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[Bubba--Kron]

Do these compressor ever find themselves on the mix bus or strapped over a final mix??

Thanks

[Hermetech Mastering]

I've never used one, but also never considered one for mastering as I always imagined they would be far too "grabby".

[Bob Olhsson]

Do these compressor ever find themselves on the mix bus or strapped over a final mix??

"Back in the day" an 1176 with a Westrex faceplate and Logo came with every Scully/Westrex cutting system. I think I remember Columbia Records using LA-3as during the 1970s.

[Jerry Tubb]

The Peak Limiter of an 1178 can be useful at times, but passing thru the device generally brings along more color than desired.

JT

[TotalSonic]

"Back in the day" an 1176 with a Westrex faceplate and Logo came with every Scully/Westrex cutting system. I think I remember Columbia Records using LA-3as during the 1970s.

I noticed when I visited Robert Speiden's former studio that the only comps he was using for his vinyl mastering path were a pair of 1176's.  Doug Sax had some highly modified LA2's in his lathe room when I visited the Master Lab last December,

Best regards,
Steve Berson

[bblackwood]

Slightly OT, but I've always wondered what a couple of vintage UA176's would sound like on the buss...

[Gold]

but passing thru the device generally brings along more color than desired.

And noise. That would be the biggest problem IMO.

[KAyo]

There are no rules, if one must, one will ..
But, it won’t be a choice I’d make. Nor, are they clean enough for my taste, but, they do possesses that certain grit sound. I can see why the Vinyl guys use them to push towards the event horizon.

Ciao’
KAyo

[Bob Olhsson]

... I can see why the Vinyl guys use them to push towards the event horizon...

Actually I don't remember seeing any "Vinyl guys" actually use one for major label work but they did come with the Westrex cutting system. Of course I also never saw anybody do a major label project using a Neumann cutting system that wasn't modified extensively to clean up the sound.

[Gold]

Of course I also never saw anybody do a major label project using a Neumann cutting system that wasn't modified extensively to clean up the sound.

I have an SP75 from Columbia. It was essentially stock when I got it. The only thing that was changed was an active driver for the monitors instead of the stock transformer. The transfer path was stock. I know many drive racks that are stock and in places that do/did major label work. If changing a cap is a mod I'd agree but otherwise I wouldn't.

[TotalSonic]

I agree with Paul.  fwiw - the DMM cutting system at Europadisk was essentially stock.  On the East Coast I think the general philosophy in cutting studios coming out via Gotham Audio was to keep the Neumann gear maintained to original spec - versus West Coast where you had more tinkerers with things like Doug Sax's AM32's using custom built suspensions and custom tube amps or David Manley's freaky hybrid Neumann/Scully.  I believe there was a move at Sterling Sound at some point by Chris Muth to eliminate transformers from the transfer path in the cutting amps - and there were a few VMS-82's converted to lacquer cutting from DMM - but I honestly think besides updating caps, or changing some components in SAL74's to SAL74b spec, for the most part Neumann systems in the East Coast studios were kept to stock specs.

Best regards,
Steve Berson