The No.1 Website for Pro Audio
UNIVERSAL AUDIO 6176...How does it compare?
Old 1st September 2010
  #31
Lives for gear
 

I love the pre. I have both a 6176 and a 610 after going through basically every pre between 1k-3k. Accurate? Not sure. Sound good? definately.
Old 1st September 2010
  #32
Gear Maniac
 

I have one too and find it useful for many things. Particularly electric bass, like the DI input. Sounds fine on many things as do many other preamps. Comp is a little different than an 1176 but close enough to use in the same way.

Box was worth the money IMO and I am glad I bought it.

If it was a cigar...... never mind...
Old 3rd September 2010
  #33
Gear Maniac
 
SOULSHAKER88's Avatar
 

I really dig it on acoustic guitar and female Vox...thickens up the highs nicely.
Old 3rd September 2010
  #34
Lives for gear
 

Quote:
Originally Posted by skybluerental View Post
dick measuring contest to being in 3, 2, 1...............
: )

seriously though, i thought we were about to have a civilized discussion about the UA 6176 here.

hmmmm.
Ah, me too
Old 7th September 2010
  #35
Lives for gear
 
grrrayson's Avatar
 

Let me say that going ad hominem is generally unwarranted and unfruitful.

Anyway:

Quote:
Originally Posted by payne104 View Post
Yeah, I never heard it randomly distort. I think you are doing something wrong.
Such as...? Maybe it's a tube going out. I wouldn't know.

Quote:
Originally Posted by mellotronic View Post
Personally, I have no problem with any piece of gear that CAN be set on the edge where it gives you some distortion when you drive it as I probably have ideas that call for things like that. I'm a guitarist first so that makes sense to me. For what I use it on, I like tube reaction and interaction with the audio. That's the same reason I like tape-delays and Mellotrons. I do like a lot of flavor on the input chain to compliment the source. I'm usually recording/producing myself or if it's someone else it's usually for a project I'm involved in so I can make these sonic choices as I go. I can imagine recording in general may be different for you if you are recording other people/clients and you just want to capture their performance in a clear, accurate and, I'm guessing , musical way, but without too much color. I think they sound fantastic, but it sounds like these box's (LA610/6176) possibly aren't right for what you do and/or how you like to do it???... and if they were for everybody I probably wouldn't like it. That said, I think they're capable of clean, hi-fi and reliable as well as being very expressive. They take time to get to know, they have their own rules and they just are what they are.
Every single piece of audio gear ever distorts if you push it far enough, even the "clean" variety. This is not random at all. This is not my complaint. I never mentioned such a thing.

I like tube stuff and pushing things harder etc. too. Do not assume otherwise; I never said anything about it here. I don't use the term "color" applied to audio because, firstly, everything has some sort of sound and, secondly, I think the word "color" on this forum has become about as useless as the word "attractive" on craigslist personal ads. If you're going to go there, though–yes, I often like things with "color."

The noise I was specifically complaining about above was, as stated, a distortion on notes that were substantially lower in level than the notes that were "on the edge." That was truly random. That was not on the edge.

Anyway, even if it were working properly, the "edge" on this box is too narrow. Usually when you set things on the edge, this "edge" is wide enough that it either makes the whole thing thicker or just the very loudest notes a little predictably fuzzy. The kind of desired edge is big enough to stand on. The 6176 jumps from thinner to full-on distortion too quickly to dial in a consistent tone. How can I set a desired "coloredness" when it changes color mid-note?! This edge is too thin to stand on.

If the above scenarios are the "random" you seek, so be it. Yes–this is your thing and not something I often have a use for. God bless America. But please do not think that I don't like tube stuff or that I don't like pushing things–I do, certainly; just not the way this box does it.

This box doesn't suck, and like I've said I've gotten some good sounds out of it myself. I've only used two other people's and I couldn't replicate the random distortion on the one mentioned so it apparently is working normally. I am just offering my (professional) opinion as asked and my opinion is that I don't think this box is worth it. This thread started to get as bad as the one where the one guy didn't like the CS-1...

Also, I'd like to note that although many people have suggested that I'm doing something wrong, that people who don't like this box don't know how to dial it in properly, or that this box has it's own rules, ironically I haven't seen anyone explain how to go about setting up this box or say exactly what I could be doing wrong or say what these rules are. Elucidation is always welcome; perhaps there is something I'm overlooking. Not a big deal either way.

Be well.

Grayson
Old 7th September 2010
  #36
Lives for gear
 
camus's Avatar
 

Quote:
Originally Posted by grrrayson View Post
I've only used two other people's and I couldn't replicate the random distortion on the one mentioned so it apparently is working normally.
? But if the other boxes you've used did not demonstrate the same problem, doesn't that indicate something is awry with yours?

Quote:
Also, I'd like to note that although many people have suggested that I'm doing something wrong, that people who don't like this box don't know how to dial it in properly, or that this box has it's own rules, ironically I haven't seen anyone explain how to go about setting up this box or say exactly what I could be doing wrong or say what these rules are. Elucidation is always welcome; perhaps there is something I'm overlooking. Not a big deal either way.
Well the deal with the 610 is that headroom is limited. Modern high output condensers aren't the ideal match for it because of that fact. If you are having problems with clipping the solutions are: 1. Use the pad (the 6176 should have this, older models don't). 2. Lower the gain knob and raise the output level.

It is a design quirk, but if you enjoy the sound enough you should be able to take a little bit more time to dial in the sweet spot. It really is up to the individual if he decides it is worth the effort. The Helios preamps are similar in terms of low headroom, but I still use them everyday because I really dig the sound of those. At the end of the day, it's just a preamp (not a vagina heh) isn't it?

Take it easy...
Old 7th September 2010
  #37
Gear Nut
 

Quote:
Originally Posted by SOULSHAKER88 View Post
I own a UNIVERSAL AUDIO 6176 Pre Amp/Compressor and was wondering how it compared to all the heavy hitters like API,Neve, Great River etc...
I wouldn't compare it to any of those. It's a very colored strip. I have four 6176's along with several channels of API, Aurora GT2Q, and rent 1081's and 1064's when needed. I use the 6176's the most. I find the 6176 is a fairly aggressive piece of gear. It wouldn't be my first choice for some applications but if I wanted to make a rock and roll record with a ton of vibe, attitude, and character I'd go with 6176's over anything named in this thread.
Old 7th September 2010
  #38
Lives for gear
 

Quote:
Originally Posted by Erik Thomas View Post
If it were a vagina it would be a fantastic one too.
Ah Yes ... THAT old Pearler

Quote:
Originally Posted by camus View Post
At the end of the day, it's just a preamp (not a vagina heh) isn't it? Take it easy...
And Again ...
Old 7th September 2010
  #39
Lives for gear
 

Quote:
Originally Posted by Albert L. View Post
You said yourself that the 610 is like an old guitar amp you pull out from time to time, which by my definition wouldn't be a general purpose application. It would be a specialty unit. You're agreeing with me while calling me names, aren't you a genius.

While you're slinging name, yes - guilty as charged, I am one hell of a snob in the studio, I refuse to accept anything less than the best sounds for the productions I work on, sounds that make the recording more exciting than just capturing the performances. As for being a bore, hardly. Everyone laughs all the time on my gigs, its how we get better performances, and is an added bonus to my learned skill set which helps to keep me working. My average day is about 12 to 15 hours of standup comedy with a bunch of recording happening from time to time.

So, the next question, on your current album where you're employing all of the world's greatest mic pre modules - will anyone other than your family and friends ever get to hear this masterpiece? Are you some kind of household name I'm insulting and will never work with no matter how much you like my work or are you another investment banker who decided after his first million to become a rock star?

I've spent the last few decades making records for people that sell records for a living. Following the paradigm that started 15 or so years ago, I have helped several artists with whom I work on a regular basis build overdub rooms in their houses. I'm not talking about your average 3 bedroom Colonial on a shady suburban street, I'm talking about nice houses up on hills with a view of the city and a gate at the end of the drive. Some are near the beach, some are in lofts in Manhattan. I've been around a little longer than you seem to think.

As for advertising fodder, you seem like you're a Gearslutz junkie that likes to throw around what you've read. Yes, I have used 610 modules. They had a bunch of them at Waterfront Studios in Hoboken where Len Kravitz did all his good stuff. It was down the street from Water Music where they have an excellent drum room, but you probably wouldn't know that as you have everything the Gearslutz crew has told you was great.

Have you ever worked at Oceanway? I have. Seeing that you're the great historian you would know that United Western where Pet Sounds was recorded is now Oceanway or East West where I've also worked. That sound is more than a mic pre but seeing as you can parrot advertising way better than I can, I differ to your greatness.

I never said that a Great River was going to get you closer to the Pet Sounds sound, you said that. If I had said that I would be a dumbass, which is why I didn't say that, seeing as you said that all I can say in return is if the shoe fits you should continue to wear it.

The project I'm working on now was tracked at Abbey Road and Avatar. We are currently working in a very nice house in Malibu. I logged onto this to kill some time while running backups from the days work. I'm not sure where we're going to mix yet, or if I'm even going to be mixing the project, it
could very well be sent out to one of the 3 letter guys to trample our tracking work, but that's not my decision.

My decisions are to take what the artist puts into the air and make it sound the way he and the producer want it to sound. I'm very good at my job which is why I have been able to work when a lot of my friends haven't. Granted, the rates aren't what they used to be, but work is work
Man, you are soooo cool. I wish I was like you.
Old 13th September 2010
  #40
Lives for gear
 
RonT's Avatar
 

Noise?

I just picked up one of these and played around with the compressor side. It added noticable noise to the session. Very distinc analog hiss..... Is this common or is something wrong with the unit?

Also the lettering on the compressor side is falling off badly. I contacted UA about a replacement plate.
Old 6th February 2011
  #41
As an owner of UALA610mk1 I decided to go for 6176 because of the faster compression parameters. I absolutely love the unit. I head people say that there are units better out there, but its alright if, for example, I might like sweet and a friend of mine does not. So Ive been given an SLP Channel One unit and plugged my Neumann TLM49 (at that time). Well.. The sound was more refined and less colored. It didnt sit in the mix like I got used to it and eventually I swapped the units back. Other solid state preamps were probably NOT what I was looking for. Especially mentioning others that Ive tried, both tube and solid state. I was looking for a TUBE + SOLIDSTATE formula for my setup.

Yes the 610 has little headroom which worried me until I figured the right parameters out. At the moment it is set up so that I may use the small gain knob at -5 or -10db for the loudest people that I record of vise-versa for quiet ones. And yes it is wooly sounding, but I figured a right converter for this unit which balances out the tube nuances. I think the UA2192 converter might work even better than what I use.

Talking about the FORMULA I have to mention its a thing of taste and often you would have to try a dozen units before you understand how they can interact/compliment each other for the right sound. I would get a bright microphone for a wooly and fat UALA610 (dont forget about EQ knobs here!), stuff it through a good ADC and would also mix(!) the tracks after everything is recorded. What is it that I get? A clarity of the mic with a balanced out frequency response (EQ KNOBS!) that gets polished with an ADC. Why would I need more?

Maybe my formula is just wrong to some people, but hey! I have to broaden my horizon. At the moment it is definitely better than what I used to have. Period!
Old 6th February 2011
  #42
You know what would be nice? If UA made a complete channel strip with the greatness of an 1176 PLUS a full parametric EQ (all valve/tube of course). I love the 1176 in general, the UA 1176 included. I'm certain the 6176 must sound every bit as good as the claims.

As for the earlier discourse in the thread... I dunno, boys, it's a bit much for my taste. Seriously, the thing I love most about GearSlutz is that you usually don't see this kind of stuff 'round these parts and it's highly unnecessary.

It might be nice if we all followed the rules and had sensible mature discussions on a piece of "Jib" Otherwise, we're no better than "The gear page".
Old 9th May 2012
  #43
Gear Maniac
 
Pliplo's Avatar
 

Anyone owned or owns both a 6176 and a solo 610+mc77 combo? My TLM49 needs a friend and im undecided between those two options
Old 30th May 2014
  #44
Lives for gear
 
Seditionary's Avatar
 

Quote:
Originally Posted by Pliplo View Post
Anyone owned or owns both a 6176 and a solo 610+mc77 combo?
Reviving an old thread, but... yes -- I have a 6176... and for awhile I owned it with an MC77 and listened to the compressors against each other. You can run the preamp of the 610 in the 6176 out separately from the 176 compressor in it. I heard both. I ended up selling the MC77... so...

They are different sounds. The MC77 is more modern / aggressive & also a tad bit bigger in the low end. The MC77 is great for a huge modern bass sound.

I prefer the sounds I get out of the 176 compressor though. More vintage, vibey, syrupy, 60's compression vs 90's / 2000's for the MC77 (even though I know the MC77 is a 70's 1176 reissue, just what my own ears tell me (90's vibes)).

For vocals I found the MC77 too aggressive. The 176 works great for vocals!

QUESTION -- I used a Universal Audio 1176 reissue in another studio... but I MUCH prefer the compressor in the 6176... (is the compressor in the 6176 an 1176 or a 176?). The compressor in the 6176 channel strip & the UA 1176... are they the same circuits? As they didn't sound at all alike to me... makes me think that the compressor in the 6176 isn't an 1176 clone, but maybe a 176 clone? Maybe these particular units just sounded different, but it made me believe it was a different circuit... different transformers at least.

Anyhow, different vibes -- for the music I do, I prefer the sound of the 6176 compressor... more vibe, more vintage-mojo sound, smoother than the MC77, which is more forward and aggressive, but also cool and huge in its own way.

Anyhow, just wanted to answer even though it is a revive! Cheers
Old 30th May 2014
  #45
Gear Addict
6176s and vaginas...we can solve anything here, by golly!!!


Tom
Old 30th May 2014
  #46
Lives for gear
 
Seditionary's Avatar
 

On the 6176 -- Is the compressor a 176 clone rather than an 1176 clone?

Last edited by Seditionary; 10th November 2016 at 11:01 AM..
Old 31st May 2014
  #47
Gear Addict
Indeed!!


Tom
Old 31st May 2014
  #48
Lives for gear
 

I used to have one and sometimes I miss it. Not my choice for everything, but it did some nice things on some sources at some settings. I used to love it on the snare if I really wanted to change the tone with harmonic-rich compression. It was my go-to for a single mic on the drum kit over-compressed Radiohead sound. I wish I had it back to experiment more with vocal settings now. I definitely think it's a character piece though. I wouldn't want a rack full of them.
Old 1st June 2014
  #49
Deleted 1846071
Guest
Well, according to the GS mods, a 6176 isn't high end. So there's another data point for you.
Old 1st June 2014
  #50
Lives for gear
 
Seditionary's Avatar
 

Quote:
Originally Posted by Deleted 1846071 View Post
Well, according to the GS mods, a 6176 isn't high end. So there's another data point for you.
Did the OP not post in High End or did a mod move it from High End to So much gear, so little time!?

I dig older recordings... but for modern pop -- I know that they use the 6176 on all of Adele's vocals. Her voice is produced pretty well
Old 1st June 2014
  #51
Lives for gear
 
Seditionary's Avatar
 

"All the vocals on the Adele tracks I produced were recorded through the Universal Audio 6176, so you can credit Adele’s bright and crystal-clear, dulcet tones to the UA preamp and compressor." -- Paul Epworth
Old 1st June 2014
  #52
Lives for gear
 

To answer the question from above the compressor in the 6176 is not based on the ua176 which was tube based. UA claims the compressor is a 1176 style compressor not an actual 1176. Not sure the differences but, I like mine.
Old 3rd June 2014
  #53
Lives for gear
 
Seditionary's Avatar
 

Quote:
Originally Posted by phanlon View Post
UA claims the compressor is a 1176 style compressor not an actual 1176. Not sure the differences but, I like mine.
Interesting. Maybe somewhere in-between an 176 and 1176? I know an 1176 doesn't have a HUGE output transformer like the one on the back of the 6176.
Old 9th March 2015
  #54
Gear Head
 

Quote:
Originally Posted by jono_3 View Post
I have 2 6176's and an la610 mkii and I have yet to experience unexpected distortion. It's true at the 610 lacks the head of an API 512 or similar, but they always sound great when you have the gain staging properly setup. By using the pad and 5db stepped input gain you can get the full range of clean and crunchy and it gets tough to make it sound bad.

Tonally, it's kind of in it's own space. Doesn't sound like an API, or a great river, or a tg2. I find that it stacks well, has enough depth that the sounds are interesting, and fits easily in a mix. The eq section is pretty useful when you use it to trip the compressor. The 1176 side is as good as you make it, I've had amazing results with di'd bass.
Hi Im considering buying a UA 6167 but also contemplating buying a UAD 2 quad card and do everything ITB ..are the software emulations really close enough to justify the only ITB option in your opinion ?
Thanks Bro!
Old 9th March 2015
  #55
Gear Nut
Own the 6176 Also own API, Prism, Audient, and Heritage Audio. I plan to hang on to the UA 6176 forever if possible- actually plan to buy at least three (3) more. Great sound when used correctly- like any other serious mic pre.

Most amateurs are not impressed the first time they plug into an API either. Yes, there is a "sweet range" in especially the API and UA 6176 pres that takes time and experience to get to.

6176 rocks!

r/Jay
Old 9th March 2015
  #56
Lives for gear
 
jono_3's Avatar
Quote:
Originally Posted by saxparper View Post
Hi Im considering buying a UA 6167 but also contemplating buying a UAD 2 quad card and do everything ITB ..are the software emulations really close enough to justify the only ITB option in your opinion ?
Thanks Bro!
That post was from 5 years ago!

I have since sold all of my 610 stuff and moved to all API. I like/use the UAD stuff, and think it sounds good and is a very useful tool set. Doesn't matter to me how close they are, one isn't really a replacement for the other, just different tools.
Old 10th March 2015
  #57
Gear Head
 

Quote:
Originally Posted by jono_3 View Post
That post was from 5 years ago!

I have since sold all of my 610 stuff and moved to all API. I like/use the UAD stuff, and think it sounds good and is a very useful tool set. Doesn't matter to me how close they are, one isn't really a replacement for the other, just different tools.
Thanks for your reply Jono, I'm just thinking if the two options are so similar then it would make more sense to go completely ITB wouldn't it? That option would be considerably cheaper right? What was it sonically that prompted your move to API and what API option did you choose ...do they do a valve state mic pre and compressor similar to the UK 6176? Cheers Bro!
Old 10th March 2015
  #58
Lives for gear
 
jono_3's Avatar
Quote:
Originally Posted by saxparper View Post
Thanks for your reply Jono, I'm just thinking if the two options are so similar then it would make more sense to go completely ITB wouldn't it? That option would be considerably cheaper right? What was it sonically that prompted your move to API and what API option did you choose ...do they do a valve state mic pre and compressor similar to the UK 6176? Cheers Bro!
Let me google that for you
Old 6th September 2015
  #59
Gear Head
 

Quote:
Originally Posted by saxparper View Post
Hi Im considering buying a UA 6167 but also contemplating buying a UAD 2 quad card and do everything ITB ..are the software emulations really close enough to justify the only ITB option in your opinion ?
Thanks Bro!
Thanks for your reply and valuable advice Jono !
Old 19th September 2016
  #60
Here for the gear
 

Stock UA6176

Hey guys, I do not own one, I have a bunch of CAPI gear, EZ1073, Modded Pro MPA and VLA II stuff. I have found that almost everything that comes off the production line in many ways can greatly benefit from having some serious techs open them up and overhaul them. I imagine the 6176 is no diff. A guy who knows what is what can examine the entire circuit and the parts used and simply by upgrading components can make the thing perform 3x better than original. You just have to be ready to drop another couple hundred bucks.
Remember while trying to recreate your favorite sounds of yesteryear. They had great rooms. That is the #1 item. So if you want to do yourself a favor do all your demoing at home, create your click track etc etc, Then roll out to a great room with great gear and cut your Album, come home and do some minimal overdubs. Its cost effective and sonically it makes a difference. Everytime you spend 1500.00 on a piece of gear you could spend 25 hours in a damn good studio with probably a pretty good engineer. Just saying.
📝 Reply

Similar Threads

Thread / Thread Starter Replies / Views Last Post
replies: 19 views: 2182
Avatar for e-cue
e-cue 24th August 2003
replies: 76 views: 10216
Avatar for tuRnitUpsuM
tuRnitUpsuM 3rd February 2007
replies: 190 views: 14050
Avatar for FireMoon
FireMoon 23rd December 2009
replies: 15929 views: 1484876
Avatar for Ragan
Ragan 11th January 2019
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
🖨️ Show Printable Version
✉️ Email this Page
🔍 Search thread
🎙️ View mentioned gear
Forum Jump
Forum Jump