Model LA-610 Mk II Universal Audio, Inc. Customer Service & Tech Support: 1-877-MY-AUDIO Business, Sales & Marketing: 1-866-UAD-1176 www.uaudio.
Notice This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio LA-610 Mk II. 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.
A Letter From Bill Putnam, Jr. ___________________________________________________________ The 2-610 was inspired by the microphone preamp section of the original 610 console designed by my father, M.T. “Bill” Putnam, in 1960. The 610 was a rotary-control console and it was also the first console of a 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, as well as in the operating instructions. 1. Water and Moisture - Do not use the unit near any source of water or in excessively moist environments. 2.
Table of Contents __________________________________________________________ A Letter From Bill Putnam, Jr. ............................................................................................... i Important Safety Instructions ................................................................................................. ii Two Page, Two Minute Guide To Getting Started ........................................................................ 2 Front Panel ........................................
The Two Page, Two Minute Guide To Getting Started __________________________________________________________ No one likes to read owner’s manuals. We know that. We also know that you know what you’re doing—why else would you have bought our product? So we’re going to try to make this as easy on you as possible. Hence this two-page spread, which we estimate will take you approximately two minutes to read.
The Two Page, Two Minute Guide To Getting Started __________________________________________________________ Step 6: On the left side of the front panel (preamp section), turn the Level control to its minimum (fully counterclockwise) position and set the Gain control to 0 (center position). Step 7: On the right side of the front panel (compressor section), set the Peak Reduction knob to 0 (fully counterclockwise) and set the Mode switch to BYP (bypass).
Front Panel __________________________________________________________ (1) Gain - Adjusts the gain of the input stage in stepped 5 dB increments. Turning the Gain switch clockwise raises the gain. Because this also has the effect of reducing negative feedback ( see page 24), the Gain switch also alters the amount of the input tube’s harmonic distortion, a major contribution to the “warm” sound characteristic of tube equipment.
Front Panel __________________________________________________________ Hi-Z - Selects the input signal coming from the front panel unbalanced ¼" jack Hi-Z connection. ( see #6 below) Intended for the direct connection of electric guitar, electric bass, or any instrument with a magnetic or acoustic transducer pickup, this can be set to either 47K ohms or 2.2M ohms. The 47K ohms setting is best suited for the -10 dBv level signals typically provided by active basses and guitars, while the 2.
Front Panel __________________________________________________________ (8) High Boost/Cut - Selects the amount of cut or boost applied by the high shelving filter. The positive and negative numbers on the front panel denote dB values (-9, -6, -4.5, -3, -1.5, 0, +1.5, +3, +4.5, +6, +9). (9) High Frequency – In conjunction with the High Boost/Cut switch ( see #8 above), selects the corner frequency for the high shelving filter. Available frequencies are 4.5K (kHz), 7K (kHz), and 10K (kHz).
Front Panel __________________________________________________________ (15) Mode - A three-position switch which sets the compression section into either Bypass mode (BYP), Compression (COMP), or Limiting (LIMIT). When the switch is in the COMP position, the degree of compression is gentler and at a low ratio (approximately 3:1, program-dependent). When the switch is set to the LIMIT position, there is more severe compression, and at a higher ratio (up to ∞:1, again, program-dependent).
Rear Panel __________________________________________________________ (1) LINE OUTPUT - A balanced XLR connector carrying the line-level output signal of the LA-610. Note that Pin 2 is positive when the front panel Polarity toggle switch is down (IN ø). Pin 3 is positive when the front panel Polarity switch is up (OUT ø). ( see #4 on page 5) (2) LINE INPUT - Connect line-level input signal (coming from a device such as a mixer, DAW, tape machine, or signal processor) to this balanced XLR connector.
Interconnections __________________________________________________________ For most applications, we recommend keeping the LA-610 preamp Level control set between 7 and 10, and the compressor Gain control set at approximately 6 (unity gain) for starting positions. Adjustments can then be made to the preamp Gain, Impedance, and Filter controls, as well as the compressor Mode, Peak Reduction and Gain controls, to achieve the optimum sound for your signal source.
Insider’s Secrets __________________________________________________________ LA-610 Versus 2-610 / LA-2A In his March 2005 review of the LA-610 for MIX magazine, Michael Cooper stated, “If I were to list my five favorite analog processors of all time, the Universal Audio LA-2A leveling amplifier and 2-610 tube preamp would easily make the list. I often chain them in series to record tracks in my studio.
Insider’s Secrets __________________________________________________________ “I always use the LA-610 for vocals,” Fred Maher says. “I almost always use the compressor to varying degrees, depending on what I want. I don't have a vocal booth [in my studio],” he adds, “so... I'll use a little low roll-off at 70 just to get the room out, which is very handy when you are literally in a room.” “ I always use the LA-610 for vocals.
Insider’s Secrets __________________________________________________________ Electric Guitar and Bass There’s something very special about the mix of tube preamplification and electric guitar and bass. This is an area where the LA-610 positively shines—little wonder, considering its lineage in the 2610 and LA-2A. Ted Spencer, in evaluating the LA-2A, described a session involving a bass overdub as follows: “The LA-2A sounded just sensational...
Insider’s Secrets __________________________________________________________ Mixing Applications The line-level input of the the LA-610 allows it to be used in mixing as well as tracking. Even if no equalization or compression is used, the signal continues to pass through the transformers, the tubes, and the polarity-reverse circuits, making it extremely useful for coloration of tracks. As Boisen said in his review of the 2-610, “Any recording can potentially benefit from line-level tube-stage processing.
The Technical Stuff __________________________________________________________ History of the 610 Preamp section The lineage of the LA-610 can be traced back to two devices long revered by audio engineers the world over: The 610 preamplifier and the LA-2A optical compressor. The preamp section of the LA-610 was inspired by the 610 console built by Bill Putnam Sr. in 1960 for his United Recording facility in Hollywood.
The Technical Stuff __________________________________________________________ At least one 610 module is still in use at Ocean Way Studios, site of the original United Recording facility. Allen Sides, who purchased the studio from Putnam, personally traveled to Hawaii to collect the 610 console that was used to record the live “Hawaii Calls” broadcasts.
The Technical Stuff __________________________________________________________ At the heart of the LA-1 was an electro-optical sensor. This was a small light-proof metal canister which housed two components: a photoelectric cell (a light sensitive device whose electrical resistance changes depending upon the intensity of light to which it is subjected, typically used in the home to sense when darkness falls and then switch on lights) and a light source positioned to shine directly on the photo-cell.
The Technical Stuff __________________________________________________________ In 2000, Bill Putnam Sr. was awarded a Technical Grammy for his multiple contributions to the recording industry. Highly regarded as a recording engineer, studio designer/operator and inventor, Putnam was considered a favorite of musical icons Frank Sinatra, Nat King Cole, Ray Charles, Duke Ellington, Ella Fitzgerald and many, many more.
The Technical Stuff __________________________________________________________ amount of compression varies constantly, depending upon the fluctuating strength of the incoming signal) and at the same time imparting a very fast attack time and dual-stage release time that is musically very pleasing. ( see page 23 for more information.
The Technical Stuff __________________________________________________________ Despite the increased dynamic range, compression is especially important when recording digitally, for two reasons: One, it helps ensure that the signal is encoded at the highest possible level, where more bits are being used so that better signal definition is achieved.
The Technical Stuff __________________________________________________________ Ratio Another important term is compression ratio, which describes the amount of increase required in the incoming signal in order to cause a 1 dB increase in output. A ratio of 1:1 therefore means that for every 1 dB of increase in input level, there is a corresponding 1 dB increase in output level; in other words, there is no compression being applied.
The Technical Stuff _______________________________________________________________________ Knee A compressor's knee determines whether the device will reach maximum gain reduction quickly or slowly. A gradual transition (“soft knee”) from no response to full gain reduction will provide a gentler, smoother sound, while a more rapid transition (“hard knee”) will give an abrupt “slam” to the signal.
The Technical Stuff __________________________________________________________ Electro-Optical Compression/Limiting In order to operate, a compressor must first have some method of determining the level of the incoming signal, and must then be able to use the fluctuations in that signal to control the gain. There are many different circuit designs which have been developed to accomplish these tasks. In the case of the LA-610, both of these functions are performed by an electro-optical element called a T4.
The Technical Stuff __________________________________________________________ Perhaps the most important thing about electro-optical compression and limiting is that it is 100% program-dependent; in other words, both the degree of gain reduction and the compression ratio vary continuously with the incoming signal, making for a very natural sound.
The Technical Stuff _______________________________________________________________________ About “Class A” “Class A” electronic devices such as the LA-610 are designed so that their active components are drawing current and working throughout the full signal cycle, thus eliminating a particularly unpleasant form of distortion called crossover distortion.
The Technical Stuff __________________________________________________________ Phantom Power Most modern condenser microphones require +48 volts of power to operate. When delivered over a standard microphone cable (as opposed to coming from a dedicated power supply), this is known as “phantom” power. The LA-610 provides such power when the Phantom switch is in the on (up) position ( see #5 on page 5), applying 48 volts to pins 2 and 3 of the mic’s output connector.
The Technical Stuff _______________________________________________________________________ The procedure for adjusting the meter is as follows: 1) Power on the LA-610 and allow it to warm up for five minutes. Remove lid. 2) Set the Meter switch to the GR (Gain Reduction) position. 3) Set the Peak Reduction control off (turn the knob fully counterclockwise), waiting at least 1 minute for the T4 compressor to fully release.
Glossary of Terms __________________________________________________________ Ambient noise floor - Low-level noise created by environmental factors such as fans, air conditioners, heaters, wind noise, etc. Attack time - Describes the amount of time it takes compressor circuitry to react to and reduce the gain of incoming signal. A compressor set to a fast attack time kicks in almost immediately and catches transient signals of very brief duration, reducing their level and thus "softening" the sound.
Glossary of Terms __________________________________________________________ dBV - Short for “decibels as referenced to voltage,” without regard for impedance; thus, one volt equals one dBV. DI - Short for “Direct Inject,” a recording technique whereby the signal from a high-impedance instrument such as electric guitar or bass is routed to a mixer or tape recorder input by means of a “DI box,” which raises the signal to the correct voltage level at the right impedance.
Glossary of Terms __________________________________________________________ Line level - Refers to the voltages used by audio devices such as mixers, signal processors, tape recorders, and DAWs. Professional audio systems typically utilize line level signals of +4 dBM (which translates to 1.23 volts), while consumer and semiprofessional audio equipment typically utilize line level signals of –10 dBV (which translates to 0.316 volts).
Glossary of Terms __________________________________________________________ Photo-electric cell (“photo-cell”) - A light sensitive device whose electrical resistance changes depending upon the intensity of light to which it is subjected. Program dependent - Refers to a parameter that varies according to the characteristics of the incoming signal. The LA-610 compressor and limiter ratio, as well as the attack time and release time, are all program dependent.
Recall Sheet __________________________________________________________ - 31 -
Specifications _______________________________________________________________________ Microphone Input Impedance Selectable, 500 Ω (ohms) or 2k Ω Balanced Line Input Impedance 20k Ω Hi-Z Input Impedance Selectable between 2.2 M Ω or 47 k Ω Maximum Microphone Input Level -8 dBu (2k input impedance and 15 dB Pad in) Maximum Output Level +23 dBu (120 VAC line) Internal Output Impedance 80 Ω Recommended Minimum Load 600 Ω Frequency Response 20 Hz to 20 kHz +0.
Additional Resources/Product Registration/Warranty/Service & Support __________________________________________________________ Additional Resources Check us out at http://www.uaudio.com. There, you’ll find tons of information about our full line of products, as well as e-news, videos, software downloads, FAQs, an online store, and a way cool webzine that features hot tips, techniques, and interviews with your favorite artists, engineers and producers each month.
