All user reviews for the Universal Audio LA-610 MK II

See other opinions

USE

- Equalizer "too much" simpler
- Obtaining "good" harmonics made less comfortable compromise due to components. Rsultat: it deters the old so that it is not!

SOUND QUALITY

The sound is not bad, and some love, which I do not have a bad taste fee ... but compare with all its' equivalents' srieux regards part prampli ' (Neve, or to a lesser extent, Trident), I figure appreciates its 'Tone' fast aggressive.
Recognize it a holding of quality in the high-mids. In this same CATEGORY "pramplification" I would choose the Neve or an SPL Channel One example; any property considr the sound is not quite dfini. That said, while I prefer to have a slice with a really Superior qualiseur.
It is not rtorqu me that it would hold the Methodius "lamp", since Earlybird prevail aisment this Criterion, as well as lamps.


NOTICE GLOBAL

I will not say but I'd be curious to know what gives the compressor compared to a TL Audio, which is not very good sign for the AU. Some taken, perhaps even having a TL 5051 I would opt door hand on it, and finally the 610 objectively is over in terms of clarity (no transparency, for which the solid state excels online but sanitizes engaged, less moving towards SSL range of the top).
- Few versatile;
- Moyennenement prcis;
- Too rpandu for voice (but this is not a real argument).
- In between online, take the time to observe the noise-floor, up the Neve: it will be lev. This means that with a little flexible compressor and a dtrioration signal, it will be of little use in pro mixer ': it is not really consquent a "channel strip" but rather an all-in-one East outlet.
- His "between instrument" is correct, without more, in the same court that within the Avalon VT737. In this game there too, a DI with well conus transistors and a good transformer turns much better.

Preamp rack lamp with his all totally analog compressor XLR.

UTILIZATION

Setup is simple for people who have used a preamp and we get sound fairly quickly, the manual is almost useless for this kind of material (it is only my opinion)

SOUND QUALITY

It can be used in different ways, it is possible to color very little sound (with the switch -10 -5 0 5 10) or otherwise provide more light and thus provide a certain color. This is a product that allows you to take her remarkable.

OVERALL OPINION

1 year. The price / quality ratio is good because it is a known preamp that has genuine qualities I bought it bundled with a Kiwi at a very good price. I tried and still trying to present many preamps sliced ​​like this one or console and is one of my favorite ones with my old Soundcraft (strange you say ???: p)

preamp, compressor, limiter lamp. and also a little EQ.
2 XLR mic and line. 1 input jack HiZ. adjustable impedances on the mic and HiZ entries.
Rackmount 2 U.
The left half is dedicated to the preamp and EQ.
The right half is dedicated to the compression or limiting, and Bypassable.

UTILIZATION

Easy to use. Instructions in English, but concise, clear and even a bit of humor! Anyway, it's doing very well without!
Very versatile in terms of possible settings without a gas plant. button, accurate, practical and robust, ergonomically distributed.

SOUND QUALITY

I use it for voice with a static Boehringer and transplanting my guitar amp marshall lamp with a SM57. I finally have a pro and his own! Finally, the voice clear in the mix (even if my microphone is not great) with or without compression. Transplant my amp finally good for something: the sound is faithful, see better what I mean, with more grain, more details. no background noise and good dynamic.
the compressor, the time constants are fixed (10ms and 500ms in attack back), so nickels for voice. I have not tried it with the guitar. I wanted to try with my bass Hi-Z but it's not terrible at the attacks.
In summary, this is a revolution in my studio!
Finally a good sound!

OVERALL OPINION

I have not tried other models that preamp my soundcard (RME Fireface UC) before.
However, the sound is radically different color and providing a quality I had not before. Also practical and easy to use a Swiss Army knife!
I remake the same choice.

preamp, réissu of Bill Putnam 610
compressor syyle LA2-A Telextronix
very good signal / noise ratio

UTILIZATION

no need for manual, the sound is

SOUND QUALITY

coloring preamp
used Tlm 193 Tlm 103, AKG 414 ..... perfect
even Sm58 are magnified .....

OVERALL OPINION

soon one year of use
a counselor, would do this choice without hesitation

Slice preamp / EQ / Comp
Analog, lamp, 3 XLR 2U.
Wholesale solid button, beautiful design.

UTILIZATION

It is relatively easy as there use as a button: Gain (which allows you to manage color) Inpedence (can also colored), a -15 pad, phase, 48V, level preamp, EQ LOW 70, 100, 200 HIGH 4.5, 7, 10, and a compressor or can manage the peack reduction and the final gain, it can also be set to limit or Bypass. is also a button to choose what appears in the given set.

SOUND QUALITY

I use it for all kinds of application miking coupled to an AKG C414 or a neumann U87, or Type Dynamics Shure SM.
I find it good on vocals, guitars, percussions, anbiance.
It has a medium quite pronounced.
Compared to what I was quoted audio DRS8 a phoenix, I find the sound less clear, less crystalline. on the other hand compared to other preamp RME I I find well above
The compressor work is done well and can almost dodge followed by voice. After not abuse I very rarely exceeds 5 in peak reduction.
The DI is pretty cool for guitars, bass after pr should not compress too if it's not top.
In any case it is a good machine that has a good sound that allows you to clean or colored.

OVERALL OPINION

I've had 3 years, value for money correct, I recommend.

Tube preamp with compressor / limiter and equal.
I do not use equal.
The config is super simple, even someone who has never had this kind of material in the hands will quickly get used to it. sounds cash!

When I got it, I said: "Time is money" Why I spent a lot of time trying to get the voice tracks in a mix without being aggressive but that? it stays ahead .... I never really succeeded and I'm upset, tired ... I even gave up and told me that it was useless it was better that I drop everything. 1000 euros (Cygnus) later: all my projects are alive, it really is that happiness! a little touch of equal and that's it (sometimes I recompress the audio software anyway)! The voices are really good, present and warm. In addition this preamp is very flexible, the distance to the microphone can vary a bit, the compressor load balancing and ultimately it even when singing the microphone far enough we get something good! Close to the microphone is the very definition of presence.
So "time is money" and seen as I lost mine before the preamp, I left much more than the price!

Well that's history now lived:
1. Very comfortable as easy to set, easy to use, light enough in fact, not very hot even after hours and hours. This box is really good at home.
2. Creamy: the aggressiveness of certain voice is very less (including voices that have a high medium headache), the lower medium is sublime.
3. Saturates (I think it is only the compressor does not follow) when you face death at the microphone. So get a little back when we send the potato (but really big potato) or no worries.
4. Sibilance are also decreased but if you stay in front and close to the microphone, some hiss may resurface so disturbing. Singing with the microphone a little off-center and virtually no problem. Plus you can not even hear we DéSaXé microphone)
5. A big character this preamp means live in the hot color Rican and I love it!!
6. I want a second .....

UTILIZATION

Take

SOUND QUALITY

you

OVERALL OPINION

so like me in the preamp of your sound card does not give you satisfaction in his voice. In addition, the taking only voices with the preamp (and instrument preamp with map) gives a nice contrast to the voice before without encroaching on the instrumental parts
A sound bite on this AF forum:

A +

Analog channel strip everything lamps:

Prémaplificateur AU whose fame is no longer again.
T4 Optical Compressor based on the famous LA-2A compressor
Eq hign and low enough intéréssant.

Mic, line and Hi-Z front
XLR and Jack connectors
Knobs finished goods very, very stylish as the device.
Excellent design

UTILIZATION

Clearly I have not opened the manual, when we used preamps, we do not really need.

Nothing complicated about the machine, plug it rule and it works.

The desired sound is obtained in two or three movements.

SOUND QUALITY

Then the Son:
It is simply wonderful! Clear, warm, precise and detailed. This soft and fluffy side as desired. it is quite typical in the settings but there is a choice which is quite nice because it keeps the overall transparency anyway. color it delivers is excellent on vocals and especially what attracts it is the musicality of the preamp. With a Rode K2 c is a couple that works great, I finally discovered my true K2!

I had a SPL Gainstation one just before and the couple was not even top the SPL was of high quality but unfortunately "hard" so not what I wanted.

OVERALL OPINION

I've had two days and it is clear that I do not divide them before many years.
I used to get that sound, I finally got him. I originally thought it was convertos my Fireface UCX that not étaitent top but infact not.

What I like most:
The design is very stylish
Manufacturing quality
SOUND
compressor and EQ
High gain the very machine

Quality / price honest: the machine is worth its price, it's upscale

I remake that choice without problems, in fact I'll start a look of universal audio side now.

This is an all-tube analog ChannelStrip.
Two 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.

-The T4 optical compressor tube, the same circuit as the legendary LA-2A, but with less high-end components, hence the attractive price (it was not the cake and butter).

XLR connectors on the back except the input jack for DI on the front.
Attention, unlike its big brother the 6176 there is no separation of the compressor and preamp.

UTILIZATION

Yes there is copy / paste from my test of 6176, as they have an identical section:

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.

T4 compressor is very simple to use. In fact it is a compressor ideal introduction to compression without taking the head with complicated settings.
Peak reduction potentiometer determines the amount of compression you want, and Gain adjusts the output level, usually to compensate for loss due to compression.
a final volume pot bypass switch allows, switch or 3:1 ratio limiter (10:1).
The attack and release are adapting to the processed signal, they are not user adjustable. These temporal data were chosen 60 years ago by Bill Putnam and prove again their effectiveness today.

I put 9 because it is a shame not to have separated the two sections as the 6176 then it would not have raised the price so much.

SOUND QUALITY


I'm a fan of Universal Audio, I also own the 6176.
I prefer to say right away: the LA-610MKII is a little worse than 6176.

First of all, its attractive price is because the compressor uses components as good as the original LA-2A. The main consequence is the tendency to overload the compressor if we go too much into it, and this saturation is less artistically exploitable as an original LA-2A.
That said, it's nit-picking and a "normal" use, it works great.
Personally, I find the sound of the preamp is the same as the 6176, although a bit more acute (to compensate for loss due to the compressor).

As for 6176, we not buy a LA-610 if you do not want the sound it delivers.
I would say you can not get a modern sound with the LA-610 where you can still cheat the 6176 (See my review). Here was that the lamp from beginning to end, with an obvious impact on the sound.
Result, the sound is pretty typed medium hot, beautiful guitars and vocals, usable on the snare. For the rest, however, it becomes more difficult unless you want that kind of sound.
The major sources are not happy with the compressor, I recommend bassists.
I use it mainly with an AEA R84 ribbon and dynamic (SM57 for the snare).

I recommend the LA-610 preamp first as if you are looking for versatility. Jump on the other hand if you pick a vintage aesthetic to lower cost compared to 6176 or if you already have a good preamp transistor.


OVERALL OPINION


I use it for about 8 months. I bought it as part of the promotion end of 2011 AU where buying the LA-610 had the UAD duo offered. So I saved 800 euros of UAD in the case.
Without this promo, I honestly would have rather bought a second 6176, especially since we find Used in very good condition for the price of nine LA-610.

That said, I'm very happy because I have a choice between two very different compressors (with 1176), and I am a huge fan of the preamplifier 610.
I do a lot of grappling with, including the snare drum (with about 3dB of gain reduction), electric and acoustic guitars if I record a full band. I even plug the output of the LA-610 in the compressor section of the 6176 to use the following two compressors. This is useful for singers Hip-Hop and R'n'B who need a voice well compressed. It's better with two compressors 4dB of gain reduction each rather than one that is 8dB at once.

The value for money is good, although for a first purchase I think there are more versatile products, as well transistor. Include randomly Neve Portico half rack.

Mono channel strip with prampli 2U rack, 2-band EQ, compressor and optical, all lamps. XLR connectors facing rear symtrique (mic input, line input and line output) and between Hi-Z faade. That's all that full.

UTILIZATION

Ultra-simple setup, even the compressor with its buttons do not cause any concern for rglage. The sound and the IMMEDIATE and above it is virtually impossible to obtain a less than excellent. I think the point is (very) high for this machine: it sounds almost all the time regardless of the source. But I'll be back in the next area.

SOUND QUALITY

Everything sounds. I tried all sorts of simple dynamic microphone SM57 in Z5600A (condensate lamps) and all the mics I have are fully transcribed. So, I have proof that my T-bones are not ridiculous, even in this kind of stuff. I have not tried the line between, but something tells me that direct box for bass, a must sting ... Color is not particularly outrageous is an absolute musical! Sometimes a bit of color brings to the signal without dnaturer and the magic of this machine. This is definitely possible in the top 3 slices of studio I've heard, with a Manley VoxBox, and with each Thermionic Culture Square # 1 turn, without costing too much.

OVERALL OPINION

I have this morning, but I know by heart such prampli and I knew that I would get by buying it. I will not lower the note gnral because the machine is virtually impeccable, but I will make the same remark as for 1000 not far from least, we can have something good also and with a color gnrale close enough, even if forcment transistor and thus a bit less rich harmonic of the OneQ Joemeek. The stamp gnral the two machines is not so long ago, the prampli Meek's far from being ridiculous, the EQ better than the 610, and compression much more versatile (but much more difficult rgler). The best Q / P of the two machines is undoubtedly the OneQ, but the best is the 610 machine, not a margin so wide as one might think. Let's say that a case is insolent OneQ around 600 and that would probably cost around 900 if he silent manufactured in Europe and at least 300 more silent if it lights, and it would be absolutely no flight . So if you can not afford to take a 610, but this color vintage look and a big sound mastery, OneQ is a great alternative (if you take the time to learn the master). If you can afford (or just want to make you a big pleasure), the 610 is one of the best Channel Strips lights and sounds the death without seeking long. Personally, I have both and I susi trs happy.

A Pramper, an EQ, compressor, while the lamp.
1 between micro,
between an instrument
between a guitar or bass
2U trsrussie the aesthetic.

UTILIZATION

I do not know much about me in Pramper. But it is extremely simple and RULES Entirely ear. Rglage not the end, but sufficient for me.

Just one thing that seems strange, the needle of the VU-Maître when put in "out" seems to me almost not move ...

I use a neumann KMS105, and guitars. It may wish to be the move that my microphone j'upgrade dsormais.

The branch line is between an output of the sound card to loop if needed. For now, I do not have used that to meet the low virtual then I record audio on another track. Well this is not ultra intressant because we can not release rgler the parameter, but the reslut a virtual acoustic bass is quiet all the same with the best VST compressors I IN GENERAL is bland.

SOUND QUALITY

Actually, I wonder how I did without dsormais. Ds made, the sound is warm and perfectly crt we murmur or vocifre. The voice remains front without the booster or add effects.

The sound is very specific on, and texts in French are much more intelligible than when I am satisfied with my motu traveler Pramper, yet not pick it parat. But nothing was seen.

The sound and musical color. Typ enough it is true, but very pretty. To lower the color I was a trick consisting suggr Pramper combine with that of the card. Plutt it works well.

The reslut with live electro guitar is even more stunning than the voice.

OVERALL OPINION

I use it for a week and I'm delighted.

This is the bundle with the UAD duo me DCID. In reality I was thinking at first to buy a UAD card, and I thought a long strip it to improve my catch. The map was almost 1000. for me it was like buying a preamp / comp high quality 500.

Now I wonder how I was doing before this Pramper to me much more critical that the card, even if I enjoy the services provided by on this final.

Lamp preamp, EQ, compressor, rack
Mic / line XLR or jack instrument


UTILIZATION

It's that simple. Sounds.

SOUND QUALITY

We found there with any microphone planted in it.
I particularly like to record guitars with an SM57 or MD421
Sound dense, super soft treble.

The EQ allows for corrections of conventional shelving. Super efficient.

Acquired with the offer

OVERALL OPINION

UAD2 Duo, it's profitable.
I think I'll buy another one later, so to make a pair.
Overhead or in Room mic, AC should do damn.
AU good.

The Universal Audio LA-610 MK II is a sequel to the original LA-610 and is quite similar in make up, offering up a few new features and a slightly improved sound quality, although it would be hard to tell the difference most of the time. This is an all analog channel strip, consisting of a mic pre, a compressor, and an EQ. The strip has both XLR and 1/4" TRS connections, including a 1/4" input in the front for plugging your instrument directly in. It is a rack mountable piece of outboard gear, and will take up two spaces.

UTILIZATION

Universal Audio has made the LA-610 MK II extremely easy to use, just like the original. Everything is straight forward and there are certainly no tricks here. The mic pre has parameters for both level and gain, line selection, a -15db pad, phantom power, and phase. The EQ only has a high and low band, each with parameters for choosing a set of fixed frequencies and a gain knob. The compression section has controls for peak reduction and gain, just like the LA-2A which this is based on. It also has a switch to either use it has a compressor, limiter, or bypass it. The VU meter is programmable and you can choose to view either your preamp level, gain reduction, or compression. The manual is put together well, but is only necessary if you're a beginner in my opinion.

SOUND QUALITY

Across the board, the Universal Audio LA-610 MK II has a very impressive sound quality. All of the components of this channel strip have a top notch tone, with the preamp and the compressor being the main attractions here. While there are some new and improved features on the MK II, for the most part they are subtle, so this does sound a great deal like the original LA-610. This is certainly not a complaint, as both models sound incredible! This is the perfect all in one channel strip for both a home and professional studio owner.

OVERALL OPINION

While a tad more expensive than the original LA-610, the LA-610 MK II boasts a new look and some improvement on the inner make up. In my opinion, like the original, this is ideal for the home studio owner looking for a big sounding channel strip to sit at the top of your collection. It does however have the sound of something that a professional would use, making it great for improving the sound of your home studio with a single item. I'd highly recommend the LA-610 MK II for the home studio looking to get your home recordings on a whole new level!