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Is UA 6176 a fake ???
Old 12th September 2008
  #1
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adisc's Avatar
 

Is UA 6176 a fake ???

I just ordered and tested two UA 6176 . edit : Now I know how to use properly .6176 is complex .
Old 12th September 2008
  #2
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Wow! If that's the case, then you must not know how to use it properly.

The 1176 side goes without saying, but the 610 is tricky for first timers as far as your 'headroom' comment goes. FYI - make use of the pad if you're running into overload troubles a lot. Next, mind the gain knob, not the level. The gain will dictate the "tubiness"/ analog sound that you're seeking, and the level knob will control the output being fed to your RME.
Old 12th September 2008
  #3
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Gain is +10 , I never changed it... I was looking for the XLR line and there is not the same like the Hi-Z line . Hi-Z is better but still a lot of noise from the necessary level ( and I use best mogami cables) . thumbsup
Old 12th September 2008
  #4
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What kind of change are you hoping to hear? I have the 6176 and a lot of other pres and compressors. The 6176 is one of my faves. Squishy goodness from the pre and classic mash from the 1176.

How can you say "no headroom" when you've never even TRIED to change the gain?
Old 12th September 2008
  #5
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pootkao's Avatar
^Bingo.
Old 12th September 2008
  #6
Old 12th September 2008
  #7
Gear Maniac
 
adisc's Avatar
 

Quote:
Originally Posted by adisc View Post
It makes noise , maybe too much noise . Should I try a noise gate ? When I stop to play the noise is terrible...
Old 12th September 2008
  #8
Deleted 99dc753
Guest
You may should use symetric cabeling the 1676 is defently a great professional tool.
I do not know if symetrc is the right English Term .....

Others may know what I mean.
Other thing would be taht you 6176 is defect.
But this would be the last thing waht I would include in my thinking.
Old 12th September 2008
  #9
Gear Guru
Quote:
Originally Posted by ray dsr View Post
What kind of change are you hoping to hear? I have the 6176 and a lot of other pres and compressors. The 6176 is one of my faves. Squishy goodness from the pre and classic mash from the 1176.

How can you say "no headroom" when you've never even TRIED to change the gain?
Absolutely! Play with the relationship between gain and level to get clean gain (it has plenty) or more tubey character. The harder you hit the comp the harder it works. If you want real squish it will certainly do it. I like the unit a lot and find it very versatile.

Ya gotta twist the knobs!
Old 12th September 2008
  #10
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Maby the analog vs. plugins thing is a crock of **** and you should just use what works best for you!!
If the plugins sound as good...send the yhing back!!
Old 12th September 2008
  #11
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Quote:
Originally Posted by adisc View Post
I just ordered and tested two UA 6176 . I use a fireface 800 a/d/a soundcard thinking is time to go for a pure analog stuff . The result ? No audible differences between the same track recorded directly by fireface or UA 6176 added in the scheme ...

6176 has no tone , an anemic limiter , makes noise to a higher volume , no headroom... , just a limiter that is little better than a limiter vst plugin ...


What should I try for a better analog perspective , something that really improves my fireface sound ?
I think you have either false expectations of what an analog compressor can do (it's not a magic bullet) or you didn't set it up properly. Or the source has little dynamic to start with so the comp will have little effect.
Old 12th September 2008
  #12
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BOWIE's Avatar
Quote:
Originally Posted by Peacock View Post
Not everyone likes the UA pres. I personally do not- but many are very happy with the thick colored tone of the UA.
To me they have to much tone/color. I prefer clear pres and we use DAV pres for everything we track.
The limiter should also add a noticeable tone to your signal.
You could have a bad unit. There should be a big audible difference. Whether you like the difference or not is another story.
Maybe you like clear pres/limiters as well.
Yea, I hate to be the one to say it, but the guy just has poor hearing ability. I could fully understand someone not liking the 6176 but to say, "No audible differences between the same track recorded directly by fireface or UA 6176 added in the scheme ... " means that he can't differenciate the huge tonal differences that exist between the two.
Old 12th September 2008
  #13
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adisc's Avatar
 

Quote:
Originally Posted by BOWIE View Post
Yea, I hate to be the one to say it, but the guy just has poor hearing ability. I could fully understand someone not liking the 6176 but to say, "No audible differences between the same track recorded directly by fireface or UA 6176 added in the scheme ... " means that he can't differenciate the huge tonal differencesa that exist between the two.

Hey , XLR Line does not sound to me the same like Hi-Z . Hi-z plays a huge tube sound (also a big noise) and XLR Line almost nothing . May be defect this XLR line ? Or this is normal...?
I made all the possible tests .
Old 12th September 2008
  #14
Gear Addict
 

the best sound I ever got out of mine was with the gain at -10 and the level adjusted to taste. YMMV

C
Old 12th September 2008
  #15
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Quote:
Originally Posted by adisc View Post
Hey , XLR Line does not sound to me the same like Hi-Z . Hi-z plays a huge tube sound (also a big noise) and XLR Line almost nothing . May be defect this XLR line ? Or this is normal...?
I made all the possible tests .
Do yourself a favour and google Hi-Z and Line...So you can understand the difference.
Old 12th September 2008
  #16
Vogon
Guest
Yes, if you're looking for a wide-sweetspot, clean-gain "upgrade" to some chip-based pre's - and you don't like the sound of the 610 when being driven a bit, you've got hold of the wrong pre... As stated by others - the gain structure from the source, through to the 1176's output needs to be setup more carefully than most other pre's (or pre/comp combo's).

If you're feeding instrument signals into it, then this is why you'd prefer the Instrument/Hi-Z input. AFAIK, it bypasses the input transformer. Plugging unbalanced instruments (including electronic keyboards etc) into the line input will result in a signal-type mismatch, you'll lose 6dB and incur more noise (anytime you're "discarding" one side of a balanced input, not just in the 610). Try playing with the impedance switches too.
The 610 and 1176 are not regarded as subtle or simple devices - and that's normally the reason people get them.
Old 12th September 2008
  #17
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infopimpster's Avatar
 

The 6176 adds grit and color at both stages... you need to really sit and learn the device.

While not a "clean" preamp... I/we love the 6176 for key tracks like bass (DI) and vocals... if you stack dozens of tracks of this same preamp you may get too much color (sort of a sizzle-y distortion that is hard to quantify in words - but you can almost get "too vintage"... unless you are going for a Pet Sounds type vibe).

I use a different, clean preamp for drums and other tracks... and save the 6176 grit for key "flavor" tracks. All the vocals and bass on the tracks below (from the past year at least) have 6176 used like this... this was my first higher-end channel strip and of COURSE I want more flavors now... but a year in, still loving it.

Tips:

Use the monitoring selection knob (next to the meter) to first check your levels at the preamp stage... then once your levels are good, look at the GR (Gain Reduction) meter... dial in say... 4:1 compression... attack at 10AM, release at 2PM... ride the input gain (bottom left of the 176 panel) to push the compressor harder... use the output gain to the right of this knob to adjust gain coming out of the box. If you move that input to the 176 up you will definitely start to hear the compressor grabbing and releasing - and see it on the GR metering. Note that "ALL" mode (the famous "All Buttons In" mode... part of the "Dr. Pepper" sound formula) can make the metering go haywire... that is expected.

In summary, keep on experimenting... you'll find "the zone" soon. Adjust settings to taste (attack release)... remember to adjust compression while listening to the mix, not just soloed.

-steve
Old 12th September 2008
  #18
Gear Maniac
 

Quote:
Originally Posted by adisc View Post
Hey , XLR Line does not sound to me the same like Hi-Z . Hi-z plays a huge tube sound (also a big noise) and XLR Line almost nothing . May be defect this XLR line ? Or this is normal...?
I made all the possible tests .
it just amazes me that people with tin ears (sorry, but you couldn't hear ANY audible difference between the FF800 pres and the UA pre?!?) and no concept for, well, much of anything, will spend money on high end gear like this.

It sounds to me like your recordings would benefit MUCH MORE from a little learning and understanding than they will from any more financial investment.

LEARN about this **** before you spend a ton of money!!!
Old 12th September 2008
  #19
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Quote:
Originally Posted by subatomicpieces View Post
it just amazes me that people with tin ears (sorry, but you couldn't hear ANY audible difference between the FF800 pres and the UA pre?!?) and no concept for, well, much of anything, will spend money on high end gear like this.

It sounds to me like your recordings would benefit MUCH MORE from a little learning and understanding than they will from any more financial investment.

LEARN about this **** before you spend a ton of money!!!
thumbsup
Old 12th September 2008
  #20
Gear Maniac
 
adisc's Avatar
 

Quote:
Originally Posted by subatomicpieces View Post
it just amazes me that people with tin ears (sorry, but you couldn't hear ANY audible difference between the FF800 pres and the UA pre?!?) and no concept for, well, much of anything, will spend money on high end gear like this.

It sounds to me like your recordings would benefit MUCH MORE from a little learning and understanding than they will from any more financial investment.

LEARN about this **** before you spend a ton of money!!!

man , audible difference exists but only with a big noise...
yes u right , I'll learn buying a Thermionic Phoenix .
Old 12th September 2008
  #21
Gear Maniac
 

good idea! that'll probably give you the warm sound you're after. I'm sure that the biggest problem with your recordings is that you haven't invested enough money in them.
Good luck. I'm sure that the Pro Audio dealers are stoked to see you coming!
Old 12th September 2008
  #22
Gear Maniac
 

Quote:
Originally Posted by adisc View Post
man , audible difference exists but only with a big noise...
more evidence that you just don't know what you're doing.
Old 12th September 2008
  #23
Vogon
Guest
We're being a little harsh, arn't we?
The OP has the chance gain experience using a cool device, that's not a bad thing. I wish I'd been able to get my own, better gear earlier on...
Old 12th September 2008
  #24
Gear Maniac
 
adisc's Avatar
 

Quote:
Originally Posted by subatomicpieces View Post
more evidence that you just don't know what you're doing.
I'm keyboard player and I found that 6176 is great for bass and voice .Let me find the synth way .
Old 12th September 2008
  #25
Gear Guru
Quote:
Originally Posted by Mr.HOLMES View Post
You may should use symetric cabeling the 1676 is defently a great professional tool.
I do not know if symetrc is the right English Term .....

Others may know what I mean.
Other thing would be taht you 6176 is defect.
But this would be the last thing waht I would include in my thinking.
I think the word you want is "balanced". And good call.

adisc- do you know the difference between balanced and unbalanced? The difference between -10 and +4? This might be the source of some of your problems.
Old 12th September 2008
  #26
Vogon
Guest
Ah...
What synths, Analogue, digital, rompler?
They'll definitely need to use the Hi-Z input, unless they have balanced connections.
Old 12th September 2008
  #27
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Quote:
Originally Posted by adisc View Post
man , audible difference exists but only with a big noise...
yes u right , I'll learn buying a Thermionic Phoenix .
I'm sure I will love it...it's even WARMER, PHATER, CREAMIER even 'cos it's MORE EXPENSIVE!
I know 'cos I read it on the INTERNET. So it must be true. The problem is I don't know where to plug my ****... Maybe I should get the Mastering Version?
Old 12th September 2008
  #28
Gear Maniac
 
adisc's Avatar
 

Quote:
Originally Posted by Vogon View Post
Ah...
What synths, Analogue, digital, rompler?
They'll definitely need to use the Hi-Z input, unless they have balanced connections.
Digital (this is the most difficult way..)
I use HI-Z imput and trying right now a pretentious digital synth from reaktor . 1176 is setted to ALL ratio function , and only here I found the real deal for digital solo synths or any other digital sound . I like music HOT , not just a simple touch...
Old 12th September 2008
  #29
Gear Maniac
 
adisc's Avatar
 

Quote:
Originally Posted by PRobb View Post
I think the word you want is "balanced". And good call.

adisc- do you know the difference between balanced and unbalanced? The difference between -10 and +4? This might be the source of some of your problems.

I use only balanced . Should I use unbalanced ? For more power ? It can resolve the big amount of noise ? (I would like to make a test but believe I don't have unbalanced cables )
Old 12th September 2008
  #30
You are hearing noise due to an impedance mismatch.

The hi z input is for guitars and bass direct.


Does that keyboard have a balanced or unbalanced line level output?
I would take the line output from that keyboard into the line level input on the back of the UA.

Another way to go is to use a direct box into the mic input of the UA and see what happens.
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