We put it on 3:1 for some kick and snare, and it added punch, sustain, and tightness… without even sounding compressed. We tossed it on 10:1 with the famous “opto” settings, and it made a bass guitar sing through the mix. Bam… vocal sounded rich, fat, and in your face without those pressing upper mids. Then we put one of them on a vocal, 4:1, medium attack, fast release, hi pass on, and the “peak” filter in the detection. Well, the 1176s retired on drum mic duty that day. The first thing we did was put them on room mics on the “nuke” setting, fast attack, fast release… a job previously accomplished by some 1176s. The studio I interned at ended up getting a pair of them since they were more affordable than most vintage compressors. Word of this compressor chameleon spread fast in the audio world, and as I sat in the studio lounge reading the now infamous review in Mix Magazine that claimed that this box could sound like so many classics, I thought to myself: “I need to hear this thing”. I remember when the Distressor came out in the late nineties.
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