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Summary of Contents for Universal Audio LA-610 MkII
- Page 1 Model LA-610 Mk II Universal Audio, Inc. Customer Service & Tech Support: 1-877-MY-AUDIO Business, Sales & Marketing: 1-866-UAD-1176 www.uaudio.com...
- Page 2 Universal Audio LA-610 Mk II. The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose.
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Page 3: A Letter From Bill Putnam, Jr
EQ and tube saturation. Most of us at Universal Audio are musicians and/or recording engineers. We love the recording process, and we really get inspired when tracks are beautifully recorded. Our design goal for the LA- 610 was to build an integrated mic preamp / compressor that we would be delighted to use ourselves—one that would capture the original character of the 610 and LA-2A to create a device that... -
Page 4: Important Safety Instructions
Important Safety Instructions ___________________________________________________________ Before using this unit, be sure to carefully read the applicable items of these operating instructions and the safety suggestions. Afterwards, keep them handy for future reference. Take special care to follow the warnings indicated on the unit, as well as in the operating instructions. -
Page 5: Table Of Contents
Table of Contents __________________________________________________________ A Letter From Bill Putnam, Jr....................Important Safety Instructions ....................Two Page, Two Minute Guide To Getting Started ................ Front Panel ..........................Rear Panel ........................... Interconnections ........................Insider’s Secrets ........................The Technical Stuff ........................ History of the 610 ..................... LA-610 Overview...................... -
Page 6: Two Page, Two Minute Guide To Getting Started
It will tell you everything you need to know to get your Universal Audio LA-610 up and running, without bogging you down with details. Of course, even the most expert of us has to crack a manual every once in awhile. As the saying goes, “as a last resort, read the instructions.”... - Page 7 The Two Page, Two Minute Guide To Getting Started __________________________________________________________ Step 6: On the left side of the front panel (preamp section), turn the Level control to its minimum (fully counterclockwise) position and set the Gain control to 0 (center position). Step 7: On the right side of the front panel (compressor section), set the Peak Reduction knob to 0 (fully counterclockwise) and set the Mode switch to BYP (bypass).
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Page 8: Front Panel
Front Panel __________________________________________________________ (1) Gain - Adjusts the gain of the input stage in stepped 5 dB increments. Turning the Gain switch clockwise raises the gain. Because this also has the effect of reducing negative feedback ( page 24), the Gain switch also alters the amount of the input tube’s harmonic distortion, a major contribution to the “warm”... - Page 9 Front Panel __________________________________________________________ Hi-Z - Selects the input signal coming from the front panel unbalanced " jack Hi-Z connection. ( see #6 below) Intended for the direct connection of electric guitar, electric bass, or any instrument with a magnetic or acoustic transducer pickup, this can be set to either 47K ohms or 2.2M ohms.
- Page 10 Front Panel __________________________________________________________ (8) High Boost/Cut - Selects the amount of cut or boost applied by the high shelving filter. The positive and negative numbers on the front panel denote dB values (-9, -6, -4.5, -3, -1.5, 0, +1.5, +3, +4.5, +6, +9).
- Page 11 Front Panel __________________________________________________________ (15) Mode - A three-position switch which sets the compression section into either Bypass mode (BYP), Compression (COMP), or Limiting (LIMIT). When the switch is in the COMP position, the degree of compression is gentler and at a low ratio (approximately 3:1, program-dependent). When the switch is set to the LIMIT position, there is more severe compression, and at a higher ratio (up to ∞:1, ...
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Page 12: Rear Panel
Rear Panel __________________________________________________________ (1) LINE OUTPUT A balanced XLR connector carrying the line-level output signal of the LA-610. Note that Pin 2 is positive when the front panel Polarity toggle switch is down (IN ø). Pin 3 is positive when the front panel Polarity switch is up (OUT ø). -
Page 13: Interconnections
Interconnections __________________________________________________________ For most applications, we recommend keeping the LA-610 preamp Level control set between 7 and 10, and the compressor Gain control set at approximately 6 (unity gain) for starting positions. Adjustments can then be made to the preamp Gain, Impedance, and Filter controls, as well as the compressor Mode, Peak Reduction and Gain controls, to achieve the optimum sound for your signal source. -
Page 14: Insider's Secrets
In his March 2005 review of the LA-610 for MIX magazine, Michael Cooper stated, “If I were to list my five favorite analog processors of all time, the Universal Audio LA-2A leveling amplifier and 2-610 tube preamp would easily make the list. I often chain them in series to record tracks in my studio.”... - Page 15 Insider’s Secrets __________________________________________________________ “I always use the LA-610 for vocals,” Fred Maher says. “ I always use the LA-610 for “I almost always use the compressor to varying vocals.” — Fred Maher degrees, depending on what I want. I don't have a vocal booth [in my studio],”...
- Page 16 Insider’s Secrets __________________________________________________________ Electric Guitar and Bass There’s something very special about the mix of tube preamplification and electric guitar and bass. This is an area where the LA-610 positively shines—little wonder, considering its lineage in the 2- 610 and LA-2A. Ted Spencer, in evaluating the LA-2A, described a session involving a bass overdub as follows: “The LA-2A sounded just sensational...
- Page 17 Insider’s Secrets __________________________________________________________ Mixing Applications The line-level input of the the LA-610 allows it to be used in mixing as well as tracking. Even if no equalization or compression is used, the signal continues to pass through the transformers, the tubes, and the polarity-reverse circuits, making it extremely useful for coloration of tracks.
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Page 18: The Technical Stuff
The Technical Stuff __________________________________________________________ History of the 610 Preamp section The lineage of the LA-610 can be traced back to two devices long revered by audio engineers the world over: The 610 preamplifier and the LA-2A optical compressor. The preamp section of the LA-610 was inspired by the 610 console built by Bill Putnam Sr. in 1960 for his United Recording facility in Hollywood. - Page 19 The Technical Stuff __________________________________________________________ At least one 610 module is still in use at Ocean Way Studios, site of the original United Recording facility. Allen Sides, who purchased the studio from Putnam, personally traveled to Hawaii to collect the 610 console that was used to record the live “Hawaii Calls” broadcasts. Celebrated engineer Jack Joseph Puig has long been ensconced in Studio A at Ocean Way with the 610 (and a stunning collection of vintage gear) where he has applied the vintage touch to many of today’s artists, including Beck, Hole, Counting Crows, Goo Goo Dolls, No Doubt, Green Day and Jellyfish.
- Page 20 In 1999, Putnam’s sons Bill Jr. and James Putnam re-launched Universal Audio. In 2000, the company released its first two products: faithful reissues of the original LA-2A and of Bill Putnam Sr.’s 1176LN compressor. Both quickly garnered rave reviews and both have found a home in hundreds of professional and project studios worldwide.
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Page 21: La-610 Overview
In 2005, in collaboration with Dennis Fink, one of the original UREI® analog design engineers, Universal Audio released the LA-610, which has been 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 tubes for warmth and overall tonal balance. -
Page 22: Compressor Basics
The Technical Stuff __________________________________________________________ amount of compression varies constantly, depending upon the fluctuating strength of the incoming signal) and at the same time imparting a very fast attack time and dual-stage release time that is musically very pleasing. ( see page 23 for more information.) Through careful attention to design, custom wiring, and the use of vacuum tubes that are carefully selected and tested individually, we believe we’ve succeeded in creating a powerful second-... - Page 23 The Technical Stuff __________________________________________________________ Despite the increased dynamic range, compression is especially important when recording digitally, for two reasons: One, it helps ensure that the signal is encoded at the highest possible level, where more bits are being used so that better signal definition is achieved. Secondly, it helps prevent a particularly harsh type of distortion known as clipping—something that, ironically, is especially egregious in digital recording, due to the inherent limitations of digital technology.
- Page 24 The Technical Stuff __________________________________________________________ Ratio Another important term is compression ratio, which describes the amount of increase required in the incoming signal in order to cause a 1 dB increase in output. A ratio of 1:1 therefore means that for every 1 dB of increase in input level, there is a corresponding 1 dB increase in output level;...
- Page 25 The Technical Stuff _______________________________________________________________________ Knee A compressor's knee determines whether the device will reach maximum gain reduction quickly or slowly. A gradual transition (“soft knee”) from no response to full gain reduction will provide a gentler, smoother sound, while a more rapid transition (“hard knee”) will give an abrupt “slam” to the signal.
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Page 26: Electro-Optical Compression/Limiting
(Note: While the “el-op” circuit design was one of the first of its kind, and is still used to this day in other compressor products, Universal Audio has its photo-cells uniquely manufactured to exacting specs that were originally found on the LA-2A. No other manufacturers have access to these cells.) - Page 27 The Technical Stuff __________________________________________________________ Perhaps the most important thing about electro-optical compression and limiting is that it is 100% program-dependent; in other words, both the degree of gain reduction and the compression ratio vary continuously with the incoming signal, making for a very natural sound. What’s more, unlike other compressors which allow the user to adjust the attack and release times, both of these parameters are automatic and are completely determined by the response of the EL panel and photo-cell in the The electroluminescent panel utilized in the T4 discharges most of its light very quickly, resulting in...
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Page 28: About Class A
The Technical Stuff _______________________________________________________________________ About “Class A” “Class A” electronic devices such as the LA-610 are designed so that their active components are drawing current and working throughout the full signal cycle, thus eliminating a particularly unpleasant form of distortion called crossover distortion. About Negative Feedback Negative feedback is a design technique whereby a portion of the preamplifier’s output signal is reversed in phase and then mixed with the input signal. -
Page 29: Phantom Power
WARNING! Due to high voltages and risks of electrocution and even death, the LA-610’s internal components are considered non-serviceable, and it is highly recommended that the unit be returned to Universal Audio for any service needs. The user agrees that any self- service is done at the user’s own risk! Meter Calibration The LA-610 will likely never need meter recalibration. -
Page 30: Internal Power Fuse
The AC power fuse is located on the internal power supply circuit board inside the LA-610 MK II. However, in the event the fuse fails, it is symptomatic of a serious problem with the unit and should be serviced by Universal Audio. ... -
Page 31: Glossary Of Terms
Glossary of Terms __________________________________________________________ Ambient noise floor - Low-level noise created by environmental factors such as fans, air conditioners, heaters, wind noise, etc. Attack time - Describes the amount of time it takes compressor circuitry to react to and reduce the gain of incoming signal. - Page 32 Glossary of Terms __________________________________________________________ dBV - Short for “decibels as referenced to voltage,” without regard for impedance; thus, one volt equals one dBV. DI - Short for “Direct Inject,” a recording technique whereby the signal from a high-impedance instrument such as electric guitar or bass is routed to a mixer or tape recorder input by means of a “DI box,”...
- Page 33 Glossary of Terms __________________________________________________________ Line level - Refers to the voltages used by audio devices such as mixers, signal processors, tape recorders, and DAWs. Professional audio systems typically utilize line level signals of +4 dBM (which translates to 1.23 volts), while consumer and semiprofessional audio equipment typically utilize line level signals of –10 dBV (which translates to 0.316 volts).
- Page 34 Glossary of Terms __________________________________________________________ Photo-electric cell (“photo-cell”) - A light sensitive device whose electrical resistance changes depending upon the intensity of light to which it is subjected. Program dependent - Refers to a parameter that varies according to the characteristics of the incoming signal.
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Page 35: Recall Sheet
Recall Sheet __________________________________________________________ - 31 -... -
Page 36: Specifications
Specifications _______________________________________________________________________ Selectable, 500 Ω (ohms) or 2k Ω Microphone Input Impedance 20k Ω Balanced Line Input Impedance Selectable between 2.2 M Ω or 47 k Ω Hi-Z Input Impedance Maximum Microphone Input Level -8 dBu (2k input impedance and 15 dB Pad in) Maximum Output Level +23 dBu (120 VAC line) 80 Ω... -
Page 37: Additional Resources/Product Registration/Warranty/Service & Support
Warranty The warranty for all Universal Audio hardware is one year from date of purchase, parts and labor. Service & Support Even gear as well designed and tested as ours will sometimes fail. In those rare instances, our goal here at UA is to get you up and running again as soon as possible.
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