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UA 2-610 paired with a UA 2-1176. Good combination? Dynamics Processors (HW)
Old 19th June 2008
  #1
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UA 2-610 paired with a UA 2-1176. Good combination?

Hello GS

I've lurked here for a while, and I've finally signed up to start posting.

I'm looking to purchase a stereo pre and a stereo compressor for my home set up. (I'm running PT LE with an 002R, and Logic 8 with a MOTU 828, soon to be an Ensemble)

90% of what I record are my own demos, so I'm not really looking for diversity, I'm mainly looking for a solid stereo signal chain for vocals, and a bit of acoustic and electric guitar. I mainly use a 414 for vocals and acoustic, and a 57 for electric guitar, or a 122 when I'm able to borrow it

I've read that the 2-1176 is a little dirtier and more forward than other 1176 remakes, like the Purple MC77. Dirty and more forward are two things I value over clarity. I like coloration.

Now, to the point: Has anyone used the Universal Audio 2-610 and the 2-1176 together? How are they as a pair? I was also considering getting a stereo Distressor EL8XM instead of the 2-1176, but once again, I don't need something that's diverse, just something that will sound good and warm every time I power up my rig for some vocal takes.

Thanks a lot!
Old 19th June 2008
  #2
Why not just buy 2 6176s? That way you dont have to do any patching between them.
Old 19th June 2008
  #3
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Quote:
Originally Posted by Full Clip Audio View Post
Why not just buy 2 1176s? That way you dont have to do any patching between them.
I'm a little confused about your question. The UA 2-1176 is a 2 channel 1176, so I wouldn't need to buy 2 1176's, since the 2-1176 has TWO channels of 1176 compression in ONE unit.

My question is about using the 2-610 (a stereo microphone preamp) with the 2-1176 (a stereo compressor). I'm looking for a pre AND a compressor to track through.

Am I understanding your question incorrectly?

So, if I was recording an acoustic guitar in stereo, the signal path would be as follows:

AKG 414 (Left) -----> 2-610 Mic Pre Channel A -----> 2-1176 Compressor Channel A -----> DAW Input 1
AKG 414 (Right) -----> 2-610 Mic Pre Channel B -----> 2-1176 Compressor Channel B -----> DAW Input 2

Anyone used the 2-610 with the 2-1176?
Old 19th June 2008
  #4
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Quote:
Originally Posted by Full Clip Audio View Post
Why not just buy 2 1176s? That way you dont have to do any patching between them.
I just saw on your MySpace that you have the Barefoot monitors. How do you like those, and what are they like compared to your Adam S3As?
Old 19th June 2008
  #5
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Why not two 6176's?
Old 19th June 2008
  #6
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Quote:
Originally Posted by bobwarren View Post
Why not two 6176's?
That would be identical to my proposition (if I purchased these items new). After comparing costs of of getting a 2-610 and a 2-1176, versus getting two 6176s, it's the exact same, with the exact same features.

One reason: I would rather have the compressors and pres separate so that the left signal would be on the left, and the right on the right, rather than on top of each other.

A second reason: I'd rather have the compressors and pres separate so that I don't have to power up my tube preamps (which would only need to be on during tracking) whenever I use my compressors (which would be receiving signal much more frequently than just tracking).

Third, and probably most important. I have a lead on a used 2-610 for $450 less than a new 2-610.

With that being said, are there any opinions on the 2-610 through the 2-1176? Or for that matter, what are people's thoughts on the 6176 using both the pre and the compressor simultaneously for tracking?
Old 19th June 2008
  #7
God I'm dumb! I meant to write "why not just get two 6176s". That way you save the extra patch between the two.

I LOVE the Barefoots. Although they are further out than I would like in terms of width in my setup, they are the first monitors that I have FULL confidence in. More importantly I have confidence in myself when working on them. Compared to the S3As they are IMO far superior. The low mids are very open and spacious, allowing you to really hear and focus on every element and what its doing. When switching to the ADAMs that area feels hyped, congested and "bursting at the seams". Where a snare transient just pops through a dense mix briefly and then gets swallowed in the mix on the ADAMs, I can hear the reverb tail on the Barefoots. They also have far more bass extension. The hyped area around the kick on the ADAMs at first makes it seem quite the opposite but when you start running real bass through them you see how much lower they go. The difference they have made in my work already is astounding. The detail and space is allowing me to make MUCH smaller EQ and compression adjustments that really add up to much better mixes. That said, I still use the ADAMs and really like how direct and focused they sound. Switching between the two is like being able to step to the other side of the mix and look at it from a completely different angle.
Old 21st June 2008
  #8
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Quote:
Originally Posted by Full Clip Audio View Post
God I'm dumb! I meant to write "why not just get two 6176s". That way you save the extra patch between the two.
That makes sense! I was confused

Quote:
Originally Posted by Full Clip Audio View Post
I LOVE the Barefoots. Although they are further out than I would like in terms of width in my setup, they are the first monitors that I have FULL confidence in. More importantly I have confidence in myself when working on them. Compared to the S3As they are IMO far superior. The low mids are very open and spacious, allowing you to really hear and focus on every element and what its doing. When switching to the ADAMs that area feels hyped, congested and "bursting at the seams". Where a snare transient just pops through a dense mix briefly and then gets swallowed in the mix on the ADAMs, I can hear the reverb tail on the Barefoots. They also have far more bass extension. The hyped area around the kick on the ADAMs at first makes it seem quite the opposite but when you start running real bass through them you see how much lower they go. The difference they have made in my work already is astounding. The detail and space is allowing me to make MUCH smaller EQ and compression adjustments that really add up to much better mixes. That said, I still use the ADAMs and really like how direct and focused they sound. Switching between the two is like being able to step to the other side of the mix and look at it from a completely different angle.
Awesome! I've heard a lot of good things. If you don't mind me asking, how much did you get the barefoot pair for?
Old 21st June 2008
  #9
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One thing to consider is that the 6176 has the 610 and 1176 that can function independently and then switched to chain them together. The LA610 doesn't have that feature. FWIW
Old 21st June 2008
  #10
Gear Nut
 

I have 4 channels of 610 and 1176 by way of a 2-610, 2-1176's and 2-6176's. I actually have two MORE channels or 610 with a pair of LA-610's on top of that. Most would say this is an awful lot of something so colored but I love the dirty sound of this 610/1176 combo. I say dirty in a good way, very rock and roll with lots of character. I find a 610 w/1176 along with a U47 to be one of those magical chains. My fave for vocals for 5-6 years now. I can also take a pair of Coles 4038's (with nothing else) through a 610/1176 chain and do some serious damage with a stereo drum track. The 2-610 is a little light on the gain for a ribbon that needs a ton like the 4038 but the results are still remarkable.

I've heard the 610 blasted so many times I sometimes question my own ears. Is it that people hate it for the same reason some people hate lo-fi vintage gear for of the lack of pristine or sterile sound? I'm new here and really haven't heard many say they love a UA 2-610.

Oh, and I would highly recommend a pair of 6176 for versatility and ease of use over a 2-610 and 1-1176. Not sure but I think you would come out cheaper as well.
Old 21st June 2008
  #11
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Quote:
Originally Posted by Geese View Post

I've heard the 610 blasted so many times I sometimes question my own ears. Is it that people hate it for the same reason some people hate lo-fi vintage gear for of the lack of pristine or sterile sound? I'm new here and really haven't heard many say they love a UA 2-610.
Always trust your ears. Your sound is just that, no one can tell you what you like.
Old 21st June 2008
  #12
Gear Nut
 

Quote:
Originally Posted by bcgood View Post
Always trust your ears. Your sound is just that, no one can tell you what you like.

Thanks for that. I would just like to know the main reson for so much negative talk. I do understand we all like different approach to tone and if that's it, it's cool. Just curious if there was a better way to get the same type vibe as the 610.


let me see if I can help tempt the OP as well, here's a pic of some of my UA stuff:

Old 21st June 2008
  #13
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Quote:
Originally Posted by Geese View Post
I've heard the 610 blasted so many times I sometimes question my own ears. Is it that people hate it for the same reason some people hate lo-fi vintage gear for of the lack of pristine or sterile sound? I'm new here and really haven't heard many say they love a UA 2-610.
I think a big part of the bashing revolves around the headroom, or lack there of, as well as the amount of coloration. The guys that have heard the old console say the 2-610 sounds nothing like it. I don't care, I like it.

I've got one of the originals with the purple eye and the old faceplate, which I like better than the new look. I've been running my '59 NOS P Bass through a Manley tube DI into both channels of the 2-610 (in series using Ch.2's line in), and have been really pleased with the results. I also like it with my 4047 on Vox. Anyone using it for kick?

The new 710 looks pretty cool, at a decent price too.

Stu
Old 21st June 2008
  #14
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Quote:
Originally Posted by channelcat View Post
I think a big part of the bashing revolves around the headroom, or lack there of, as well as the amount of coloration. The guys that have heard the old console say the 2-610 sounds nothing like it. I don't care, I like it.

I've got one of the originals with the purple eye and the old faceplate, which I like better than the new look. I've been running my '59 NOS P Bass through a Manley tube DI into both channels of the 2-610 (in series using Ch.2's line in), and have been really pleased with the results. I also like it with my 4047 on Vox. Anyone using it for kick?

The new 710 looks pretty cool, at a decent price too.

Stu
I'm very fond of the line amplifiers in the 2-610. I wish UA would build a small 8 channel line mixer just using the line amps from these coupled with the broadband EQ.
Old 21st June 2008
  #15
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Quote:
Originally Posted by bobwarren View Post
One thing to consider is that the 6176 has the 610 and 1176 that can function independently and then switched to chain them together. The LA610 doesn't have that feature. FWIW
Hmm, I don't actually own either but am interested in both, and in looking at their layouts they appear to be identical, with a separate XLR line input and a "line" selector position in the preamp section. Are you sure they function differently (other than the fact one has an 1176 and the other a "lite" LA2A)?
Old 21st June 2008
  #16
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Quote:
Originally Posted by bobwarren View Post
One thing to consider is that the 6176 has the 610 and 1176 that can function independently and then switched to chain them together. The LA610 doesn't have that feature. FWIW
Yes that's true. I'd be running them through a patch bay, though. So I'd still have the 6176 patched in with the preamp and compressor separate, anyway.

Quote:
Originally Posted by Geese View Post
I have 4 channels of 610 and 1176 by way of a 2-610, 2-1176's and 2-6176's. I actually have two MORE channels or 610 with a pair of LA-610's on top of that. Most would say this is an awful lot of something so colored but I love the dirty sound of this 610/1176 combo. I say dirty in a good way, very rock and roll with lots of character. I find a 610 w/1176 along with a U47 to be one of those magical chains. My fave for vocals for 5-6 years now. I can also take a pair of Coles 4038's (with nothing else) through a 610/1176 chain and do some serious damage with a stereo drum track. The 2-610 is a little light on the gain for a ribbon that needs a ton like the 4038 but the results are still remarkable.

I've heard the 610 blasted so many times I sometimes question my own ears. Is it that people hate it for the same reason some people hate lo-fi vintage gear for of the lack of pristine or sterile sound? I'm new here and really haven't heard many say they love a UA 2-610.

Oh, and I would highly recommend a pair of 6176 for versatility and ease of use over a 2-610 and 1-1176. Not sure but I think you would come out cheaper as well.
Thanks for your opinion! I personally love an extremely coloured and dirty sound on my voice. Worst case scenario: I aquire a 2-610 and 2-1176, and they don't sound good together. However, they'd still be great independently.

Quote:
Originally Posted by Geese View Post
Thanks for that. I would just like to know the main reson for so much negative talk. I do understand we all like different approach to tone and if that's it, it's cool. Just curious if there was a better way to get the same type vibe as the 610.


let me see if I can help tempt the OP as well, here's a pic of some of my UA stuff:

Beautiful

Quote:
Originally Posted by seanmccoy View Post
Hmm, I don't actually own either but am interested in both, and in looking at their layouts they appear to be identical, with a separate XLR line input and a "line" selector position in the preamp section. Are you sure they function differently (other than the fact one has an 1176 and the other a "lite" LA2A)?
I'm curious to know the answer to this as well.
Old 21st June 2008
  #17
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I've been using 610s and 1176s (and LA2As) for a few years. Love them! It is a color choice that you have to live with, though. But a nice color for all but classical or clean recordings.

I've got the single-channel 610s and 1176s, tho. I prefer having a single power supply per channel for this type of gear.

Greg

,.
Old 21st June 2008
  #18
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Quote:
Originally Posted by Greg Curtis View Post
I've been using 610s and 1176s (and LA2As) for a few years. Love them! It is a color choice that you have to live with, though. But a nice color for all but classical or clean recordings.

I've got the single-channel 610s and 1176s, tho. I prefer having a single power supply per channel for this type of gear.

Greg

,.
Great. Thanks for sharing.

Any reason that having the 2-1176 and 2-610 would have problems since they have a single power supply for two channels?
Old 21st June 2008
  #19
I have an LA-610 and really like it. I can't compare it to lots of other stuff since I can't afford lots of other stuff. But, even if I could, I couldn't imagine that I wouldn't still make good use of the 610. It's a really nice vintage sound, which always seems like a good sound to me for the many variations the rock family of styles.
Old 22nd June 2008
  #20
MsM
Gear Nut
 

If you consider using the 1176 type compression on a stereo bus, a point might be that the 2-1176 is stereo matched.

M.
Old 26th August 2008
  #21
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Quote:
Originally Posted by MsM View Post
If you consider using the 1176 type compression on a stereo bus, a point might be that the 2-1176 is stereo matched.

M.
they are not REALLY matched. you have to be very careful to make sure both sides compress the same. the attack and release link up but input and output don't. still CAN be cool for buss but a little weird for me.
as for the original question, i have a 2-610 running into a 2-1176 and love it. gets great acoustic guitar sounds. up front,warm CSNY type acoustics. vocals are great as well. i find i get the cleanest sound by running the big kno between 12 and 3 o clock and adjusting the gain switch to land me there if that makes sense. makes my 414 sound big on vox. if you like classic rock type sounds. GET IT
Old 26th August 2008
  #22
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The 610 and the 1176 go together like cookies and milk! (Rockin' Cookies and 100 proof milk!)

I have the LA-610 and it's a very sweet, multi-purpose preamp, capable of a good range of sounds. The T4 compressor is great -- very useful -- but for rockin' vocals, the 1176 has it beat!

When people bash the LA-610 I have to suspect that (1) they must not be doing the kind of music I like or (2) they don't understand the gain staging and they're better off with a preamp that only has one knob.

I hope you have other compressors, though, because the 1176 is not for everything. In fact, I have five outboard compressors and I use them all fairly equally. The 1176 is for my most rockingest, most forward tracks. Know that the 1176 also adds a tiny bit of presence (which you may or may not want) and it also shaves off a bit of the bass (which you can learn to counteract by sending it a track that is a little too bassy -- the 1176 will trim off the fat and make the track just right.) The 1176 tracks jump forward, they work best in a mix where the other tracks are compressed with more gentler compressors (like opto's) so they'll sit back and give the mix some depth.
Old 27th August 2008
  #23
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[QUOTE

One reason: I would rather have the compressors and pres separate so that the left signal would be on the left, and the right on the right, rather than on top of each other.
[/QUOTE]

Am I missing something?

What does to separate units have to do with you using it left or right.. that is something you can decide on in your DAW.

I don't always use matched pres on a source..

I just re-read your post..Did you just mean for the signal flow of when your looking at the rack..one side has left other right? That makes more sense...but still that is not important.
But as you said if the 6176 ends up being the same price then go with what you want.

I would just go with a few different pres just to test. Once you find the pres that suit you..then do the same test for comps.. may not be a matched company but you may find something that works better..And you may also ened up where you started with all UA.
Old 27th August 2008
  #24
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Quote:
Originally Posted by seanmccoy View Post
Hmm, I don't actually own either but am interested in both, and in looking at their layouts they appear to be identical, with a separate XLR line input and a "line" selector position in the preamp section. Are you sure they function differently (other than the fact one has an 1176 and the other a "lite" LA2A)?
The 6176 has the 610 pre and 1176LN on board, fast FET style comp / limiter with full control over ratios, attack / release. Both can function 100% independent of each other. The 610 preamp on board has somewhat improved bass and headroom performance due to a power supply upgrade. The 1176LN also has a 1:1 ratio available which enables you to run signal through it and simply pick up the character of the sound rather than actually compressing.

The LA610 has the 610 pre and an "LA2A family" sort of comp / limiter on board. The input section of this unit must feed the compressor, the two cannot be used exclusively. The optical compressor limiter is smoother and not as fast as the 1176. This compressor paired with this preamp actually accomplishes very nicely what the original poster is requesting: it can do dirt or lo-fi but in a good way. It can't do real clean, but it can be driven less for a clean"er" sound at least.

PlayRadioPlay, if you're into making your own music and a ONE KNOB gain reduction control makes more sense than setting up attack and release times, ratios etc, you may actually consider the lower priced LA610 units. Based on your first post here and the way you work, I actually think it's the ticket for you.

The 610 and 1176LN together can be very driven (the 1176 can sound very dramatic and "hard" at times, it's very fast) or fairly gentle if you dial them in that way. The LA610 is simply an easier unit to dial in, smoother in action, and you get the same preamp section which you can drive if desired for that sound. The compressor can of course still be pushed for character as well.

War
Old 27th August 2008
  #25
Gear Addict
I like the combination of the two they sound great together. I have the original blue face and a re-issue 1176 and I'm currently loving the sound of the dpa 4007/4011 mics recording vocals and other items through this chain. 2-610 gets bashed around here but it is a beautiful sounding preamp. Just make sure you get your gain staging right or you will over drive the preamp. GOod Luck!!
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