« Timeless and high quality »

This is an analog processing rack comprising two distinct sections:

-The preamp EQ 610 with its lights (high and low shelf).
This section is based on circuits of 610 consoles by Bill Putnam Sr. This is therefore a scheme about 60 years old that has proved its worth.

-FET compressor Ln 1176, also created in the 60's by Bill Putnam, and to this day one of the most widely used compressors in the studio.
Even those who know that digital has certainly used plugins inspired or modeled (more or less) from 1176.

XLR connectors except the DI input jack in the front.
Each section has its own inputs / outputs.

UTILIZATION


Once one knows the basics of recording and sound processing, this strip is easy to use.
I did not have the manual, it is not necessary but can be retrieved at any time on the Universal Audio website (in English).

For the preamp, we first select the input (Mic, Line, DI), with a choice of different impedances. We get a neutral sound with higher values, more colorful with lower values ​​(color due to poor impedance matching).
Then we choose the input gain from -10 to +10. This is actually the force with which one enters the lamp, and at -10 preamp has less gain but less than color (useful for a neutral sound with microphones capacitors), the sound will be at 10 more colorful to a high saturation versatile but not really interesting. The 10 is very useful with dynamic microphones, including ribbons.

The Eq tube offers two shelf bands ranging from -9 to +9 dB
Serious EQ: 70, 100 and 200 Hz Treble: 4.5K, 7K and 10K
It is simple to use and helps fill the gaps or mitigate excesses. Personally I use it along with the audio Feq-50 Summit to have more margin.

For the compressor, the regulars will find their marks in 1176, a few details:
The potentiometer of attack will not stop the compression circuit, it is adjusted with the knob ratio.
The ratio is chosen via a dedicated knob: Byp bypasses, one for staining with transformers without compressing, position the All button and finally the classic 4,8,12 and 20:1 ratios.

For novices, simply set the Input to adjust the threshold, and in fact gain reduction, output to set the output gain (FET here I recall), the ratio for the force of compression, attack for tolerance towards transient (percussive sounds), and release to select the speed at which the compressor returns to baseline.

Final details: besides the fact that the sections preamp / compressor can be separated, there is a switch on the back impedance of the compressor. It offers 600 ohms (vintage) and 15K (modern). Having tried both I prefer the 15K position, although the difference is subtle.


SOUND QUALITY


This strip is excellent but is a considered choice in advance.

As I explained, this strip of circuits used for years 50/60 updated to meet modern studios and digital, especially in terms of noise and bandwidth.

Therefore immediately think of the music styles that you wish to work and the "type" of sound you like. I knew several people disappointed by this unit (this is actually how I acquired mine) parcequ'elles did not really aware of the type of sound they wanted. These people are generally more attracted to more modern brands, such as SSL or Focusrite.

The 6176 vintage is resolutely. This is a tube preamp that colors the signal in the medium / low medium while delivering enough bass and treble (thank you EQ in case).
It is not suitable for all microphones or any style.

Personally, I have resolved my installation guide "neo retro", which is why I also have a LA-610 (less versatile, I will explain why), a summit audio EQ, and especially an AEA R84, tape of her condition.
So my sound system is fully consistent "vintage" and is unbeatable for the Blues, Rock (except metal and derivatives), the sound acoustics. The guitars are alive, the low round and present.
As for the voice, the combination of heat from the lamp and the clarity of 1176 allows me to juggle all styles.

The gain is sufficient for all types of microphone, including ribbons. If you want absolute perfection, the cloudlifter can be useful.

For those seeking a more modern and less colorful ChannelStrip with this, there is a trick little we know of the hidden talents of 1176.
Indeed, the 1176 has a line amplifier input and output. It offers a total of about 50 dB of gain.
In practice this means it can be used in conjunction with the tube preamp to get a clearer sound and less typical. If you want more light, turn down the output of the compressor, if you want less light, increase output and lower the gain of the preamp section.

OVERALL OPINION


It has been nearly a year I use this ChannelStrip as it almost every day, all going on, even my delusions beatbox.
I always liked the sound Universal Audio, and I also like the history of the brand identity, including its branch digital DSUs.

I heard this ChannelStrip for the first time in a Paris studio and I dreamed about until I get a used but in perfect condition.

I like virtually everything in this unit, both simple and complete.
It adapts to all sources and all the microphones when we seek his musical aesthetic. It can also restore life and warmth to see some very cold ice microphones. Even the cruel U87 becomes comfortable with.
Of course, you'll get great sound with the tape, which was originally designed for them (yes in the 50's USA tapes were very common).
Its only flaw is the absence of a band parametric EQ for, for those who really need it. Personally I have solved this problem with the audio Feq-50 Summit.

The quality / price is right for me, but I got it at 1500 €. This type of opportunity is relatively common, often just look at the ads.

I do it again this choice and would even be prepared to buy a second one with closed eyes and ears open.

I hope my experience will help you make the right choice.