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Robin Schneider « Typed, but pleasant little versatile »
Published on 06/18/12 at 06:18
Best value:
Excellent
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.
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.