The original universal Audio pre's are AMAZING.
The new ones from the new company are very good as well.
I would compare the differrences to between an amazing original '59 bland Bassman compared to a excellant reissue. There are subtle differrnce brought out in comparison between point-to-poit hand wiring of the origianls and Printed circuit board manufacturing of today.
Regardless of all that the UA stuff is great.

Great records have been made with less

Howdy

I've only used the "reissue" stuff, the 610 and the 6176. Its good but it has a real "character" to the sound. I don't know how to describe it other than "not clean". The 6176 (a 610 pre and 1176 in a single unit) is a pretty nice channel strip. I like the variable impedence. The EQ is by no mean surgical as you only have low and high shelving of 6 frequencies. The 1176 section is what you'd expect. They added a nice feature where you can run the signal through the compressor with a 1:1 ratio for additional color.

I've been using it for vocal overdubs. Sometimes, the color is a bit much especially if you're layering and multitracking. Things get "thick" fast so, I find it better for solo instruments and bass. I've use the 2-610 for drums and that can be a nice agressive sound.

The DI is decent, for Bass I prefer a VoxBox or, get this, a Bass SansAmp pedal. For guitar, I've been knocked out by the Radial JD-7.

Oh, and it has one really big knob for you guys that are into that kinda thing.

I've used the 6176 as well. It's definately cool. Saying there's better pre's is like saying there's better mics than a certain mic. Most good gear out there has a use somewhere and it's nice to have options. I wouldn't say the 610 would be as versitile as say an API, John Hardy, Grace or other clean pres, but you can make those sound like a 610 when you want that sound.

There is no '59 Bland Bassman, or even an blonde Bassman. They were tweed.

No '59 Blonde Bassman that is.

Originally posted by Catoogie:
There is no '59 Bland Bassman, or even an blonde Bassman. They were tweed.

sorry for the mis spelling...but that's news to me...I just rented a blonde Bassman (although it was a '61) from Andy Brauer (Instrument rentals here in LA)

The DI is decent, for Bass I prefer a VoxBox or, get this, a Bass SansAmp pedal. For guitar, I've been knocked out by the Radial JD-7.

The radial DIs are great. I dont know the model number of the ones I use live(may be the JD-7) but they are way better than countrymans. More options on the box also.

I have also been looking at the Universal Audio 2-610, and would be interested in hearing some more opinions. I also have noticed the lack of discussion on the UA stuff (other than the compressors).

I have some really nice clean mic pres, and I am *looking* for color. However from some of the above posts, I am a bit concerned that the 2-610 will be a bit *too* colored, especially for vocals. Would anyone care to comment on that? I am primarily looking for a nice vocal mic pre with some "personality".

I'm saving for the Chandler.

Originally posted by littledog, jr.:
I'm saving for the Chandler.

OK..I'll bite (sorry littledog! :p )

What is the Chandler?

DoubleH,
I use the 2-610 as my main pre for over a year and it is great. I rarely stack 10 vocal lines ( or 10 anything), so I haven't had issues with too much colour. Like any tube pre it is a little noisier, but it's manageable. For contrast I have an RNP, which is clean. The Doors did a lot of tracking using the original pre, if I understand correctly. David

Again (and forgiving my rather pompus earlier posts) the UA mic pre's are great. I myself prefer a pre with color if it's a good quality pre. Neves for instance sound better than real...so with the US's to.
'Pet Sounds" another example of an album cut on these.

Trivia: Jack Joseph Puig runs all his lead vocals through one set to line input...to add life. Also, his reverb return sub-mixer is the original 8 channle mixer containg these pre's the "Pet Sounds" was recorded on.

Originally posted by Doublehelix:

Originally posted by littledog, jr.:
I'm saving for the Chandler.

OK..I'll bite (sorry littledog! :p )

What is the Chandler? http://chandlerlimited.com/tg2.html

Originally posted by RecorderMan:
Again (and forgiving my rather pompus earlier posts) the UA mic pre's are great. I myself prefer a pre with color if it's a good quality pre. Neves for instance sound better than real...so with the US's to.
'Pet Sounds" another example of an album cut on these.

Trivia: Jack Joseph Puig runs all his lead vocals through one set to line input...to add life. Also, his reverb return sub-mixer is the original 8 channle mixer containg these pre's the "Pet Sounds" was recorded on.

RecorderMan do you know Jack Joseph Puig well?
:confused:

Treena :h:

QUOTE]RecorderMan do you know Jack Joseph Puig well?
:confused:

Treena :h: [/QB]
Well enough. OceanWay/Recordone was my last staff gig before going freelance. They put me in his room my first day, and he offerred me the position as his assistant. I'd been doing that for too long, so after a couple of months when things got going well enough I left OceanWay and went solo. So I guess you could say he was my last mentor. Defintely the most over the top room (in every catagory-gear, vibe, etc.) I've ever worked in.

Originally posted by RecorderMan:
QUOTE]RecorderMan do you know Jack Joseph Puig well?
:confused:

Treena :tu:

Treena :h:

I've got the 2-610, and the 2108. IMHO the 2-610 is a great second pre ( if you've got a clean high end pre already) - it's a little light on headroom, and the e.q. is a little weenie, but it has a cool thick sound on some vocals, acoustic guitar, and it's an awsome D.I. for synths. The 2108 is the BOMB on kick and snare. I've used this bad boy on the last three records I've done, and love the results. As a vocal pre it's pretty good but not stellar. ( although the distortion is pretty cool) For vocals i reach for a Manley, or an API 312.
good luck-have fun -dave darling

Hi recorderman,

I have a question for you,

On another board someone claimed that JJP really loved his old joemeek vc1 brick for vocals.
Is that so? I was told he used them on the coldplay mixes for lead vox.

If so, did he run into the line input or thru a pad into the mic input? Is it the tranny sound or is he using mostly for the compressor?
and how about the enhancer? did he use that or dial it out?

I work at a place that has the 610 UA pre, I think its kinda cool, most times I grab the great river merc before I do the 610 though.

Originally posted by theom:
Hi recorderman,

I have a question for you,

On another board someone claimed that JJP really loved his old joemeek vc1 brick for vocals.
Is that so? I was told he used them on the coldplay mixes for lead vox.

If so, did he run into the line input or thru a pad into the mic input? Is it the tranny sound or is he using mostly for the compressor?
and how about the enhancer? did he use that or dial it out?

I work at a place that has the 610 UA pre, I think its kinda cool, most times I grab the great river merc before I do the 610 though.

JJP has a bunch off Joe Meek stuff.
But... JJP has a bunch of EVERYTHING. Name it...he's got it.
6 channels of EMII desk (a pair from "Sargent Peppers...", a pair from "Dark Side of the Moon") trident 'A' range, all vintages of neve pre's/eq's/comps.Helios moduels. He uses the 8 channel tube desk (that the UA pre is designed after) as reverb returns (the desk they recorded a good portion of Pet Soundson). He was the first guy I knew of that had Transient Designers...way before anybody else. HIs assistant (me @ the time) had an assistant (HE did all of the documentation). It takes an hour in the morning to "vibe it" (light all the candles, turn on all the black lights and lava lamps, incense). There's a huge banquet table out in the tracking room taht has really cool instruments always set up. WEe had formal dinners there with the artist. A huge focurite console...that's been so moddified it's beyond anythingf in headroom or specs of any stock console (although I like the 8028 @ SoundCity better...still he's got 72 channels on that desk alone). All set up. Tons of GTR Pedals. I could go on for a day at least. I would have stayed there if I was younger...
Vocal wise. When I worked with him, he ran the lead vocals through an original UA pre on the line input. Mind you, this particular one was his choice after all the orther ones available....and being in the building where they made them (OceanWay 'B'....the building his studio is in used to be United Western, before that, Bill Putnam had his Urie Factory there).
So if some one say's he brick walled the vocal with a joe meek...anythings possible. But the thing with Jack, is that he started as a tech, So he got into carrying around a dozen racks of vintage gear WAY before most. He raelly knows his peices. He has dozens of custom channels all set up that he mults and runs things to to create that great almost blowing up sound that he's famous for. So much so that getting in one or even two peices of gear will never get very close to what he's doing. If you want taht sound...get JJP.

"Spilt Milk" by Jelly Fish...one of the best exercises in comprsession.
You know he's a great engineer, one of the lucky few. Their are guys here in LA that I know of that are of that calibre...just not as famous. One guy who gets really huge sounds..is Phil Kaffel.

Originally posted by Treena Foster:
Mr. Puig is a great engineer, I love his work with The Jellyfish, sounds very Beach boys meet The Beatles to me.

Glad to make your acquaintance :tu:

Treena :h: [/QB]

Ditto
Cheers to You and Kurt. I Missed the nights Carol Kaye was on...that was really cool of you to hook that up. I live in the same town as her (Santa Clarita)..near Magic Mountain (where all the wicked coasters in LA are).

Thanks for the great info recorderman!

you rock.