suits my case

A

This is professional equipment used to record some of the greatest music ever made. It was used in the production of: Michael Jackson vocals - 'Don't stop til you get enough' (and other tracks on the Thriller Album); Led Zeppelin's - 'Black Dog' (guitar, Page) & 'When the Levee Breaks' (drums, Bonham). Early versions were designed in 1966, then updated over time. It was not originally a pedal, it was housed in a large rack box for use in a professional recording studio. These pedals normally sell for significantly more than the price I paid on Amazon. They are a premium pedal made for professional musicians. My eyes nearly popped out of my head when I saw the huge discount Amazon were selling them for. Highly recommended

The 1176 Compressor from UAFX is becoming one of my favorite compression pedals I have ever used, and yet, I feel like I am still learning the pedal and probably only appreciate 20% of what it can do. You get three different modes, which I beleive are modeled after a single 1176 rack compressor, a “dual” mode that creates basically an overdrive effect using two 1176’s, and a “sustain” mode with crazy amounts of note sustain. I’m going to focus mostly on the primary, “Single” mode, which is the one I am using.The challenge with the 1176 is that it looks like a compression pedal and can be used like a compression pedal, but it’s really a digital model of a vintage rack compressor repurposed into pedal format. What this means is that some of the normal controls you’d expect from a BOSS CS-3, MXR Dyna Comp, etc. are there, but they might have different names. Or there may be additional controls, or ones where the knobs work in reverse of what you’d expect.The INPUT knob is sort of like a combination between the amount of signal fed into the front end of the compressor, and the level of compression effect itself. The OUTPUT knob is essentially the output volume of the pedal itself. So, if compression settings result in a quieter signal, the OUTPUT knob can “make up” that volume.ATTACK and RELEASE become “faster” as you turn the knob up. What that means is that a high ATTACK knob setting means the compression kicks in more quickly. If you want to retain the initial attack of your picking, try a lower setting. The RELEASE knob is essentially how long the compression affect is applied. But, of course, it’s reversed, so a lower setting will have MORE “sustain” and a higher setting will be faster release (more percussive).The RATIO knob is extremely useful, as it controls the aggressiveness of compression. I use the 4:1 setting for a very subtle effect with some limiting and light sustain. If I wanted more of a “squished” and sustained sound, I would try 8:1 or the higher settings. Interestingly, you can also set this to OFF, and then you are basically using the 1176 as a boost pedal that colors the tone with its circuit, but applies no compression.There are an infinite number of possible settings given all of these controls, but I’ve pretty quickly found a few that I really like. I find that the 1176 can be used very discretely - basically just to tame high-end or volume spikes - or it can be set more aggressively such that it becomes an effect in and of itself. It’s one of the few pedal compressors that I’m comfortable using with acoustic guitar, since it can add sustain and normalize output without making the acoustic sound artificial.At the street price of $179, a lot of people mocked these compact pedals as stripped-down money grab versions of their premium gear. However, UAFX gear often goes on sale (this was listed at $99 for an extended period) and it’s a crazy value at that price. It’s not the simplest compressor to use, but it sound like a premium piece of audio gear in a tiny pedal.

Probablemente uno de los mejores compresores que he utilizado en este formato, versátil, excelente contrucción,