Universal Audio

The 2192 offers tremendous flexibility in signal routing and monitoring. You can, for example, run signal into the analog inputs, at samples rate ranging from 44.1K to 192K, and simultaneously output it to AES/EBU (single- or dual-wire), S/PDIF and ADAT (with industry standard S-MUX interleaving for sample rates above 48kHz). The selectable output monitor allows you to monitor any of the digital outputs, or the analog input with no interruption of the transcoding.

The 2192 also serves as an extremely high-quality digital to analog and analog to digital converter. If, for example, you’re working on a digital console, or workstation, that utilizes higher sample rates, the 2192 can dramatically improve your monitoring environment and/or the quality of your analog masters. As a front end for a native workstation, the 2192 provides two channels of sterling sound quality for tracking, monitoring and mastering.

Now you don’t have to choose between advanced digital features and old world analog quality, the 2192 delivers both.

Features

• Ultra-low noise 44.1kHz – 192kHz Analog to Digital and Digital to Analog converters
• Ultra-low jitter internal clock source provides 44.1, 48, 88.2, 96, 176.4 and 192kHz sampling rates
• Fully-differential Class-A no-compromises analog circuitry designed by John Hinson
• 8 channels of ADAT optical I/O
• 2 Channel or AES/EBU I/O (44.1kHz – 192kHz)
• Support for single and dual wire AES/EBU at 96 and 192kHz rates
• 2 Channel S/PDIF I/O (44.1kHz – 192kHz)
• Realtime transcoding between digital formats
• Completely independent input and output monitoring
• 4 parallel Word Clock outputs for jitter-free and reflection-free clock distribution
• 2 separate Word Clock inputs support 1x,1/2x and 1/4x clock rates for compatibility with legacy equipment
• Front panel Sync-Lock indicator
• Sturdy front panel rotary switches provide Clock, Sample Rate, Output and Input Digital Source selection
• Full 24-bit digital signal path throughout
• Multi-segment LED bargraph metering on all analog inputs and outputs, with peak-hold Digital Overload indicator
• Universal auto-sensing power supply supports 90-260VAC and 50-60Hz power
• 1U rack mount chassis

Advances in digital recording technology are providing users with tremendous power and flexibility for increasingly less money. All too often, however, the audio quality of these systems is limited by their input stages. Many users who demand the power and flexibility of today’s recording technology find themselves yearning for the warmth and tone of yesteryear’s hand-built analog circuitry. Now with the release of the 6176, Universal Audio, for the first time, combines their highly acclaimed 610 tube microphone preamp with their legendary 1176LN compressor to create the ultimate single channel signal path for everything from vocals to vibraphones.

610B Mic Pre

The 2-610 microphone and instrument preamplifier has received praise from many corners. Michael Cooper, in his review for Mix Magazine, called it “hands-down, the most dimensional mic preamp I've ever heard…” Peter Wade, engineer/producer who has worked with acts ranging from Wyclef Jean to Jennifer Lopez, said simply, “This box rocks.” The 6176 mic preamp sections maintains the quality and character of the 2-610 while adding high-tension power regulation for improved bass response and a front-panel 15db pad switch.

1176LN Limiting Amplifier

As legendary engineer/producer Andy Johns put it, “The 1176LN is the workhorse compressor.” The 1176LN may well be the most loved compressor in history. Its trademark lightning-quick attack and release times and the tone of it’s Class A output amplifier have enhanced countless recordings over the last thirty-five years. We’ve recreated the 1176LN for the compressor section of the 6176 with the same exacting, attention to detail and tradition we use on our 1176LN. The resulting character, heritage and tone simply cannot be found on other channel strip units.

Features

Audio Inputs--Mic Pre Section

• Microphone (Female XLR)
• Balanced Line (Female XLR)
• Unbalanced Line/Instrument (1/4" jack) on front panel

Audio Inputs--Compressor Section

• Balanced Line (Female XLR) for use in “Split Mode”

Audio Outputs--Mic Pre Section

• Balanced Line (Male XLR) for use in “Split Mode"

Audio Outputs--Compressor Section

• Balanced Line (Male XLR)

Front Panel Controls--Preamplifier Section

• MICROPHONE INPUT IMPEDANCE Selectable, 500 ohms or 2K ohms
• BALANCED LINE INPUT IMPEDANCE 13.8K ohms
• Hi-Z INPUT IMPEDANCE Selectable, 2.2 Meg ohms or 47K ohms
• HF Shelf EQSwitchable boost/cut: 1.5, 3, 4.5, 6, 9 dB
• Corner Frequency Select: 4.5 kHz, 7 kHz, 10 kHz
• LF Shelf EQ
• Switchable boost/cut: 1.5, 3, 4.5, 6, 9 dB
• Corner Frequency Select: 70 Hz, 100 Hz, 200 Hz
• Polarity Reverse Switch
• 48 Volt Phantom Power
• Join/Split switch for joint or independent compressor/preamplifier operation.

Front Panel Controls—Compressor Section

• Input Gain
• Output Gain
• Attack
• Release
• Compression Ratio; Bypass, 1 to 1, 4 to 1, 8 to 1, 12 to 1, 20 to 1 and “All Button” mode
• Meter Select; Preamp Output, Compressor Rain Reduction and Compressor Output

Additional Features

• STEREO INTERCONNECTION: via 1176 SA Network accessory
• VACUUM TUBES One 12AX7A and one 12BH7 per channel
• DIMENSIONS 3.5 inches vertical, for mounting in standard 19-inch rack

In “Join” mode, a single input signal is fed through the microphone/instrument preamp and then through the compressor. In “Split” mode, one signal can be fed into and out of the preamp/EQ section while a second can be fed into and out of the compressor section.

The Universal Audio 2-610™ is a two-channel tube microphone preamplifier based on the legendary Universal Audio 610 modular console. Third in the Universal Audio Classics product line, the 2-610 follows the 1176LN™ Limiting Amplifier and Teletronix LA-2A™ Leveling Amplifier in our commitment to authentic analog recording technology.

Designed by Bill Putnam, the Universal Audio 610 was among the first modular recording consoles. Early Universal Audio consoles were used in all of Putnam's studios including Universal Recording in Chicago and United Western in Los Angeles. Many prominent engineers such as Bruce Swedien began their careers in these studios with this classic rotary knob console. The UA 610 was particularly well noted for its preamplifier, and has left its mark on countless classic recordings from Sinatra to Pet Sounds to Van Halen to LA Woman.

We carefully modeled the UA 2-610 after the microphone amplifier section of the 610 console. Unlike many vintage "style" mic pres, the 2-610 is true to the design of its predecessor. Our expertise in analog design translates into a classic tube preamplifier with all of the character of its vintage predecessor, yet designed for the requirements and rigor of the modern studio. We've taken great care to preserve the quality and character of the original, while adding functionality with more boost/cut settings, phantom power, direct inputs and impedance controls.

The Universal Audio 2-610 Mic Pre is the perfect tool for tracking and ideal when used in conjunction with a Universal Audio compressor such as the 1176LN and Teletronix LA-2A. Whether you're running pure analog or seeking to enhance your digital audio workstation, the 2-610 will bring classic tube character to your recording.



Two channels of tube pre-amplification

Inputs • Microphone (Female XLR) • Balanced Line (Female XLR) • Unbalanced Line/Instrument (1/4" jack) (DI)

Outputs • Balanced Line (Male XLR)

Front Panel Controls • Input Select -Microphone: 500 ohm, 2 kOhm - Balanced Line - Hi-Z instrument: 47 kOhm, 2.2 MOhm • Variable Gain / Input Feedback control -5 dB increments @ -10, -5, 0, +5, +10 dB • Output Level Control • HF Shelf EQ - Switchable boost/cut: 1.5, 3, 4.5, 6, 9 dB - Corner Frequency Select: 4.5 kHz, 7 kHz, 10 kHz • LF Shelf EQ -Switchable boost/cut: 1.5, 3, 4.5, 6, 9 dB -Corner Frequency Select: 70 Hz, 100 Hz, 200 Hz • Polarity Reverse Switch • 48 Volt Phantom Power

Vacuum Tube Complement • 1 each — 12AX7 and 6072 per channel



MICROPHONE INPUT IMPEDANCE Selectable, 500 ohms or 2K ohms BALANCED LINE INPUT IMPEDANCE 13.8K ohms Hi-Z INPUT IMPEDANCE Selectable, 2.2 Meg ohms or 47K ohms MAXIMUM MICROPHONE INPUT LEVEL +3.5dBu MAXIMUM OUTPUT LEVEL +20dBm INTERNAL OUTPUT IMPEDANCE 60 ohms RECOMMENDED MINIMUM LOAD 600 ohms FREQUENCY RESPONSE 20Hz to 20kHz +/- 1 dB MAX GAIN 61 dB SIGNAL TO NOISE RATIO Greater than 82 dB VACUUM TUBES One 12AX7A and one 6072A per channel POWER REQUIREMENTS 115V / 230V DIMENSIONS 3.5 inches vertical, for mounting in standard 19-inch rack WEIGHT 11.75 lbs.

The LA-610 brings UA’s legendary vintage "all tube" luxury sound into a modern channel strip format by combining the 610 Mic-Pre/EQ/DI section and a T4 Opto-compressor into a single 2U unit with a ground-breaking price.

The 610-tube preamp,DI and EQ is from UA's TEC award winning 6176 and is based on the legendary console modules developed by Bill Putnam in the 60's. Countless classics have been recorded using these preamps, noted for their musical character and warmth.

The simple operation and program dependent nature of the LA-610 T4 compressor provides the same extremely musical control that has made the LA-2A such a well-loved classic for over 40 years.

The LA-610 packs tremendous sonic versatility and is an ideal front-end for tracking with modern DAW’s and the serious project studio looking to get the UA sonic experience : real quality and character at an accessible price.

In collaboration with Dennis Fink, one of the original UREI® analog design engineers, the LA-610 was carefully designed to deliver the essence of the “LA” sound but without the costs of being an exact LA-2A component clone. The LA-610 uses three 12AX7A’s, a single 6072A and a single 6AQ5 tube for amplifier warmth and overall tonal balance.

After the preamp section, the LA-610 offers a new T4 optical compressor. The electro-optical detector or "T4 cell”, is the very heart and soul of the Teletronix LA-2A. The unique combination of electroluminescent panel and photo-resistors inside the T4 cell are the crucial circuit components that give both these compressors their signature sound.

The 4110 provides four channels of premium Class A, all discrete amplification and is the first analog product from Universal Audio to break from our vintage roots and offer a world-class tool of "ultra-fidelity" and still provide musical and warm euphonics. Every channel of the 4110 features custom input stage transformers, dedicated Gain and Level controls, input and output metering, dual input impedance selection, Hi-Z inputs, and a 3-way “Shape” switch offering a variable signal-path for maximum sonic versatility. The shape switch has three modes:

1. Modern – Ultra-clean, transparent, maximum headroom; 2. Vintage – Transformer-loaded with harmonic enhancement; 3. Saturate – Transformer-loaded with soft limiting.

he SOLO/110 brings the "ultra fidelity" and tonal variety of UA's flagship Precision 110 series mic preamplifiers to the single channel format in a rugged, highly versatile form factor at a price every project studio can afford. The Class A Precision SOLO/110 delivers uncompromised dynamics and clarity while still sounding warm and friendly with an all-discrete, class-A, direct-coupled circuit path. The SOLO/110 will flatter the cheapest to the most esoteric microphone with its signature sound. Unlike stationary rack gear, the SOLO 110 can be conveniently used in the control room or recording room, on stage or desktop, due to its portable "go anywhere" design. Functionally lean but sonically mean, the SOLO/110 mirrors the sound of UA's flagship Precision line, and has the same solid build and audiophile components from the Precision 8110/4110.

The SOLO/110 offers Mic and DI inputs, and features continuous Gain and Level control and combines the tonal variety of the Precision "Shape" switch found on its more expensive cousins right into the unit's gain structuring. The SOLO/110 has all the essential features like 48v Phantom Power, Lo Cut filtering, Phase Reverse, and for even greater tonal variety, maintains the Precision's flexible dual impedance selection for both Mic and DI inputs. The SOLO/110 also includes essential DI features like Thru for when used in conjunction with an amplifier, plus Ground Lift and and a versatile Mic/Line level output switch. The SOLO/110 is hand-assembled by Universal Audio in the USA.