The other difference is that to put an 1176 into overdrive, you simply turn up the input control until it starts to grunt. Yes, there are differences between the Rocket and an 1176. The other advantage of a plugin, apart from cost, is that I can use as many instances in a project as my computer can handle, whereas I can’t afford even one 1176.
The Rocket, however, I bought for $49 US. You can buy a current model hardware UA 1176 for around $3,500 in Australia and a vintage one could set you back thousands more than that. The attack time of the Rocket can be set as quickly as 5 microseconds, which is so fast it’s virtually instantaneous.īear in mind that most compressors’ attack times are measured in milliseconds, not microseconds. Faster than anything except The Stillwell Rocket, that is. These qualities mean that the 1176 can be used as an artistic tool for it’s sound character, as well as a more conventional and very handy leveller that can jump on naughty peaks quicker than anything else. This is because there are 4 choices of compression ratio on push buttons, at 4,8,12 and 20dB and it was discovered that all 4 buttons could be engaged together, so combined with the right attack and release settings and all buttons in there’s some serious squashing and distortion going on. The other characteristic of the 1176 is that it can also be pushed into super aggressive territory, which is not so cuddly. The 1176 is known for it’s ultra-fast attack time (20 microseconds) and combined with the sound of the FET’s and transformers in the circuit, which can give a very “cuddly” result, it’s always been a favourite in top studios. The Rocket is somewhat based on the hardware classic Universal Audio 1176 FET (field effect transistor) compressor leveller. Some are industry standards, like my Waves compressors, but the one I find myself reaching for in many projects I tackle is The Rocket by Stillwell Audio. Many others are freeware offerings that are surprisingly great quality. Many are included for free with my D.A.W.
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