It’s wild how gear hype snowballs over time. Somehow the CL1B turned into the “I made it” flex piece— like it’s some magical box that’ll transform average vocals into a hit records. Don’t get me wrong, it’s a great compressor for what it is, but the used price is laughable. Any seasoned engineer knows this.

I respect that opinion but there's not been anything lost by adding compression to the recorded clean vocal, even for pop, in my experience. Performers tend to want to hear that compression live, which is why we use low-latency plugins for their feed. If it wasn't such a pain to rewire this studio I'd give an in-line compressor a shot, to see if I'm missing something, but I'll have to remain curious about it.

Did the OP end up getting an MC77 or something else?

Yeah Tubetech is great but not for those prices. I have it and i keep it out these days... And people want it in their vocal chain? If it was so incredible why am I not using it? My Burl Coaxial got damaged last night (something fell on it) so I had my backup Mytek ready to go. It's less colored but it's not a big deal, still sounds great haha.

Most stuff I have i don't need is what I'm saying. The Stam SA2A is just as good as the Tubetech, and on top of that has 2 modes instead of 1.

Ended up using the mc77 plugin during a Korean pop session and it was great. I saw a video where it looks like Teddy Park uses the hardware version for Blackpinks vocals and those sound really good too. The plugin makes me want to get the hardware. Plus it's a cool looking unit aesthetically.

And as I'd mentioned above, I found the plugin to so closely match the hardware that I sold the hardware.

I'm honestly not surprised, it does sound amazing, it's my go to on vocals, even for podcasting too.

the people want to know about the mods!

to the OP:

i have it in my head that manny marroquin used his TLA-100a on some Bieber vox. Whether he did or not, I don't know, but he does have them and he did say he uses them for vox. Squarely in your price range (used). Just the right amount of clean/color/smooth. MM approved.

the VNE compressor would be the forward-looking option for you. maybe too clean, but i don't think you really want much coloration on a pop vocal. costs a ton, but maybe the DNE 500 series version would be good. i suspect no one really knows.

i'm anti-1176. except for the ureis, which have incredible boxtone and perfectly serviceable action, i think they're just not for me. the splice mk ii i had was not worth the space it took up and we parted ways. nice design and i like the serpent guy, but the sound was not there for me.

that being said, the bluey may have something that the splice did not. i can't say for sure and it's temptingly affordable.

another killer option would be the vac rac/TLM-1, but this is not cheap. the vac attack plugin might do you one better than the MC-77 plug-in, though, if you're gonna be using a plug-in. personally i didn't care for the MC-77 plug-in.

obviously a modded distressor is your best choice, but at this point, no one really knows what the thrill mod is

yours truly,

a compressor snob

Whats your rationale around tracking without the compressors & what’s your new vocal chain?

recently picked up the UA 1176 plug in and it's amazing, for no cost, it was free! it probably gets me 95% of the way there.

No need to be silly, you can choose discourse over argument.

I use various plugins running on Pro Tools Carbon DSP while tracking. There's no significant difference between using Softube CL1B plugin vs the Tube Tech hardware.

I encourage you to take part in conversations without trying to pick fights.

I imagine there would be a considerable difference between a CL1B and the software version, unless they manage to model the plugin 1:1.

However, aside from that, I'm not understanding the difference between using a hardware compressor for tracking vs a software one? What's the argument for one or the other, aside from the hardware potentially sounding better?

Wouldn't a compressor plugin on the first insert achieve the same results?

THIS!!

Civil discourse means everybody learns .

Arguing means nobody learns anything.

Initially I removed everything in my chain to do vocal shootouts on here with the bn251, and I haven't really thought of putting them back. I've been plugging the Redd Microphone straight into the AD converter, or I plug the BN251 into the Cranborne then straight into the converter. I find I'm not getting crappier takes so I'm just keeping it as is, I think less is more nowadays with all the vst tools available.

Well, it wouldn't because I have both Cl1b and the Software, and these days I never reach for the software vst for it, and the Hardware version is just better sounding overall, has more of a 3d image, nice on the esses etc. I'd say the plugin is 70% there?

The idea is that if you're compressing on the way into the mic preamp then you're able to drive that pre harder, and more consistently, without overloading.

And while this is potentially true, as I've mentioned a few times, this effect isn't prominent enough, nor important enough, for me to commit to compression in that way. If I was using pres with stronger character I might feel differently but I tend to record clean.

Another reason is that singers (and other musicians) often prefer to hear some compression as they're recording. But with low-latency plugins sounding so good in 2025 I'm just adding a compressor to their track to achieve the same effect without needing to cook that (potentially unwanted) compression into the take.

I don't think either method is wrong, and obviously it's not since people are making both routines work for them.

I’m coming to the same realization around analog compression, although the part of me that wants to justify the money I spent on analog gear wants to still believe there’s some benefit to tracking through gear.

My philosophy around tracking vocals is starting to shift from character pieces that impart a sound like the 1073/la2a etc to recording clean through gear like the Camden Cranbourne/PWM compressors & imparting character/messing with tone with more precision with ITB plugins or analog gear in the tracking chain that allows for more control over tone - ie rnd 542s, tape emulators and units like the cranborne carnaby. My vocal chain is always mutating somehow, but maybe I’m over complicating.

yeah exactly, same with mine, it's always mutating, I try different combinations etc.

I tried vocals with the Shure Ksm313 ribbon the other day:



Most new music I do is to mostly promote my older songs that are streaming. A lot of my newer songs, I tend to make in 1 day and then put it on Spotify right away, then make a story on instagram and post a snippet on tik tok, that's about it. I can't really work on songs like I used to because I don't have that motivation to listen and relisten and fix stuff and add a ton of elements anymore. I usually work until I'm over the song haha.

I see a purple mc77 on Reverb locally, I might get it who knows lol. I reach for the plugin every single time and I'd never reach for the Cl1b plugin for vocals.

This is the song I finished in one day yesterday, already out today, I used the Redd microphone and then Rvox and MC77 plugin and tons of effects of course:

Hey, I’ll admit there was a little spice in my comment—but it wasn’t meant as a personal dig.

I was critiquing your original statement in the context of recording pop vocals, where you mentioned not using any compression during tracking—especially not an 1176.

There’s a growing sentiment now that “less is more” while recording, and that plugins are just as good as hardware. While I agree that plugins absolutely work in certain situations, I think tracking is where the difference between plugins and hardware becomes the most noticeable.

In my own experience, tracking with hardware compressors—particularly something like an 1176—makes a huge difference. When it’s the right comp for the vocal and it’s set correctly, the way it shapes transients and adds depth, tone, and energy in real time is something that plugins struggle to fully replicate and especially at higher GR values.

Unfortunately, this approach is becoming kind of a lost art with how easy and accessible digital recording has become.

And look—if someone truly can’t hear the difference between a hardware unit like the CL1B and its plugin counterpart while tracking, that’s okay. We probably just have different reference points, experiences, and expectations. I wish the plugin replaced the hardware so I could sell mine—but it doesn’t.

If anything, the 1176 is where I notice the biggest difference in energy, character, and how it clamps down on a vocal compared to plugins. Even the best plugin versions, while solid, tend to react a little differently—especially when pushed harder.

I’ve been tracking with the Purple MC77 (hardware) over the past few days across four songs, and it’s really impressed me. It clamps down harder/ faster than my 1176LN at the same settings, but in a really musical way. It adds a modern energy, brings out the mids without being harsh, and just feels alive. The 1176LN still sounds great—smooth, slightly darker—but the MC77 adds a little more forwardness and edge that works great for pop vocals.

This is nice. Love the vocal effects you have going. Impressive work for 1 day 👏

I say grab the local MC77!

You mention that hardware sounds better at higher GR values - where do you think the sweet spot would be for something like the MC77 or Cl1b while tracking? - I notice most engineers nowadays don’t go past 3-5 db of GR while tracking these days, especially for more modern genres.

Totally depends on the compressor, the song, the singer, and the tone you’re going for. I think it’s smart to be mindful not to overdo compression while tracking—especially when you’re starting out. I remember getting my first hardware compressor and being overly cautious because of all the advice out there: “don’t compress more than 5dB,” “you should use this setting,” etc. But honestly, it just takes experience and trial and error to build the confidence to know how to dial it in for the sound you’re after.

Part of the magic of tracking with an 1176 is how it handles peaks—it clamps down in a really musical, controlled way as the vocalist leans into it. That’s what makes it such a weapon for tracking pop vocals.

Check out the Daniel Nigro MWTM—he uses an 1176 while tracking Chappell Roan, Olivia Rodrigo, etc. Most of the time, I’m hitting around -5dB of gain reduction during the louder sections. The key is that the needle should be moving with the performance in a way that feels musical. Once you start trusting your ears, it becomes pretty intuitive to find the sweet spot on a 76.

As for the CL1B, I usually tread a bit lighter. If I push it too hard, it can start to flatten out the vocal in a way I don’t personally love. I tend to back off the threshold just enough to hear the vocal “open up” a bit. Usually it’s doing around 2–3dB of steady GR, maybe a little more on peaks or louder performances. I always use manual mode now—I used fixed for a long time, but once I really understood how the attack and release curves responded to the vocalists I was tracking, I found you get way more control with manual for shaping the vocal in a way that plays nice later with all the stuff I do ITB.

I'm not him but have always found a good starting point for a lead vocal with an 1176 is ratio 4, attack wide open, release fastest or very near fastest if too choppy, and then see 5-7dB max gain redu tion on the needle on the loudest sections. That usually means much of the verses not much needle action. You get something slightly reigned in but retaining its original dynamic shape. And size, with attack wide open. Why anyone would close the attack even slightly when tracking lead is beyond me. For BV's, sure.

On the Cl1b I usually do 3 to 5 gain reduction, it's a pretty good starting point. It doesn't have a noticeable sound like the SA2A I have, it usually makes the bass more solid sounding.

I like to use a preamp with multiple outs so that I can record a vocal with no processing, alongside whatever processing the vocalist wants to hear while tracking.

I've found that as a tracking compressor, I've never regretted putting the CL 1B on a vocal. I just try to avoid doing more than around 5db of GR since more than that can sometimes start to really suck the life out of a vocal. Using an 1176 in tracking feels more vocalist dependent to me, it works great for some and can feel like way too much on others. I personally prefer an 1176 rev E to the mc77, I've never really clicked with the purple.

As far as thethrillfactor distressor mod, that a Jim Williams mod.

Now for the op, can say if the mc77 is the right fit for you, only used one time and remember it to be kinda on the bright side.
But don't be fooled, people tracked with 1176 for a long time (10 years of Max Martin pop production where tg preamp to 1176, Jordan tracked Beyonce for a whole album with a 1176...etc).
Today people tend to follow trend and only consider gear used by so and so as valid, even if they go the whole chain or part of the chain wrong (exemple the go to pop/r&b chain c800g, 1073, cl1b when if you look at what someone like Kuk Harrel use (and he track the big bulk of artist on the chart) it's c800g/251, 1081 and cl1b).

I track vocal using tla100, 1176, cl1b, distressor and on my list to try is stc8 and altec 436 like (phoenix comp and locomotive 14b). But no matter what comp I use the end result is the same.
So try the purple, if it work great, if not try something else.

Man every clip I hear with the camden sounds great. Thank I'm going to add that next to my list. On vocals, do you find yourself using the mojo knob often?

I actually don't use it that much (just because I'm currently using the Sphere microphone), but it's definitely great, it's like having 2 compressors I find. With that box, if you can't afford a compressor, It helps. I can post a small example with an sm7b and twisting the knobs if you want.

Heck yea man that would be awesome 👌