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Precision Mastering Plug-Ins Bundle
An Essential Mastering Toolkit and Longtime UAD User Favorite.
Precision Multiband Plug-In
The Precision Multiband is a specialized mastering tool that provides five spectral bands of dynamic range control. Compression, Expansion or Gate can be chosen separately for each of the five bands, while its easy-to-follow design makes the Precision Multiband the ideal tool for the novice, as well as the seasoned mastering engineer. (See the reviews tab for the long list of high-profile users.)In use, the Precision Multiband is ideal for anything from complex dynamics control to simple de-essing. Two filterbank modes offer precise linear-phase or minimum-phase gain control; use the linear-phase option for perfectly phase-coherent results, or minimum-phase for a less precise, more “analog” sound. Both filterbank modes achieve the magnitude response of a Linkwitz-Riley filter, and provide perfect magnitude reconstruction.
Precision EQ Plug-In
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- A Note about UAD Powered Plug-ins UAD-2 and UAD-1 Powered Plug-Ins run exclusively on Universal Audio's UAD DSP Accelerator Cards. All available Powered Plug-Ins are included in the UAD Software Installer/Updater Package; and every Plug-In title has a separately activated 14-day trial - so users can try before they buy, at their own pace.
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The Precision Equalizer is a stereo or dual mono four-band Equalizer and high-pass filter made primarily for use with program material. Modeled on the behavior of real-world analog mastering filters, the Precision EQ uses the classic parametric controls arrangement. To preserve the greatest sonic detail and ensure a minimum of artifacts in the upper frequency range, the Precision Equalizer is up-sampled to 192kHz.Both channels of the easy-to-use Precision Equalizer feature four bands of filtering grouped in two overlapping pairs: Two for low frequencies, two for high frequencies. A +/- 8 dB shelving or peak/notch filter is available for each band with five peak/notch responses per band. Each band can be enabled/disabled for auditioning and DSP savings. The Precision Equalizer features .5 dB stepped gain controls and stepped frequency controls traditionally found on hardware mastering EQs for repeatability. The high-pass filter is a far-reaching 18 dB per octave.The Precision Equalizer also features flexibility in auditioning two separate A and B EQ configurations with the Stereo cycle button, while the Dual button allows the plug-in to function in dual mono, when disparate channel adjustments are necessary. In stereo mode, the left and right controls are linked – moving a knob on either channel will cause the corresponding channel to move. Stereo EQ configurations can be conveniently transferred from A to B, or B to A using parameter Copy buttons.
Precision Limiter Plug-In
The Precision Limiter is a single-band, look-ahead brick-wall limiter made primarily for use with program material. This intuitive plug-in achieves 100% attack within a 1.5ms look-ahead window, which prevents clipping, and guarantees zero overshoot performance. Both the attack and release curves are optimized for professional mastering, which minimizes aliasing.The Precision Limiter is a colorless, transparent mastering limiter — no upsampling is used, nor does the Precision Limiter pass audio through any filters — audio remains untouched unless the compressor is working, in which case, only gain is affected.The Precision Limiter also features comprehensive, high-resolution metering, and conforms to Bob Katz's 'K-system' metering specs. This metering allows the user to see what is happening to audio with a great deal of accuracy, with simultaneous RMS and Peak metering and adjustable Peak Hold; the plug-in can also be bypassed and used strictly as a high-resolution meter.Other features include options for a user-adjustable Release or intelligent Auto Release, which allows for fast recovery — minimizing distortion and pumping. The unique Contour Mode switch offers two different methods to tailor the attack shape and can affect overall 'presentation' or perception of how 'up front' a track feels. Switching the Contour Mode can be useful on minimal and/or acoustic program material, yielding a more subtle touch.
Times are good for building a DIY 1176. Where 1176's used to dangle from big-name engineers' racks like so many fruits from Tantalus' tree, they're now well within reach of anyone with a soldering iron and a modest budget. And where there was once but one DIY option (Gyraf's G1176), there are now a myriad to choose from. But why, indeed, so many projects when there is only one 1176? Revisions. According to Universal Audio's website, the 1176 underwent at least 13 revisions from 1967 to 1973. Most of these consisted of either cosmetic makeovers, such as rev H, or minor tweaks that didn't reach the audio path, such as revs D and E. Others, however, were overhauls that significantly affected the compressors' sonic character. With 'Mnats' (a veritable Bill Putnam of the DIY world) now offering PCBs for revs A, D, and F/G, 'which one should I build?' is becoming a common question. So without further ado, let's look at the revisions and what they can do for your sound... 
1176 Revison History
Revisions A/AB June 20, 1967: Wild transients tremble in fear of the enigmatic 'Blue-Striped Terror.'
Bill Putnam created the first 1176 compressor in 1967. Although it was the basis for all 1176 revisions, the rev A has numerous peculiarities that set it apart from the others. It is the only revision to use FETs rather than bipolar transistors in the preamp and line amps. It is also cosmetically unique, sporting a distinctive blue stripe through the meter. Finally, the rev A does not have the low-noise circuitry of later revisions, which means it imparts more harmonic distortion at the expense of a higher noise floor. The Universal Audio website tells us that there were only 25 of this revision made (serial no. #101-125), which makes them about as rare as a piece of gear can be.
Mnats' Rev A PCB is actually based on what UA calls 'rev AB,' which changed some resistor values and added a bypass cap for the resistor feeding the gain-reduction FET. So, for all intents and purposes it is a rev A 1176, but with a more stable and controllable limiter.
Revisions C/D/E1970: A clean up, a suffix, and a dark new look.
Most 1176 fetishists reading this have already noticed two conspicuous differences between the rev A and the compressor most of us know today: the black front panel and the 'LN' signification. These were both introduced with rev C and codified with the rev D. 'LN' stands for 'Low Noise,' and all of the circuit changes in rev C were intended to reduce noise and distortion. These include reducing the voltage going to the gain-reduction FET to make its operation more linear, and incorporating a Q-bias pot to minimize distortion. Mnats reported that his rev D build tested 3.4dB quieter than the rev A.
Revisions C, D, and E are all in fact the same circuit with some superficial differences. For rev C, the LN circuitry was kept in its own epoxy module to protect the not-yet-patented design, but was added directly to the main PCB for rev D. Rev E merely added 220v operation in order to aggravate transients on both sides of the pond.
Universal Audio's current reproductions are based on these revisions, so if you are looking to DIY an 1176 rather than buying a new one, rev D is the way to go.
Revisions F/G1973: Pulling out of class A / Integrating integrated circuits.
From the beginning the 1176 had used the class-A 1108 preamp for output gain. Rev F replaced this with a push-pull amplifier based on the 1109 preamp. This gives the rev F more output gain and a slightly different sonic character than previous revisions. In spite of this, this revision measures the lowest harmonic distortion of any revision, making it the best choice for those looking for 1176-style compression with less coloration.
Rev F replaced the UA-5002 output transformer with a Bournes B11148 which, according once again to the estimable Mr. Mnats, adds a small boost in the extreme high and low frequencies.
Revs F and G were also the first to incorporate integrated circuits. First, the rev F switched from a discreet to an opamp-based metering circuit, while the rev G replaced the input transformer with an NE5532 IC. This gives the rev G the potential to be the cleanest 1176 yet.
The Gyraf G1176 is based on rev F, but does not accept Ed Andersons B11148 transformer clone. Both revs F and G can be built on Mnats' rev F PCB.
Revision HThe final frontier?
Silver faceplate, red 'Off' button, blue UREI logo. That's it. Not much of a revision, really, and to my knowledge it has never been DIYed. Who wants to be the first to clone the front panel of the elusive revision H?
So, which one should I build?
Odds are you probably know by now which revision appeals most to you. But in case you are still trying to sort out which one is right for you, let's do a 10-second, over-simplified takeaway:Rev A: Juiciest, noisiest, vintagey-ist.
Rev D: Lower-noise, classic character. Closest to the modern repros from UA.
Rev F/G: Cleanest, unique output transformer.
Rev H: Snazzy faceplate.
Uad 1176 Crack Software
All revisions use the UTC-012 input transformer, except for G, which has no input transformer.
Uad 1176 Crack Key
All use the UA-5002 output transformer, except for F/G which uses the Bournes B11148.