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oooh I gotta have it Wampler ego 76 best pedal compressor?


I know for a fact that once I have this pedal, it will immediately allow me to play over changes exactly like Tom Quayle.
 
The 1176 is the only compressor I geek out about. I own the WARM clone, and it's the only piece of outboard gear that I consider indispensable to my project studio.

That said, I am not sure any pedal can oust the Keeley comp that has been on my board forever. It's pretty much tops for guitar.

That said, I'd love to give one a try and see!

EDIT: Also, the description on Wampler's site is a beautiful exercise in flowery hyperbole. I wish I had written it.
 
Glad you guys like those compressors. I've used them (and a bunch of others) and I did find it hard to dial in a tone with all those knobs.
 
aarontunes said:
The 1176 is the only compressor I geek out about. I own the WARM clone, and it's the only piece of outboard gear that I consider indispensable to my project studio.

That said, I am not sure any pedal can oust the Keeley comp that has been on my board forever. It's pretty much tops for guitar.

That said, I'd love to give one a try and see!

EDIT: Also, the description on Wampler's site is a beautiful exercise in flowery hyperbole. I wish I had written it.
Click to expand...
I have an old Boss CS3, a script reissue Dyna Comp, the Keeley, and still am getting the Wampler.
 
mayfly said:
Glad you guys like those compressors. I've used them (and a bunch of others) and I did find it hard to dial in a tone with all those knobs.
Click to expand...
I sometimes like to fiddle about, and even like to make exaggerated/injudicious, or unnatural sounds with them. Sometimes I even run one into another. I can appreciate simple and straight forward too though. Dynacomp is 2 knobs. I am sure yours is awesome too.
 
mayfly said:
Glad you guys like those compressors. I've used them (and a bunch of others) and I did find it hard to dial in a tone with all those knobs.
Click to expand...
The Flat Earth looks and sounds great, but I do like having release and sidechain HPF. For those reasons the Walrus Audio Mira has been perfect for me (plus nice opto tone). Discontinued but worth hunting down the heavily discounted remaining stock.

On the outboard/rackmount side, 1176 and LA2A type stuff is great, but I'm also digging a PWM compressor by ART, their Dual Limiter. It's super clean and it's nice having dynamic control without drastic tone coloring. 2 channels, under $200 new, with 3-year warranty.
 
I gotta say something about these 1176 guitar pedals that have been making appearances recently:

The UA 1176 is and traditionally was a studio piece of equipment used on tracks in the studio (I have UA 1176, Waves CLA etc DAW plugins myself).

Rarely, they were used with a guitar plugged direct into them (e.g. the 2x 1176 setup used on "Black Dog" by Zep).

But they're mainly used for guitar tracks, drums tracks, bus tracks etc... in a studio environment.

Therefore, I find it eyebrow-raising that CaliFX (seems to be the first to market) creates an 1176... for your guitar pedalboard.

And now Wampler is getting in on the 1176-for-guitar-pedalboard theme.

Now, I'm not saying they're useless; undoubtedly they would work great as a compressor. But the fact that they incorporate some of the 1176 circuit (in a pedal-sized format) doesn't make them some sort of "golden fleece" type of guitar compressor. Point is, you'll get pretty much the same compression performance out of a regular Wampler EGO Compressor (I have one), Keely or even the standard-for-decades MXR DynaComp on your pedalboard... simply because you're playing the guitar with it, not mixing tracks.

I mean, we're talking about guitar here - and compression here (not like, guitar & Roland Dimension D type effect) And if it's a distorted tone, you've already got compression. A standard school of thought on putting compression (1176, LA-2A, LA-3A, Distressor, etc) on distorted guitar tracks in the studio is: "no compression needed - it's already compressed enough" (although it's not a rule). Clean tones are of course a different ballgame.

For an example, I suppose a parallel would be "let's make an API channel strip pedal for your guitar pedalboard"... i.e. questionable.
Would it work? Yes. Is it really useful? Hmm. Does it make sense? Meh.
 
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Wouldn't folks be thinking more like Gilmour, Lowell George - Little Feat, clean tones, country etc mainly in the first place regarding compressor usage?
 
JHS-crayon and others make sense if it works for you. Same idea for Epoch by catalinbread.

retrogearshop.com

API TranZformer GTR

API TranZformer GTR Channel Strip Effect Pedal Preamp Boost EQ Equalizer
retrogearshop.com retrogearshop.com
 
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LLL said:
I gotta say something about these 1176 guitar pedals that have been making appearances recently:

The UA 1176 is and traditionally was a studio piece of equipment used on tracks in the studio (I have UA 1176, Waves CLA etc DAW plugins myself).

Rarely, they were used with a guitar plugged direct into them (e.g. the 2x 1176 setup used on "Black Dog" by Zep).

But they're mainly used for guitar tracks, drums tracks, bus tracks etc... in a studio environment.

Therefore, I find it eyebrow-raising that CaliFX (seems to be the first to market) creates an 1176... for your guitar pedalboard.

And now Wampler is getting in on the 1176-for-guitar-pedalboard theme.

Now, I'm not saying they're useless; undoubtedly they would work great as a compressor. But the fact that they incorporate some of the 1176 circuit (in a pedal-sized format) doesn't make them some sort of "golden fleece" type of guitar compressor. Point is, you'll get pretty much the same compression performance out of a regular Wampler EGO Compressor (I have one), Keely or even the standard-for-decades MXR DynaComp on your pedalboard... simply because you're playing the guitar with it, not mixing tracks.

I mean, we're talking about guitar here - and compression here (not like, guitar & Roland Dimension D type effect) And if it's a distorted tone, you've already got compression. A standard school of thought on putting compression (1176, LA-2A, LA-3A, Distressor, etc) on distorted guitar tracks in the studio is: "no compression needed - it's already compressed enough" (although it's not a rule). Clean tones are of course a different ballgame.

For an example, I suppose a parallel would be "let's make an API channel strip pedal for your guitar pedalboard"... i.e. questionable.
Would it work? Yes. Is it really useful? Hmm. Does it make sense? Meh.
Click to expand...
I still am getting one.
 
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Reactions: LLL
LLL said:
I gotta say something about these 1176 guitar pedals that have been making appearances recently:

The UA 1176 is and traditionally was a studio piece of equipment used on tracks in the studio (I have UA 1176, Waves CLA etc DAW plugins myself).

Rarely, they were used with a guitar plugged direct into them (e.g. the 2x 1176 setup used on "Black Dog" by Zep).

But they're mainly used for guitar tracks, drums tracks, bus tracks etc... in a studio environment.

Therefore, I find it eyebrow-raising that CaliFX (seems to be the first to market) creates an 1176... for your guitar pedalboard.

And now Wampler is getting in on the 1176-for-guitar-pedalboard theme.

Now, I'm not saying they're useless; undoubtedly they would work great as a compressor. But the fact that they incorporate some of the 1176 circuit (in a pedal-sized format) doesn't make them some sort of "golden fleece" type of guitar compressor. Point is, you'll get pretty much the same compression performance out of a regular Wampler EGO Compressor (I have one), Keely or even the standard-for-decades MXR DynaComp on your pedalboard... simply because you're playing the guitar with it, not mixing tracks.

I mean, we're talking about guitar here - and compression here (not like, guitar & Roland Dimension D type effect) And if it's a distorted tone, you've already got compression. A standard school of thought on putting compression (1176, LA-2A, LA-3A, Distressor, etc) on distorted guitar tracks in the studio is: "no compression needed - it's already compressed enough" (although it's not a rule). Clean tones are of course a different ballgame.

For an example, I suppose a parallel would be "let's make an API channel strip pedal for your guitar pedalboard"... i.e. questionable.
Would it work? Yes. Is it really useful? Hmm. Does it make sense? Meh.
Click to expand...
Good points. I haven't played a Cali76, let alone compared it to a real 1176, so I do find the notion that it's an 1176 in a pedal dubious although unverified.

I do find significant (enough?) differences between compressors among the ones I've used on guitar. I like them a lot on distorted guitars, although I don't use them 100% of the time. On clean tones of course it's a blast.

I don't really like console or outboard-stuff that ends up compromised for pedal form factor - but even using plugins, I get big differences between 1176 models for example especially when running like 3 in a row for the kind of distortion as mentioned on "Black Dog" etc. The tonal differences get compounded when crushing the signal.
 
I raise my eyebrows at the notion of an 1176-style compressor as a guitar pedal for the same reasons @LLL enumerated. To me it's always been THE vocal compressor in a studio setting, but never the go-to for guitars.

OTOH, I have owned many compressor pedals for guitar and found most of them to be quite different from one another. Some work better for clean sounds, others for adding sustain to already distorted sounds. Some better on single-coils, others better on humbuckers. Etc.

My absolute favorite of all time is the old Boss CS-2, but I no longer own one due to scarcity/reliability. The Keeley is a close second and is still readily available.

And I 100% get the notion of rotating gear to keep the creative spark burning.

You go, @Spud !
 
Just the components of the 1176 alone, even with comp settings not set as such, the1176 just makes everything put through it cut through nicely, especially vocals and acoustic guitars.
 
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