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Page 23: About "All-Button" Mode
The Technical Stuff __________________________________________________________ Finally, an output control is employed to make up for the gain reduction applied by the gain reduction circuitry; on the 1176LN, this is the function of the 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). - Page 24 The Technical Stuff __________________________________________________________ To make such a cable, first acquire the following components: (1) Female XLR cable connector (1) Male XLR cable connector (1) 1/4" TRS cable connector A suitable length of light gauge unbalanced microphone cable A short piece of 22 gauge bus wire Then follow these steps to assemble the cable: 1.
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Page 25: Terminal Strip Connections
The Technical Stuff __________________________________________________________ Terminal Strip Connections Because it predated standard XLR connectors, the original 1176AE provided terminal strips for input and output line-level connections, and so that feature has been retained here (in addition to providing a modern XLR input and output). The terminal strip inputs and outputs, from left to right, are as follows: IN +/- IN C (Common) -
Page 26: Maintenance Information
The Technical Stuff __________________________________________________________ Maintenance Information Calibrations There are no user serviceable parts inside the 1176AE. Unit calibration as well as repair should only be performed only by qualified service personnel. These calibration procedures are provided only for use by qualified service technicians. The 1176AE meter may occasionally need to be calibrated. -
Page 27: Q" Bias
8. Readjust the Zero Set potentiometer R71 so that the meter reads 0 dB Stereo Operation and Calibration With the use of an external 1176 Stereo Adapter (1176SA), available from Universal Audio, two 1176AEs can be connected for stereo operation. -
Page 28: Changing The Voltage Selector
The Technical Stuff __________________________________________________________ Use the following procedure to calibrate the 1176SA stereo adapter: 1. Remove the signals from both 1176AE units. 2. Disable gain reduction on each 1176AE by setting both Attack controls fully counterclockwise. 3. Using two cables with RCA connectors on both ends, connect the 1176-SA to both 1176AEs. 4. -
Page 29: 1176Ln Circuit Details
The Technical Stuff __________________________________________________________ 1176LN Circuit Details The fundamental problem facing Bill Putnam Sr. when he began designing the 1176 limiter was how to keep its FET operating within its linear region in order to keep distortion sufficiently low. After much experimentation he eventually hit upon the simple and elegant idea of using the FET as a voltage-controlled variable resistor, forming the bottom half of a voltage divider circuit, across which the audio signal was applied. - Page 30 The Technical Stuff __________________________________________________________ As shown in Figure 2, the 1176LN input section is comprised of an adjustable passive attenuator followed by a transformer. The purpose of this section is to reduce the signal level so as not to overdrive the FET based gain reduction stage. Additionally, the adjustable input level is used to control the amount of compression.
- Page 31 The Technical Stuff __________________________________________________________ voltage applied to its gate. The higher the voltage applied to the gate, the smaller the drain-source resistance will be. Figure 4 shows how the FET’s resistance determines the gain of this section. Resistor R5 and the FET essentially comprise a voltage divider circuit.
- Page 32 The output amplifier is a Darlington pair followed by a class A stage based on a 2N3053 transistor. The 1176LN output stage was essentially the same as the Universal Audio 1108 pre-amplifier. The output transformer is a custom transformer designed by Bill Putnam Sr. Aside from offering output impedance matching, the transformer forms an integral part of the feedback network used to stabilize the output stage.
- Page 33 The Technical Stuff __________________________________________________________ A bias level is applied to the diodes by the Compression Ratio pushbutton switches. This controls the threshold of limiting, and is adjusted for the correct value as determined by the currently selected compression ratio selection. R55 controls the compressor’s attack time by regulating how fast C22 is charged.
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Page 34: Glossary Of Terms
Glossary of Terms __________________________________________________________ Ambient noise - Low-level noise created by environmental factors such as fans, air conditioners, heaters, wind noise, etc. Attack time - Describes the amount of time it takes compressor circuitry to react to and reduce the gain of incoming signal. - Page 35 Glossary of Terms __________________________________________________________ dBm - Short for “decibels as referenced to milliwatt,” dissipated in a standard load of 600 ohms. 1 dBm into 600 ohms results in 0.775 volts RMS. dBV - Short for “decibels as referenced to voltage,” without regard for impedance; thus, one volt equals one dBV.
- Page 36 Glossary of Terms _______________________________________________________________________ Peak reduction - A synonym for compression or limiting. Program dependent - Refers to a parameter that varies according to the characteristics of the incoming signal. The amount of 1176LN/1176AE gain reduction is program dependent. Ratio - see “Compression Ratio” Release time - The time it takes for a signal to return to its initial (pre-compressed) level.
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Page 37: Recall Sheet
Recall Sheet __________________________________________________________ - 32 -... -
Page 38: Specifications
Specifications _______________________________________________________________________ Input Impedance 600 , bridged T-control (floating) Output Load Impedance (floating) Frequency Response 20 Hz to 20 kHz ± 1 dB Gain 45 dB, ± 1 dB Distortion > 0.5% T.H.D. from 50 Hz – 15 kHz with limiting, at 1.1 seconds release setting. Output of +22 dBm with no greater than 0.5% T.H.D. -
Page 39: Additional Resources/Product Registration/Warranty/Service & Support
Warranty The warranty for all Universal Audio hardware is one year from date of purchase, parts and labor. Service & Support Even gear as well designed and tested as ours will sometimes fail. In those rare instances, our goal here at UA is to get you up and running again as soon as possible.
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