Lindell Audio goes back to the bench with the LiN76 mkII, the second generation of its 1176-style FET compressor. The Swedish maker, known for putting the grain of the classics within reach, is not just resurfacing the front panel: there is a new in-house transformer, a redesigned compression circuit and a lower noise floor. The idea is unchanged — 1176-style dynamics without the price of an original — but the execution moves up a notch.
An affordable 1176, second generation
The 1176 is one of the most copied compressors in studio history, for a simple reason: its ultra-fast attack and FET colour suit vocals, drums, bass, anything that needs bite. The LiN76 has offered a faithful, budget-friendly take for a few years now. The mkII keeps that brief and goes after the details that separate a good clone from a keeper. If threshold, ratio, attack and release are second nature to you, this is familiar ground.
What the mkII changes
- New in-house transformer: built specifically for the mkII, it delivers clarity at low level and harmonic richness when you drive it — the classic 1176 duality of transparency and saturation.
- Redesigned circuit: new compression electronics, improved performance and a reduced noise floor.
- Full ratios: 4:1, 8:1, 12:1, 20:1 and the “all-buttons-in” mode beloved of controlled-crush fans.
- Variable, ultra-fast attack and release, with a meter calibration control for precise VU reading.
- RCA stereo link for matched dual-mono operation, true bypass for instant A/B, balanced inputs and outputs, and an internal power supply on an IEC connector.
| Spec | Detail |
|---|---|
| Type | FET compressor / limiter, 1176 style |
| Ratios | 4:1, 8:1, 12:1, 20:1 and all-buttons-in |
| Stereo link | RCA, matched dual-mono |
| Connectivity | Balanced I/O, internal IEC power |
| Price | around $399 (€532) |
Who it is for, and against what
The LiN76 mkII targets the home studio and the installed room alike, for anyone who wants a hardware 1176 without spending a month’s rent — to sit a lead vocal, tame a snare or thicken a bass. It lands in a market crowded with affordable hardware, from 500 Series modules to desktop racks. Its trump card: FET grain, a revised transformer and a price that stays gentle for analogue. At this level, the question is no longer “is it a real 1176?” but “does it do enough to earn a rack slot?” — and on paper, the answer leans the right way.
Frequently asked questions
Can I use it in stereo?
Yes, through a stereo link on RCA connectors that pairs two units in dual-mono. It is the classic way to compress a stereo bus while keeping 1176 behaviour on each channel.
What does the new transformer bring?
Built for the mkII, it aims at two behaviours depending on drive: clarity at low level and harmonic richness when you push the input. That is exactly what you want from a 1176-style FET, sitting between transparency and colour.
Does it have the “all-buttons-in” mode?
Yes. Beyond the 4:1, 8:1, 12:1 and 20:1 ratios, it offers all-buttons-in, which produces the aggressive, coloured compression typical of this circuit.
How does it compare to an 1176 plugin?
It brings the transformer stage and genuine analogue behaviour, with the grain that follows when you drive it. A plugin stays more flexible and recallable; the choice comes down to the sound you are after, not dogma.
My take
Another 1176? Sure, but Lindell’s smart move is to work the transformer and the noise floor rather than repaint the front. On this kind of compressor, that is where it all happens: how the stage colours when pushed is the difference between a tool you use and one you resell. At a price that stays reasonable for analogue, the mkII ticks the expected boxes — dual-mono, all-buttons-in, true bypass — without fuss. The listening test is the only judge that counts, and that is where the new version’s promise of grain will stand or fall.
