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
| 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
Audio Inputs--Compressor Section
Audio Outputs--Mic Pre Section
Audio Outputs--Compressor Section
Front Panel Controls--Preamplifier Section
Front Panel Controls—Compressor Section
Additional Features
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 M610™ is mono version of the 2-610, with a simplified EQ section. Other than that, the sound and features are identical to the 2-610. It has the same vibrant high frequency response and deep, gorgeous low end that has graced countless recordings and continues Universal Audio’s reputation for sonic excellence.
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 M610 after the microphone amplifier section of the 610 console. Unlike many vintage "style" mic pres, the M610 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 M610 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 M610 will bring classic tube character to your recording. The affordable M610 is perfect for the pro and project studio. One channel 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 • Polarity Reverse Switch • 48 Volt Phantom Power Equalizer • Boost: Off, Mid (4 kHz) fixed at +2 dB, High (8kHz), fixed at +4 dB • Cut: Off, 140 Hz, 70 Hz, 6dB/octave high pass filter Vacuum Tube Complement • 12AX7 and 6072 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 POWER REQUIREMENTS 115V / 230V DIMENSIONS 3.5 inches vertical, for mounting in standard 19-inch rack WEIGHT 14 lbs. |
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. | 8110 Precision 8 Channel Microphone Preamplifier The 8110 provides eight 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 8110 features custom input stage transformers, dedicated Gain and Level controls, input and output metering, dual input impedance selection, and a 3-way “Shape” switch offering a variable signal-path for maximum sonic versatility. The shape switch has three modes: |
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. | The SOLO/610 delivers the classic Putnam 610 console sound to the single channel format in a rugged, highly versatile form factor, at a price every project studio can afford. The all-tube SOLO/610 provides the silky vintage warmth of the original UA 610 console used by artists ranging from Sinatra to Van Halen. The SOLO/610 will flatter the cheapest to the most esoteric microphone with its signature sound. Unlike stationary rack gear, the SOLO/610 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/ 610 was carefully created to maintain all of the character of its vintage predecessor, and has the same solid build and audiophile components professionals expect from its more expensive UA siblings like the 2-610 and M610. The SOLO/610 offers Mic and DI inputs, and features Gain and Level control for a wide variety of clean to colored tonal shaping. Unlike its predecessors, the SOLO/610 has continuous a Gain control with even greater range, allowing for more precise gain structuring and doubles as input signal padding. The SOLO/610 has all the essential features like 48v Phantom Power, Lo Cut filtering, Phase Reverse, and for even greater tonal variety, maintains the 610's flexible dual impedance selection for both Mic and DI inputs. The SOLO/610 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/610 is hand-assembled by Universal Audio in the USA. |
Universal Audio has partnered with original Euphonix founders Scott and Rob Silfvast to design a revolutionary series of DAW “expansion & enhancement” products under the Desktop Console System (DCS) family brand. DCS combines UA's pedigree for sonic excellence with the usability/features of professional consoles in a new type of convenient “micro-console” desktop form factor, ideal for today's project/producer studios. The first two products in the DCS series (the Remote Pre & Monitor Master) combine a base station with a DCS-Link™ connected remote that puts every control within direct proximity to the user in a convenient remote format. Features • Two channel linkable, console grade transimpedance mic preamp/DI • Mono, Stereo or Mid/Side recording • Monitoring features such as high quality headphone amp, Reverb and EQ • DCS-Link™ - 100% digitally controlled analog signal path via (CAT-5) interconnect • Remote design allows up to 300’ distances from preamp for large or multi-room setups | Audio professionals passionate about their compressors revere the LA-2A. The original was immediately acknowledged for its natural compression characteristics. A unique electro-optical attenuator system allows instantaneous gain reduction with no increase in harmonic distortion – an accomplishment at the time, still appreciated today. Universal Audio now announces the rebirth of the Teletronix LA-2A, a Universal Audio Classics product. Painstaking care has been taken to ensure that every new LA-2A provides the performance and characteristics of the original. Each unit is hand built, each component carefully evaluated for authenticity. No expense has been spared to guarantee that this LA-2A will bring that classic sound to your recording. Demand the original. Accept no copy. • True to the original in design, manufacturing and performance • Lag free, distortion free optical attenuator system • Distortion less than 0.5% THD • 0 to 40 dB gain limiting • Balanced stereo interconnection • Frequency response 1 dB, 30 to 15,000 cps • Output level of 10 dBm and 40 dB gain • Low noise – less than 70 dB below +10 dBm output GAIN REDUCTION: Up to 40 dB DISTORTION: Less than 0.5% THD (0.25% typical) at ±10 dBm RESPONSE: ±0,1 dB 30 cycles to 15 Kcycles NOISE: 70 dB below +10 dBm output level GAIN: 40 dB ± 1dB OUTPUT LEVEL: +10 dB nominal, + 16 dB maximum INPUT LEVEL: + 16 dB maximum ATTACK TIME: @ 10 microseconds RELEASE TIME: 0.06 seconds for 50% release; 0.5 to 5 seconds for complete release INPUT IMPEDANCE: 50, 150, 250, 600 ohms OUTPUT IMPEDANCE: 50, 150, 250, 600 ohms CONTROLS: Gain, Peak Reduction and Meter selector METER: dB gain reduction and dB output DIMENSIONS: 19" standard rackmount chassis, 3U POWER REQUIREMENTS: 35 watts, 120/240 volts, 50/60 cps | The original Universal Audio 1176LN designed by Bill Putnam was a major breakthrough in limiter technology – the first true peak limiter with all transistor circuitry offering superior performance and a signature sound. Evolved from the popular Universal Audio 175 and 176 vacuum tube limiters, the 1176LN retained the proven qualities of these industry leaders, and set the standard for all limiters to follow.
Today, the 1176LN is new again. While it certainly would have been possible – and much simpler – to modernize and "improve" the 1176LN, every effort was made to remain faithful to Putnam’s design and intentions. Carefully trained staff hand-wire and test each unit until it meets our uncompromising standards. This Universal Audio Classic version of the 1176LN captures all the nuance of the original through obsessive attention to detail and delivers that trademark sound. Demand the original. Accept no copies. Features • True to the original in design, manufacturing and performance • Modeled after 1176LN, blackface, D and E revisions • F.E.T. gain reduction • Pushbutton selection of compression ratios, 4:1 8:1, 12:1, 20:1 • Ultra fast attack time – 20 microseconds to 800 microseconds • Adjustable release time – 50 milliseconds to 1.1 second • Class A line level output amplifier • Custom built Putnam-designed output transformer • Stereo interconnect operation • Contemporary styling and eye pleasing industrial design |
Finally, a true stereo 1176! With over 2000 units already sold to date since the year 2000 re-birth of Universal Audio’s 1176LN, it is clear the public’s love affair with the legendary sound of the 1176 is still as passionate as ever. The 2-1176 builds from the circuit design of UA’s hugely successful 6176 Channel Strip and combines two 1176 channels from that unit-- an uncompromising design, with all the same components- stereo matched to boot! With the release of the 2-1176, we once again put that sound into your rack but with twice the tone, twice the character and twice the compression-- at an unbelievable price, and half the space. As you would expect from UA, it also retains all the features and trademark sound of its ancestor, and switches easily between dual mono and stereo link. And yes, it does All Buttons In! | The 2-LA-2 is not an exact component clone of the classic LA-2A, but a feature-enhanced stereo evolution of its ancestor that elegantly combines two channels of silky, tube-amplified, stereo matched optical gain reduction in one unit.
Like its ancestor, the 2-LA-2 works by applying the audio signal to an electro-luminescent light panel which shines on a photo-electric cell which in turn controls the gain. Designed by original UREI® engineer Dennis Fink, the 2-LA-2 retains the core “sonic signature” components that made the LA-2A the studio standard compressor in recording studios around the world. The 2-LA-2 uses only the finest audiophile quality parts, from metal film resistors and WIMA capacitors to custom UA input and output transformers. From drum bus to master bus, vocals to vibraphones, the 2-LA-2 delivers the same authentic, smooth as silk gain reduction you’ve come to know and trust with the LA-2A, conveniently re-designed into a 2U two-channel package. | The original LA-3A Audio Leveler made its debut at the 1969 NY AES show and marked the departure from the tube design of the Teletronix LA-2A Leveling Amplifier. The LA-3A incorporated components and design concepts from the Putnam-designed 1176LN Limiting Amplifier. Immediately embraced as a studio workhorse and still widely used today, the LA-3A remains a favorite of engineers and producers worldwide for its unique compression characteristics and sonic signature. Our UA Classics reissue of the LA-3A meticulously retains all the internal and external qualities of the original: The same simple control set, and the T4 electro-optical attenuator, which is the source of the LA-3A’s program dependent compression. It also retains the 2RU half-rack design, and comes complete with a single-unit rack assembly--no additional kit is necessary. All the original rear panel connections and controls are also maintained, while the commonly performed “LA-3A gain mod” is added as an additional switch for maximum studio versatility. |
The original LA-3A Audio Leveler made its debut at the 1969 NY AES show and marked the departure from the tube design of the Teletronix LA-2A Leveling Amplifier. The LA-3A incorporated components and design concepts from the Putnam-designed 1176LN Limiting Amplifier. Immediately embraced as a studio workhorse and still widely used today, the LA-3A remains a favorite of engineers and producers worldwide for its unique compression characteristics and sonic signature. Our UA Classics reissue of the LA-3A meticulously retains all the internal and external qualities of the original: The same simple control set, and the T4 electro-optical attenuator, which is the source of the LA-3A’s program dependent compression. It also retains the 2RU half-rack design, and comes complete with a single-unit rack assembly--no additional kit is necessary. All the original rear panel connections and controls are also maintained, while the commonly performed “LA-3A gain mod” is added as an additional switch for maximum studio versatility. | 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
Audio Inputs--Compressor Section
Audio Outputs--Mic Pre Section
Audio Outputs--Compressor Section
Front Panel Controls--Preamplifier Section
Front Panel Controls—Compressor Section
Additional Features
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 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. |
