Z&H Designs 1178 Stereo Peak Limiter

This UREI‑inspired compressor includes some useful features for modern hybrid studios.

Z&H Designs started life in 2019 when Jaky Zheng, an audio engineering instructor and studio owner, gathered together a team of designers, engineers and co‑creators from around the globe to flesh out and develop equipment designs and prototypes to work in real‑world studio sessions. The final designs that are now coming to market are all hand‑built in Shanghai by an experienced team who, they say, are now able to manufacture not just the devices themselves, but also many of the components used in them. Some of those, including op‑amps and transformers, are available through their website. The idea is that Z&H can have full control of the quality of their designs, as well as the ability to build custom units to order.

Two 1176s?

We were invited to test one of Z&H’s takes on a classic studio processor: their 1178 Stereo Peak Limiter is clearly inspired by one of the less‑well‑known 1176‑style FET compressors, the UREI 1178. Intriguingly, for this particular model, Z&H claim to have exclusive access to the remaining stocks of some discontinued components used in the original UREI 1178, including the NPD5566 FET transistor, which they say makes it possible to build a faithful recreation of the original signal path.

Released in 1979 (around the time of the Revision H 1176), the 1178 was UREI’s solution for engineers who wanted to use two 1176s as a stereo pair. Previously, getting two 1176s to behave as a stereo device wasn’t straightforward, and involved a battery‑powered adaptor being connected to each device. The 1178 was conceived from the outset as a true stereo device, so the two channels shared a set of attack, release and ratio controls (making it less versatile when operating on two different mono signals than an 1176). Long since discontinued, Universal Audio briefly returned to the idea of a stereo 1176 in the early ’00s, with the release of the 2‑1176. Unlike the 1178, this model features fully independent controls for each compressor. I’ve had a 2‑1176 at my studio for well over a decade, and it gets heavy use as a dual‑mono device with the bonus of stereo operation if needed, though stereo operation requires more manual control matching than on an 1178.

When it first arrived at my studio, I was impressed with the aesthetic qualities of the Z&H 1178. With a solid build quality and a nice finish, it gives the impression of being a ‘full‑fat’ professional audio product. I especially liked the two large, slightly dimmed ’70s‑style VU meters, and the various knobs and push‑switches felt authentic too. But while it might appear very familiar, it’s worth looking more closely at the controls, because Z&H have sensibly decided not to remain slavishly faithful to the original 1178 design. For instance, the user can configure the device for stereo or dual‑mono operation, and there’s even a Mid‑Sides mode. Z&H have also included other features that have become popular in modern studios: there’s a side‑chain filter, to reduce the compressor’s sensitivity to lower frequencies, and a wet/dry blend control that allows instant parallel compression without using a mixer.

The IEC mains inlet feeds an internal toroidal transformer and linear power supply, and can be switched for use with different AC mains voltages.

In At The Deep End!

My studio is a busy place, with frequent recording sessions going on, and I like to slip review pieces into use on these sessions where I feel it’s appropriate, particularly with gear based on classic designs like this where the controls seem fairly straightforward. It means I’m able to judge how intuitive a device is to use, and how it compares with the tools I use on a day‑to‑day basis. As I often use one channel of my 2‑1176 when tracking vocals, I thought this might be a good place to start — but it was a matter of seconds before I realised that this Z&H device was a rather different beast! Relative to my 2‑1176, the input controls seemed very sensitive, and I found it tricky to set the threshold where I wanted it. I could also hear my vocalist sounding ‘compressed’ even when there was no activity showing on the gain reduction meter. It didn’t sound bad, but it certainly had a different sonic character, being somewhat darker and generally more colourful than my 2‑1176.

So I lost my nerve on that session, and decided this was a piece that I should spend more time getting to know in the safer confines of an unattended mixing session! This proved to be the right decision: like a lot of good outboard equipment, the Z&H 1178 is a device that rewards time spent learning and experimenting with how it behaves on a range of sources.

Before delving into stereo sources, I spent time using just a single channel on some of the typical sources on which an 1176 tends to excel. Trying out the Z&H 1178 on both male and female vocals, I began to get a better feel for how this unit behaved. I didn’t have an original 1178 to compare it against, and was a little thrown by just how sensitive the controls seemed to be (which explained my experiences when tracking!). With the gain reduction was engaged, and balancing the input and output levels in the usual way, it felt like small adjustments made quite dramatic changes to how much compression was being applied — I did grow used to it, but despite there being a substantial 41 steps on the input and output control knobs, I often felt that I’d dialled in either too little gain reduction or too much!

What this behaviour did encourage, though, was use of the side‑chain high‑pass filter and the blend control, and these certainly helped me to dial in the sounds I wanted. In fact, this workflow let me to some great results on a DI’ed bass guitar part, bringing stability and a sense of depth to the sound. It sounded very familiar on vocals too, with perhaps just a little more colour added than my own 2‑1176 — in a good way!

Adventures In Stereo

Most users will no doubt be drawn to the Z&H 1178 for its ability to control and shape stereo sources, such as when used on the drum bus or even a full mix. There’s some nuanced debate around the best way of using compressors on stereo sources, especially with a potentially fast and aggressive‑sounding compressor like an 1176. It’s good, then, to have options, which this device does. A toggle switch decides whether it operates in Stereo or A/B mode. In the former, the channels’ gain‑reduction elements react to a common signal: the gain reduction is determined by the loudest signal on whichever channel at any given time. In A/B mode, it functions as a dual‑mono compressor, with each channel reacting to its own control signal and, other than for the ratio, giving the user independent control of each channel.

Playing with these stereo options got me right into the heart of what this product has to offer. I found that A/B mode often worked well, with the caveat that I often had very carefully to nudge the settings to get the levels feeling nicely balanced across the two channels. 1176s are much‑loved on drums, of course, so it’s perhaps not surprising that my favourite use for this 1178 was on a drum bus. With a medium attack and fast release, I found it really satisfying to dial in a healthy dollop of gain reduction and then use the blend control to fine‑tune just how the drums sat in the mix. Punch, depth and lots of the good stuff could be heard.

I also really enjoyed the extra ‘zing’ and control I achieved on a pair of hard‑panned acoustic guitars, with the side‑chain filter contributing a sense of fine control. On that point, I often found myself engaging the side‑chain filter at 60Hz rather than turn it off, as it just seemed to make the unit more predictable and less prone to big jumps in gain reduction. The side‑chain filter’s other options of 120 and 180 Hz brought welcome flexibility too, of course.

One feature that might help Z&H’s 1178 stand out in this crowded marketplace is the option to operate as a Mid‑Sides compressor.

Generally, I found myself favouring the Stereo setting for stereo sources, probably because the sensitive input controls meant I was constantly nudging the dials to get an even‑sounding balance between the two sides. But while I’ve seen those two options on other UREI‑inspired designs, one feature that might help Z&H’s 1178 stand out in this crowded marketplace is the option to operate as a Mid‑Sides compressor.

In M‑S mode, the left set of channel controls operate on the Mid component of a stereo signal and the right set on the Sides, and I quite enjoyed using it on a stereo mix bus. Because of the relatively aggressive nature of this style of compression it can leave a big impression on your audio, but sometimes that’s what’s needed! For example, I could achieve firm control over the vocals, kick and snare whilst allowing sounds in the Sides a little more dynamic freedom. I’m not sure I could imagine a mastering engineer using this type of compression on a day‑to‑day basis, but again the parallel mix control can help you tone down the results a bit — I can certainly see potential here for mix bus processing and stem mixing applications.

Summing Up

Despite our slightly rocky start, I ended up enjoying my time with the Z&H 1178. I haven’t used a vintage 1178 so I can’t comment on how closely to one of those this device sounds and performs, but to my ears it has a more aggressive and colourful tone than other 1176‑style compressors I’ve used, and certainly that’s the case when comparing it with the UA 2‑1176 in my studio. I mentioned some unpredictability to the input controls, but despite that — or perhaps because of it — this device often took me down some unexpected paths, and experimentation was generally rewarded with satisfying results. This company already have some other intriguing options in their range, and I’ll be very interested to see how they develop their portfolio in the years to come.