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Universal audio 4-710d four-channel “twin-finity” mic preamp & di w/ dynamics Multi-Channel Preamps
Old 12th January 2011
  #241
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Awesome, good to know on all fronts. I figured that I could transport the thing, but I've never owned tube studio gear, wasn't sure if it was a little more delicate than my guitarists Orange AD30.

The funny thing is I know I need more versatility out of a compressor for mixing, so for the price I can't complain. I just had grand visions of putting stems through the line in's on channels 1-4 and using the 4-710D to add some tube flavour with some light compression.

Anybody had a chance to directly compare the conversion with an Ensemble? I'm not too worried, but just curious nonetheless.
Old 12th January 2011
  #242
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Quote:
Originally Posted by Jdiddy View Post
I'm thinking this is a great piece for me personally and I'm wondering what people actually paid for this unit.*Retails $1999, curious if anyone wants to share what they paid.

Jeff
$1,700 plus tax.
Old 20th January 2011
  #243
Question for you guys about Clocks and Master/Slave:

I've got a Focusrite Saffire Pro 40, which doesn't have Master or Slave Clock. If I want to run ADAT from a unit such at the 4-710d to my Focusrite Saffire Pro 40, what are my options as far as clocking? Is it enough to set both units to their own internal clocks at 48khz and not expect any problems or is it absolutely necessary to have the two units synced through a Clock?

If the second is the case, then I guess I'll have to find another interface for getting the 4-710d into my computer :S

Thanks guys
Old 20th January 2011
  #244
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Quote:
Originally Posted by moonpi View Post
AGREED. Nobody should publicly "poo poo" a piece of gear that they've never used
Easy there...you want to see the Gearslutz forum to go out of business??? Postings would be dramatically cut in half! tutt
Old 20th January 2011
  #245
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Quote:
Originally Posted by audibleobsession View Post
Question for you guys about Clocks and Master/Slave:

I've got a Focusrite Saffire Pro 40, which doesn't have Master or Slave Clock. If I want to run ADAT from a unit such at the 4-710d to my Focusrite Saffire Pro 40, what are my options as far as clocking? Is it enough to set both units to their own internal clocks at 48khz and not expect any problems or is it absolutely necessary to have the two units synced through a Clock?

If the second is the case, then I guess I'll have to find another interface for getting the 4-710d into my computer :S

Thanks guys
So far as I can see the Saffire 40 has a Sync Source setting where you can select ADAT as the sync source which should slave to the 4-710d as the master.
Old 20th January 2011
  #246
Quote:
Originally Posted by gollumsluvslave View Post
So far as I can see the Saffire 40 has a Sync Source setting where you can select ADAT as the sync source which should slave to the 4-710d as the master.
Thanks! Did a bit of reading in the manual and discovered that. Appreciate it. Just inconvenient that the 4-710 doesn't have ADAT IN and the Focusrite doesn't have Clock Out (meaning the 4-710 can in no way be made the slave by the Focusrite...they dont want to play together!).

Thanks again.
Old 20th January 2011
  #247
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Quote:
Originally Posted by gollumsluvslave View Post
So far as I can see the Saffire 40 has a Sync Source setting where you can select ADAT as the sync source which should slave to the 4-710d as the master.
Agreed. Play around with this, too. Sometimes, you might find that a different clock source makes everything sound better to your ear. Sometimes not. Have never tried this particular combination, so I can't comment to that. But the Saffire as slave to the 4-710D should work without errors.
Old 20th January 2011
  #248
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Quote:
Originally Posted by 88fingerz View Post
Easy there...you want to see the Gearslutz forum to go out of business??? Postings would be dramatically cut in half! tutt
Just trying to keep things honest and civil around here!

heh
Old 21st January 2011
  #249
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Reviews?

I'm surprised there haven't been any more reviews of this box yet. I'm kind of curious to hear what people's experiences have been with it at this point. I'm still intrigued by it but haven't really heard much pro or con at this point.
Anyone out there who's had it for a few weeks now and could comment on it?
Old 22nd January 2011
  #250
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I've had the 710 for a few months now. (Not the 4-710d)
I'm cautiously optimistic. My only preamps are the 710 and a Pacifica. In the past I've owned a Langevin DVC and a UA 2-610. I recorded a vibraphone synth patch, DI into the Pacifica and 710. The 710 sounded more detailed and more open. The Pacifica sounded more dense and up-front. Both flavors were wonderful. The 710 sounds a little brighter than the 2-610, if my memory is correct. that's a good thing. I've also recorded bass DI into the 710 with good results. I think the 710 can produce stellar results, if everything else is good- the performance, the mics, guitar tone, etc.... I'll post a Pacifica/710 shootout when I get around to it.

Last edited by earman; 22nd January 2011 at 02:05 AM.. Reason: another typo!
Old 23rd January 2011
  #251
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delete
Old 28th January 2011
  #252
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Hey, Just curious if I'm seeing this correctly? Only 2 Tubes?

Old 28th January 2011
  #253
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Quote:
Originally Posted by obliterations View Post
Hey, Just curious if I'm seeing this correctly? Only 2 Tubes?

They are dual-triodes, meaning that each tube has two signal paths. Many tube circuits only utilize half of the tube, freeing the other up for use by another part of the device. From what we are seeing here, I would assume that each preamp uses half of a tube. Hence, only the need for two tubes.

This is not a design compromise or some cost cutting measure. Guitar amps do this all the time - the preamp uses only one half of the first tube where the vibro circuit or reverb driver may utilize the other half.
Old 31st January 2011
  #254
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i purchased the unit from FEA when they had it on sale for $1800.

it has really filled a void in my studio... I use the extra four channels of conversion for my FMR stuff and it sounds quite good.

it works fantastic as a Bass DI and warms up my KSM32s when used on voice and overheads... i do wish there was a little more headroom when pushing the tube side... i might try to replace the tubes with something cleaner (JJs probably). i couldn't really get quite enough gain out of it when using my SM7B for voice, but i need to experiment some more.

it didn't like being slaved to the clock of my Saffire 56, so i'm using the UA unit as my master clock.

i'd like to try a nice EQ to try in the inserts, it might really make this unit come alive...

out of the box, it won't "blow your mind", but it fills many of the gaps in my project / home studio for a reasonable price.
Old 7th February 2011
  #255
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Quote:
Originally Posted by BigMetal View Post
i purchased the unit from FEA when they had it on sale for $1800.

it has really filled a void in my studio... I use the extra four channels of conversion for my FMR stuff and it sounds quite good.

it works fantastic as a Bass DI and warms up my KSM32s when used on voice and overheads... i do wish there was a little more headroom when pushing the tube side... i might try to replace the tubes with something cleaner (JJs probably). i couldn't really get quite enough gain out of it when using my SM7B for voice, but i need to experiment some more.

it didn't like being slaved to the clock of my Saffire 56, so i'm using the UA unit as my master clock.

i'd like to try a nice EQ to try in the inserts, it might really make this unit come alive...

out of the box, it won't "blow your mind", but it fills many of the gaps in my project / home studio for a reasonable price.

Hey Big Metal. I too own a L56, I also have a profire 2626. Im am thinking about getting rid of my 2626 and get a 710d. Since we have similar set ups, i was curious how you are liking 710d, are you happy with it do you notice a difference?
Old 17th February 2011
  #256
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Hey people,

Anyone know if the insert comes before or after the compressor?

(sorry if this has already been answered, I am too lazy to read the entire thread heh)
Old 18th February 2011
  #257
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Quote:
Originally Posted by Empora View Post
Hey people,

Anyone know if the insert comes before or after the compressor?

(sorry if this has already been answered, I am too lazy to read the entire thread heh)
The manual gives this explanation:

(11) Insert Send – Connect this jack to the audio input of the external processor. The signal at this jack is post-preamp, so all level and sonic changes made with the associated channel’s front panel controls will be reflected here. The jack is “half-normalled” which means you can extract the channel’s signal from here even if you don’t use the associated Insert Return. This is handy for routing the signal to a monitor mix, tuner, etc.

The signal at the Insert Send jack is identical to the signal at the XLR Line Output jack. Both channel
outputs can be used simultaneously without any signal loading issues.


Hope this helps!

Last edited by moonpi; 18th February 2011 at 03:29 PM.. Reason: Added content to the quote from the manual that was missing.
Old 19th February 2011
  #258
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Quote:
Originally Posted by moonpi View Post
The manual gives this explanation:

Hope this helps!
Thanks man
Old 22nd February 2011
  #259
I've had a 4-710d on order since January. Was originally advised that they were back ordered and would be in mid-February. Come mid-feb the date gets moved back to mid-March - Grrrrr! Anyone have any further info or know of a dealer that has them in stock?
Old 25th February 2011
  #260
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Hello,

It's my first post so hello everyone I read this post since Ive been interested in this preamp for my studio and had a chance to test it (thanks to our dealer) for free - so here is my few words:

Our test was rather short but - first Word clock - I synchronised my MOTU 2408mk3 (PCI424) with clock from UA - the effect was subtle, my impression is that the clock from UA is slightly better over Motu's giving nicer treble (however it's small difference, maybe self-suggestion, although I am very sceptical about audio-voodoo). Note: I didnt get into that but I couldn't set higher frequency than 48kHz (after setting 88.2 on UA, motu switched to 44.1). Might be some driver issue.

After that we decided to test all the functionality of 710's:
- channels are not ideally paired (signal volume was slightly different on each)
- changing phase and so on works flawlessly
- compression! - ok to me thats sth like "lets stick some compression inside, put a "1176" in the catalogue and people will surely buy it!" - basically it has 2 modes: fast/slow (and off), with treshold being controlled by gain knob (fixed treshold point). We tested it on recorded track of something that should be good for 1176's: snare, kick, vocals, acc guitar.
A) SLOW: has maybe even good attack but release is too slow - actually we liked it best on vocals (but still it's kind of not best setting)
B) FAST: I think it's attack is to SLOW!!, release is quite fine - however again in my impression drums are not its favourite material

So basically for me it's useless - We wanted to use the preamp to record drums as well and for that compression doesn't fit quite well

- TUBE KNOB - expected some nice tube character but: I turned the knob all the time left/right and to be honest the difference is so subtle that this knob is completely useless. The idea of having tube/solid state stage was to have some clean and fast character of solidstate and nice warm/thick/fat from tube - the trick is that the tube stage is NOT a tube preamp - the signal comes to solidstate preamp first then it is split to solidstate and tube buffer and summed in output - so if You want some nice tube drive/warm/whatever - forget it! The only drive you can have is by turning the gain up and overdrive solid state preamp stage. To test what the tube is "adding" to signal we sent identical signal to two channels of UA, inverted the phase on one of them, and set the gains so we got perfect cancellation (no signal in the speakers) and then moved the tube knob on one of them all the way right. AND? And basically - nothing - only some high-midrange harshness - absolutely no differences in the low end/no warm/no drive :( - which prooves that the tube stage is only on marketing side.

Just to compare - I expected sth like "tube" knob on Focusrite Voicemaster PRO (which is complete solid-state!) - turning it really changes the character and addes drive!

So definately it is not a "strong tube character" preamp, which is a pity because actually this knob is useless as well.

We didn't have a chance to test the preamps itself (we'll do this in next session) however buying it for preamps only (with all that nice but limited/useless functionality) is pointless - for that price I'd rather buy ISA428 (regulated low-cut filters, no bells-and-whistles) - and this one is the next to test when I have a chance.

Questions welcome, feel free to write

Krzysiek Kucharczyk

Last edited by kucharzb; 26th February 2011 at 11:23 AM.. Reason: edited few english language mistakes (sorry, it's not perfect, I do my best!)
Old 25th February 2011
  #261
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Quote:
Originally Posted by AllThingsAudio View Post
I've had a 4-710d on order since January. Was originally advised that they were back ordered and would be in mid-February. Come mid-feb the date gets moved back to mid-March - Grrrrr! Anyone have any further info or know of a dealer that has them in stock?
Everyone is out of them. What can I say? It's a popular unit. From my experience, your best bet is to sit tight. You're in line and you have as good a spot as anyone, I would assume. As of right now, they are saying that new orders should begin shipping in April. From what I know, they should be able to fill existing orders before then, though. But, again, experience shows that delays happen and are often not the fault of the manufacturer at all. There are shipping/customs delays, trouble sourcing parts, whatever... there is a plethora of variables that affect this stuff. Delays are just part of the equation if you're an early adopter. Your 4-710D will certainly be worth the wait.
Old 26th February 2011
  #262
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Bells and whistles? I don't know about those extras, but my single-channel 710 SOUNDS GOOD. It compares favorably with my Pacifica. It captures lots of detail and is not dark like a UA 2-610.
Old 26th February 2011
  #263
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Has anyone popped the top? I thought this was Gearslutz? Where are the gut shots? thumbsup
Would like to know if this unit is using the Cirrus Logic chip for converters.

kucharzb, Thanks for the detailed review.
Old 26th February 2011
  #264
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Quote:
Originally Posted by earman View Post
Bells and whistles? I don't know about those extras, but my single-channel 710 SOUNDS GOOD. It compares favorably with my Pacifica. It captures lots of detail and is not dark like a UA 2-610.
As I said before - I didn't tested the preamps (and I didn't said it sounds bad!) since this will be next stage of test - I wanted to test the added functionality first and to me it clearly shows that this is not what I expected from UA.
Old 26th February 2011
  #265
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I'm sorry. I just wanted to point out that the unit might be well worth the money just for 4 high quality pres in one package, with DI's. $500 per channel is not a bad price. Hey, just my opinion...
Old 26th February 2011
  #266
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I experienced nothing but perfect functionality from the digital section of this device. Word clock followed the master and other devices followed it when it was the master.

Come to think of it... all sections of the device performed perfectly.

I've found the blend knob to be quite useful. It's not an effect. Since it blends between two separate preamps that share the same power supply (a major determining factor of the overall sound of a device - and thereby an indicator that they will be playing within the same framework, sonically) as well as both feeding through the blended unified output section, one shouldn't assume that it would be an effects stage. It's simply a way to dial in a dimension and a subtle character. But I've found it to be anything but useless.

Just my two cents.
Old 26th February 2011
  #267
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Quote:
Originally Posted by earman View Post
I'm sorry. I just wanted to point out that the unit might be well worth the money just for 4 high quality pres in one package, with DI's. $500 per channel is not a bad price. Hey, just my opinion...
Absolutely.
Old 26th February 2011
  #268
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Quote:
Originally Posted by moonpi View Post
I experienced nothing but perfect functionality from the digital section of this device. Word clock followed the master and other devices followed it when it was the master.

Come to think of it... all sections of the device performed perfectly.

I've found the blend knob to be quite useful. It's not an effect. Since it blends between two separate preamps that share the same power supply (a major determining factor of the overall sound of a device - and thereby an indicator that they will be playing within the same framework, sonically) as well as both feeding through the blended unified output section, one shouldn't assume that it would be an effects stage. It's simply a way to dial in a dimension and a subtle character. But I've found it to be anything but useless.

Just my two cents.
After just tracking some drums, I can completely second that - there is quite a difference between transformer and tube, especially on Kick and Snare.
Old 26th February 2011
  #269
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Quote:
Originally Posted by moonpi View Post
Since it blends between two separate preamps that share the same power supply
Manual states these are not separate preamps (solidstade/tube) - tube stage is just buffer between preamp (solidstate) and output. So the tube circuit is not taking huge effect in amplifing the signal - I'll try to make samples if I find some time during that week.

I dont know what You mean they share the same power supply (I don't think that opamps are powered by voltage around 250-300 volts)
Old 26th February 2011
  #270
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I have to say that the blend knob really makes a difference, I used it both as a bass DI where the differences were obvious, and as a pre amp with drums, and some vocals. I was doing a rock record so I was driving them a little more than usual, and you could definitely hear a difference between each stage. I found the sweet spot to be a blend between both stages every time.

All the other features I found useful, the compressor comes in handy, as it can do something reminiscent of a real 1176 tone, although it is not even close in versatility compared to a real 1176. It is still similar enough to use sparingly while tracking or for effect if you really crush signals. I used it as a dirty room mic and it worked well.
the conversion is also good enough to use in a home studio setting, I can't complain, and the clocking worked flawlessly for me
well worth it in my opinion
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