Model 6176 Channel Strip Universal Audio Manual Number 65-0013 Revision 1.2 Universal Audio, Inc. www.uaudio.com 2125 Suite A, Delaware Ave. Santa Cruz, CA 95060 (831) 466-3737 voice (831) 466-3775 fax www.uaudio.
The 6176 Channel Strip Thank you for purchasing the 6176 Channel Strip. This unit brings together 1 channel of our 2-610 Mic Pre with an 1176 Limiter. The 610B was inspired by the microphone preamp section of the 610 console designed by my father, M.T. “Bill” Putnam, in the 1950s. The 610 was a rotary-control console and was the first console of the modular design. Although technologically simple compared to modern consoles, the 610 possessed a warmth and character that kept it in demand for decades.
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 itself, as well as in the operating instructions. 1. 2. 3. 4. 5. 6. 7. Water and Moisture – Do not use the unit near any source of water or in excessively moist environments.
Notice This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio 6176 Channel Strip. 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. Universal Audio, Inc.
Table of Contents 610B Specifications .......................................................................................4 1176 Specifications .......................................................................................5 610B Operating Instructions...........................................................................6 610B Front Panel.................................................................................6 Input Select.............................................................
10B Specifications Microphone Input Impedance Balanced Line Input Impedance Hi-Z Input Impedance Selectable, 500 W or 2k W 20k W Selectable, 2.2M W or 47k W Maximum Microphone Input Level +18 dBu (2K input Imp.
1176LN Specifications Input Impedance: Selectable, 15k W or 600 W Output Load Impedance: 600 W (floating) External Connections: XLR Connectors Frequency Response: +/- 1 dB. 20Hz to 20 kHz Gain: 40 dB, +/- 1dB Distortion: Less than 0.5% T.H.D. from 50 Hz to 15 kHz with limiting, at 1.1 seconds release setting. Output of +22 dBm with no greater than 0.5% T.H.D. Signal-Noise Ratio: Greater than 75 dB Attack Time: Adjustable from 20 to 800 microseconds.
610B Operating Instructions The 610B is a vacuum-tube microphone/instrument/line preamplifier. The main circuit has two gain stages that utilize a dual-triode tube operating in a class A single-ended configuration. Variable negative feedback is applied to both of these stages to control gain, distortion, and frequency response. Balanced inputs and outputs are transformer coupled.
610B Input Select The Input Select switch determines which input is active: Mic, Line, or Hi-Z. Within both the Mic and Hi-Z areas, the switch includes two settings to select between input impedances. • Mic: Selects the signal from the rear-panel, balanced, MIC INPUT XLR connector. The impedance for the MIC INPUT can be set to 500 W or 2K W. Switching between these two positions while listening to a connected microphone may reveal a different tonal quality and / or gain.
Level The Level knob is the master volume control. It determines the amount of signal from the preamplifier gain stage sent to the output stage. The cleanest signal is attained by setting the Level knob between 7 and 10 on the scale, then turning the Gain knob until the desired level is attained. Altering the Gain, Impedance, and Output controls together provides many useful tonal variations. The numeric values on the front panel for the Level control denote magnitude and are NOT specific dB values.
ON + 48v ON (I) OFF (0) JOIN SPLIT 610B to 1176 LINK +48V PHANTOM POWER Figure 2: Front Panel center section 9
1176LN Operating Instructions The 1176LN is an all discrete solid state FET based compressor/Limiter featuring feedback style compression and offers extremely fast attack times.
Output The Output control determines the final output level from the 1176LN. Once the desired amount of limiting is adjusted by setting the Input Control, the Output Control can be used to set the required output level. Set the Meter switch to the Compressor (COMP) position so that the meter reads the desired output level from the 1176LN. Attack The Attack control adjusts the time it takes the limiter to respond to an input signal and instigate gain reduction.
Meter Function The VU meter can be used to indicate 610B preamp output, 1176LN gain reduction or 1176LN output level. The Meter function is determined using the three position knob to the left of the meter. When GR is selected, the meter reads Gain Reduction level in dB. When PRE is selected, a meter reading of 0 corresponds to an output level of +4 dBm at the 610B Preamp output. When COMP is selected, a meter reading of 0 corresponds to an output level of +4 dBm at the 1176LN output.
KW LINE OUTPUT LINE INPUT 600W ! 1176 SA 6176 COMPRESSOR UNIVERSAL AUDIO, •INC SANTA CRUZ, CALIF.
Figure 5: Operating Voltage Selector 14
History The 610B Bill Putnam was awarded the 2000 Technical Grammy for his multiple contributions to the recording industry. He was highly regarded as a recording engineer, studio designer/operator and inventor. Putnam was considered a favorite of musical icons including Frank Sinatra, Nat King Cole, Ray Charles, Duke Ellington, Ella Fitzgerald and many, many more.
decade restoring it. [We thank Paul for his efforts and his contribution to our efforts to trace the history of the 610.] At least one 610 module is still in use at Oceanway. Allen Sides, who purchased the studio from Putnam to open Oceanway, personally traveled to Hawaii to collect the 610 console that was used to record the live “Hawaii Calls” broadcasts.
project I'm currently mixing, I'm using both an 1176 and an LA2 on his voice, which is not unusual for me. “The 1176 absolutely adds a bright character to a sound, and you can set the attack so it's got a nice bite to it. I usually use them on four to one, with quite a lot of gain reduction. I like how variable the attack and release is; there's a sound on the attack and release which I don't think you can get with any other compressor.
not one of those guys who leaves it on everything, but I'd have to say I've used an1176 on everything at one time or another.” “They have an equalizer kind of effect, adding a coloration that's bright and clear. Not only do they give you a little more impact from the compression, they also sort of clear things up; maybe a little bottom end gets squeezed out or maybe they are just sort of excitingly solid state or whatever they are. The big thing for me is the clarity, and the improvement in the top end.
