Recording - December 2019 - 46

REVIEW

UK Sound 276
Dual Channel FET Compressor
Two channels of super-snappy classic FET compression in a single 19" rack unit

REVIEW BY ALEX HAWLEY

K Sound is a new offshoot of BAE, with a mission to introduce a
cost effective line of analog gear suitable for project studios. BAE
offers a range of hand wired preamps and outboard processors
with high quality components-most inspired by classic Neve designs.
UK Sound is presumably following the same path as its parent company,
with many of the initial products based on the 1073 preamp.
UK Sound products are built in California. The goal isn't to have the
most inexpensive options on the market, but rather to maximize cost
effectiveness without hindering sound quality. This is achieved by using
internal power supplies, PCBs (parent company BAE wires its discrete
electronic components by hand), and some minor component substitutions on items like transformers and switches.
UK Sound has been adding to its product line regularly; seven products
are currently available. The range includes a variety of 1073-style preamps, including the 1073 Mic Pre EQ, a single and dual-channel 73MP,
and a 500 Series version of the 73MP. The 176 and 276 models are single and dual-channel FET compressors respectively. Confusingly enough,
they are designed to emulate the classic UREI 1176 FET compressor-not
the coveted 176 vari-mu compressors. The UK Sound 1173 combines the
1073-style preamp with the 1176-style FET compressor in a single-space
box. Today, we'll be digging in with the 276, a dual-channel version of
the UK Sound 176 compressor.

The 276

The 276 is inspired by the UREI 1176
FET compressor, which was originally released in 1967. The 1176 is highly regarded for its incredibly fast attack and
release times, selectable ratios (including
the 'all buttons in' mode), and a smooth
sonic character. It can range anywhere
from subtle and transparent to aggressive
and gritty. The 1176 quickly became a
staple outboard processor, and made its
way onto countless hit records. The 276
46 RECORDING December 2019

aims to mirror the same functionality and
sonic character as the 1176, at a much
more affordable price point.
The front panel of the 276 is jam
packed, utilizing every bit of space to
fit two channels of compression into a
1U format, in a clean and welcoming
design. It has a matte-black finish with
black control knobs and white lettering,
as well as two backlit gain reduction meters. Aesthetically, it's clean and modern
look doesn't recall the 1176 in any way.

The front panel includes knobs for input
level, output level, ratio, attack, and release (with the fastest setting all the way
clockwise, mimicking the reversed layout
of the UREI 1176). The ratio knob is selectable between 4:1, 8:1, 12:1, and
20:1. There's a switch for enabling the
notorious 'all buttons in' mode, which is
designated by "!" on the unit. Below that,
there's a new switch to enable a sidechain filter-a 100Hz highpass filter on
the sidechain signal, allowing lower frequencies to pass through the compressor
without driving it. There's also a bypass
switch for each channel.
Surprisingly, there is no channel linking
function included on the 276. While the
absence of a link function steers its use
case away from stereo sources or bus
compression (where an equally reactive
threshold is preferred), it's easy enough
to dial in equivalent settings for each
channel and run stereo sources through
it all the same. Another interesting exclusion on the front panel is a power switch;
this is located on the back panel (not a
huge deal for users who have their gear
plugged into power conditioners). For
racks without a power conditioner, the
rear-panel power switch location could
pose an inconvenience if you need to
climb behind a rack to access it.

In Use

I tried the 276 on a range of sources,
including vocals, guitar, bass, drum overheads, and drum room mics. Overall, it
functions exactly like what you would
expect from an 1176. The fast attack
times are as advertised, as well as the
ability to ease off the throttle to smooth
out any source material without clamping down and mangling the transients.

Recording - December 2019

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