Universal Audio 8110 User manual

Model 4110/8110
Four and Eight Channel
Precision Microphone Preamplifiers
Universal Audio Manual Number 65-1001
Revision 1.00

The 4110 and 8110 Preamps
Thank you for choosing the Universal Audio Precision Microphone Preamplifier The X110 series is based
on the discrete class A analog technology from Universal Audio’s award winning 2192 converters.
Fidelity
The X110 series preamps offer totally transparent, crystal clear natural fidelity as well as flexible
control over the input impedance and transformer saturation resulting in increased flexibility making it
a great choice for a wide variety of applications. The X110 series offers a complimentary tool to be
used along side our 2-610 tube preamps and the classic overdrive character of our 2108 solid-state
preamps.
The X110 analog signal path uses DC-coupled, matched-FET, all discrete Class-A circuitry, resulting in
ultra-low noise, excellent transient response and unmatched sound. Capacitors are not used in the
signal path in order to avoid degradation in audio quality and phase distortion while increasing the
overall image stability. Our no-compromises design approach and extensive history in analog and
digital circuit design ensure your signals are totally accurate and have the highest possible fidelity.
“SHAPE” Control
The X110 handles multi-channel applications and excels among the best modern, ultra-clean units. In
addition, it also offers enough sonic variation to create the “character” UA mic preamps are so known
for, effectively maximizing multi-channel functionality. Every channel of the X110 Preamp features
dedicated Gain and Level controls, dual input Impedance Selection, and a 3-way "SHAPE" switch
offering variable signal-paths for maximum sonic versatility. While the OFF position is perfect for a
modern preamp sound with no coloration, Position 1 (Vintage) borrows from vintage circuits and adds
transformer saturation, enhancing harmonic content. Position 2 (Saturate) maintains transformer
color and adds soft limiting, particularly useful on transient rich and dynamic sounds.
Features
•DC-coupled, matched-FET, all discrete Class-A, no-compromises analog signal path
•Ultra-low noise
•High Gain
•Pristine signal path uses no capacitors reducing phase distortion and avoiding degradation in
audio quality and image stability
•SHAPE Control offers flexible sonics, providing variations of harmonic color, subtle
compression and soft limiting
ii

•Dual impedance input transformer
•Separate Gain and Level controls for maximum signal to noise control and flexibility
•Multi-segment LED bar graph output metering on each channel
•Separate 3 stage input status LED on each channel
•Pad, Phase, Low Cut and +48 V all with separate backlit switches
•Line level inputs on every channel
•Rugged 3U rack mount chassis
In addition to the 4110 & 8110 Preamps, Universal Audio has released reproductions of the classic
Teletronix LA-2A Leveling Amplifier and 1176LN Limiter as well as the 610 tube preamp and 2108
microphone preamplifier, which are based on preamps used in legend Bill Putnam Sr.’s custom
consoles. Universal Audio also creates software emulations of our vintage hardware that run on our
UAD-1 DSP card as well as Digidesign’s Pro Tools platform. All of these products are designed to meet
the demands of the modern recording studio, yet retain the character and quality of vintage
equipment. See more at www.uaudio.com including the award winning 6176 channel strip, the new
LA610 all-tube channel strip, and 2192 Master Audio Interface A/D and D/A.
iii

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. Object and Liquid Entry – Care should be taken so that
objects do not fall, and liquids are not spilled, into the
enclosure through openings.
3. Ventilation – When installing the unit in a rack or any
other location, be sure there is adequate ventilation.
Improper ventilation will cause overheating, and can
damage the unit.
4. Heat – The unit should be situated away from heat
sources, or other equipment that produce heat.
5. Power Sources – The unit should be connected to a
power supply only of the type described in the operating
instructions, or as marked on the unit.
6. Power Cord Protection – AC power supply cords should
be routed so that they are not likely to be walked on or
pinched by items placed upon or against them. Pay
particular attention to cords at plugs, convenience
receptacles, and the point where they exit from the unit.
Never take hold of the plug or cord if your hand is wet.
Always grasp the plug body when connecting or
disconnecting it.
7. Grounding of the Plug – This unit is equipped with a 3-
wire grounding type plug, a plug having a third
(grounding) pin. This plug will only fit into a grounding-
type power outlet. This is a safety feature. If you are
unable to insert the plug into the outlet, contact your
electrician to replace your obsolete outlet. Do not defeat
the purpose of the grounding-type plug.
8. Carts and Stands – The unit should be used only with a
cart or stand that is recommended by the manufacturer.
The unit and cart combination should be moved with
care. Quick stops, excessive force and uneven surfaces
may cause the unit and cart combination to overturn.
9. Wall Or Ceiling Mount – The unit should be mounted to a
wall or ceiling only as recommended by the
manufacturer.
10. Cleaning – The unit should be cleaned only as
recommended by the manufacturer.
11. Nonuse Periods – The AC power supply cord of the unit
should be unplugged from the AC outlet when left
unused for a long period of time.
12. Damage Requiring Service – The unit should be
serviced by a qualified service personnel when:
a) The AC power supply cord or the plug has been
damaged: or
b) Objects have fallen or liquid has been spilled into
the unit; or
c) The unit has been exposed to rain; or
d) The unit does not operate normally or exhibits a
marked change in performance; or
e) The unit has been dropped, or the enclosure
damaged.
13. Servicing – The user should not attempt to service the
unit beyond that described in the operating instructions.
All other servicing should be referred to qualified service
personnel.
iv

Notice
This manual provides general information, preparation for use, installation and operating instructions
for the Universal Audio 4110 and 8110 preamps.
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. shall not be
liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in
connection with the furnishing, performance, or use of this material.
Copyright
© 2005 Universal Audio, Inc. All rights reserved.
This manual and any associated software, artwork, product designs, and design concepts are subject
to copyright protection. No part of this document may be reproduced, in any form, without prior written
permission of Universal Audio, Inc.
Trademarks
LA-2A, 1176LN, 2-610, 2108, 6176, 2-1176, LA-610, 4110, 8110, 2192, UAD-1 and the Universal
Audio, Inc. logo are trademarks of Universal Audio, Inc. Other company and product names mentioned
herein are trademarks of their respective companies.
v

Table Of Contents
Specifications..................................................................................................................... 1
Operating Instructions........................................................................................................ 3
Front Panel ............................................................................................................... 3
Rotary Controls ......................................................................................................... 4
Input Select ............................................................................................. 4
Gain......................................................................................................... 5
Level ........................................................................................................ 5
Function Switches.....................................................................................................6
Polarity .................................................................................................... 6
Low Cut.................................................................................................... 6
Mic Pad.................................................................................................... 6
+48 V (Phantom Power) .......................................................................... 6
Output Meter............................................................................................................. 6
Input Meter ............................................................................................................... 6
SHAPE Control Switch............................................................................................... 7
Power Switch ............................................................................................................ 7
Rear Panel .......................................................................................................................... 8
Input/Output............................................................................................................. 8
AC Power .................................................................................................................. 8
Fuse/Mains ............................................................................................................... 8
Voltage Select........................................................................................................... 9
Historical Notes ................................................................................................................ 10
The 610 Preamp...................................................................................................... 10
The 1176 and LA-2A Compressors.......................................................................... 11
The 1176................................................................................................................. 11
The LA-2A ............................................................................................................... 12
vi

4110 / 8110 Performance Specifications
Mic Input Impedance………………………………………………………………....500 ohms, 2k ohms
Balanced Line Input Impedance……………………………………………………………….6.5k ohms
Instrument Input Impedance………………………………………………………..47k ohms, 2.2M ohms
Max Mic Input Level, No Pad………………………………………………..…+3 dBu, 0.1% THD+N Ratio
Max Mic Input Level With Pad………………………………………...………+14 dBu, 0.1% THD+N Ratio
Max Instrument Input Level…………………………………………………..+25 dBu, 0.1% THD+N Ratio
Max Output Level into 600 ohms……………………………………………..…+23 dBu, 1% THD+N Ratio
Max Output Level into 100k ohms…………………………………………..…+30 dBu, 0.2% THD+N Ratio
Internal Output Impedance……………………………………...………………………….……90 ohms
Recommended Minimum Load…………….……………………………………………………600 ohms
Mic In Freq. Response …………………………………………………..……10 Hz to 50 kHz, +/- 0.1 dB
Mic –3dB roll off point, 150 ohm source…………………………………………………..………100 kHz
Line In Freq. Response, 600ohm source…………………………………………10 Hz to 30 kHz, +/- 0.2 dB
Line In –3dB roll off point, 600 ohm source …………………………………………………...……90 kHz
Instrument In Freq. Response (2.2M input)………………...……………………10 Hz to 70 kHz, +/- 0.1 dB
Instrument In –1dB roll off point…………………………………………………………………200 kHz
Low Cut –3dB roll off point………………………………………………………..………………100 Hz
Max Gain Line Input………………………………………………………………………………47 dB
Max Gain Mic Input (SHAPE off)……………………………………72 dB (2k Ωinput) 74 dB (500 Ωinput)
Max Gain Mic Input (SHAPE = 1)………………………………...…74 dB (2k Ωinput) 78 dB (500 Ωinput)
Mic Equivalent Input Noise, (EIN)………………………………………………………………-128 dBu
Mic Input THD+N ratio ………………………………-83 dB (0.007%), 20 to 20kHz (-30dBu in, +4dBu out)
Residual Noise, 150 ohm source………………………………………92 dBu, 20 to 20 kHz (non-weighted)
1

Output Meter Reference Levels
Red…………………………………………….…………………………...………..+10 dBu
Yellow………………………………………………………………………...……….+4 dBu
Green (upper)……………………………………………………………….…………..-2 dBu
Green (lower)…………………………………………………………………………..-10 dBu
Input Meter Reference Levels
Red………………………………………………………..………1.0% THD+N Ratio (40V pk-pk at JP1)
Orange………………………………………………………………2% THD+N Ratio (20V pk-pk at JP1)
Green…………………………………………………………….0.07% THD+N Ratio (12V pk-pk at JP1)
General
Power Requirements…………………………………………………………..…100-240 VAC (50-60 Hz)
Max Power Consumption, 4110………………………………………………………………………55W
Max Power Consumption, 8110………………………………………………………………………93W
Dimensions.…………………………………………………………….…..(H) 5.25” X (W) 19” X (D) 12”
Weight, 4110.…………………………………………………………….…… 12 lbs. (Boxed,17.5 lbs.)
Weight, 8110.……………………………………………………….………….15 lbs. (Boxed,20.5 lbs.)
2

Preamp Operating Instructions
The 4110 and the 8110 have exactly the same circuits. The front panel controls are the same and the
following operating instructions apply to either product with one exception; the 4110 provides Hi-Z
instrument inputs on all four channels. The 8110 does not provide Hi-Z instrument inputs.
4110 Front Panel
3
4
1
2
UNIVERSALAUDIO
4110
PRECISION CLASS A
PREAMPLIFIER
INPUT
2.0K LINEMIC
500
47K
2.0M
HI-Z
INPUT
4
ON (I)
OFF (0)
OUTPUT
+48V
PAD
HI-Z INPUTS
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
OFF 1 2
SHAPE
INPUT
2.0K LINEMIC
500
47K
2.0M
HI-Z
INPUT
OUTPUT
+48V
PAD
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
OFF 1 2
SHAPE
INPUT
2.0K LINEMIC
500
47K
2.0M
HI-Z
INPUT
OUTPUT
+48V
PAD
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
OFF 1 2
SHAPE
INPUT
2.0K LINEMIC
500
47K
2.0M
HI-Z
INPUT
OUTPUT
+48V
PAD
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
OFF 1 2
SHAPE
321
Figure 1: 4110 Front Panel
8110 Front Panel
+48V
1
PAD
INPUT
INPUT
OUTPUT
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
2.0K LINEMIC
500
OFF 1 2
SHAPE
+48V
3
PAD
INPUT
INPUT
OUTPUT
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
2.0K LINEMIC
500
OFF 1 2
SHAPE
+48V
2
PAD
INPUT
INPUT
OUTPUT
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
2.0K LINEMIC
500
OFF 1 2
SHAPE
+48V
4
PAD
INPUT
INPUT
OUTPUT
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
2.0K LINEMIC
500
OFF 1 2
SHAPE
+48V
5
PAD
INPUT
INPUT
OUTPUT
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
2.0K LINEMIC
500
OFF 1 2
SHAPE
+48V
6
PAD
INPUT
INPUT
OUTPUT
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
2.0K LINEMIC
500
OFF 1 2
SHAPE
+48V
7
PAD
INPUT
INPUT
OUTPUT
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
2.0K LINEMIC
500
OFF 1 2
SHAPE
+48V
8
PAD
INPUT
INPUT
OUTPUT
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
2.0K LINEMIC
500
OFF 1 2
SHAPE
UNIVERSAL AUDIO
8110
PRECISION CLASS A
PREAMPLIFIER
ON (I)
OFF (0)
Figure 2: 8110 Front Panel
3

4110 & 8110 Front Panel Channel Blocks
+48V
8
PAD
INPUT
INPUT
OUTPUT
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
2.0K LINEMIC
500
OFF 12
SHAPE
INPUT
2.0K LINEMIC
500
47K
2.0M
HI-Z
INPUT
4
OUTPUT
+48V
PAD
LEVEL
0
1
2
3
456
7
8
9
10
GAIN
0
1
2
3
456
7
8
9
10
OFF 12
SHAPE
Figure 3: 4110 & 8110 Front Panel Channel Blocks
Note: The 8110 Front Panel Controls are identical to the 4110 except the Hi-Z Input position is
eliminated on the INPUT control knob.
Rotary Controls
Input Select
The Input Select switch is the bottom knob on the left side of the channel block. It 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 different 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 500Ωor 2KΩ. Switching between these two positions while
listening to a connected microphone may reveal a different tonal quality and / or gain. A typical
mic preamplifier should have an input impedance equal to about 10 times the mic output
impedance. For example, if your mic has an output impedance between 150Ωand 200Ω, set the
switch to the 2K position. However, since making music is not necessarily about adhering to
technical specifications, feel free to experiment with the settings to attain the desired sound. You
will not harm your microphone or the preamp.
•Line: Selects the signal from the rear-panel, balanced, LINE INPUT XLR connector. LINE INPUT has
an input impedance of 6.5 k ohms and is intended to accommodate mixers, tape machines, other
4

mic preamps, keyboards, sound modules and drum machines or any device with a line level
output. The 4110/8110 may be used as a “tone box” in this configuration, offering a variety of
sonic colors based on the front panel control settings.
•Hi-Z: Selects the signal from the front panel (4110 only), unbalanced Hi-Z 1/4”connector. This
input can have an input impedance of 47K Ωor 2.2MΩand is intended for bass, guitar or any
instrument with a magnetic or acoustic transducer pickup. The 47KΩsetting is best suited for -
10 dBv level signals, typically found on active basses and guitars. The 2.2MΩsetting is
appropriate for instruments with passive pickup systems. Since an instrument’s output
impedance may be somewhere between the active and passive levels, feel free to experiment to
achieve the best sound at the desired level.
Gain
The Gain control is the middle knob on the left side of the channel block. This knob adjusts the gain of
the input stage. Turning the knob clockwise increases the gain. This control should be at higher
settings when using low output microphones, such as ribbon mics and some older dynamic mics. The
knob is continuously variable, the 0-10 front panel settings are relative scale markings and do not
represent any specific dB level. In addition to changing the volume, the Gain control will change the
preamp tone. Less Gain and more Level will create a cleaner tone, while more Gain and less Level will
yield a warmer tone. Gain is also a factor when using the SHAPE control. More on this in the section
about SHAPE on page 7.
Level
The Level control is the top knob on the left side of the channel block. This is the channel’s master
volume control and determines the amount of signal from the preamplifier’s Line Output. The knob is
continuously variable, the 0-10 front panel settings are relative scale markings and do not represent
any specific dB level.
5

Function Switches (backlit push buttons)
Polarity
The Polarity switch is the top switch in the column of four round push buttons located on the lower
right side of the channel block. The polarity switch will light up when enabled and is labeled with the
symbol: “∅”. When off, pin 2 of the LINE OUTPUT is hot (positive). When the switch is enabled, pin 3 is
hot (positive). Normally the switch should be off and only enabled when it is desirable to reverse the
polarity of the Line Output signal.
Low Cut
The Low Cut switch is the second switch down in the column of four round push buttons located on the
lower right side of the channel block. The switch will light up when enabled and is labeled with the
symbol: “ ”When enabled the input signal will pass through a 100Hz 6dB per octave filter.
Mic Pad
The PAD switch is the third switch down in the column of four round push buttons located on the lower
right side of the channel block. The switch will light up when enabled and will attenuate the Mic input
level by 15dB. When undesired distortion is present at low gain levels it is recommended to engage the
Pad switch then turn up the Gain and level controls as needed. The Mic Pad has no effect on
Instrument and Line In signals
+48 V (Phantom Power)
The +48 V switch is the bottom switch in the column of four round push buttons located on the lower
right side of the channel block. The switch will light up when enabled and 48 volts will be supplied to
the Mic input jack. Most modern condenser mics require phantom voltage to operate and we
recommend checking the requirements of your microphones before connecting them. It is good practice
to keep phantom power off when it is not required. To prevent loud transients, make sure the phantom
power is off when connecting or disconnecting microphones.
Output Meter
The Output Meter is a three color LED bar graph located at the top right corner of the channel block.
Input Meter
The Input Meter is a single round tri-color LED located below the Output Meter on the right side of the
channel block. When nominal signal levels are present the LED will be green. The color will change to
yellow and then red, as higher levels are present in the input stage (see specs on page 2). The Input
Meter may be a helpful indicator when adjusting the Gain control, using the PAD function and when
using the SHAPE control toggle switch.
6

SHAPE Control Switch
The SHAPE control is a three position mini toggle switch located just below the top rotary knob on the
left side of the channel block. NOTE: Only SHAPE position 2 has effect on the 4110 Instrument Input as
the input transformer is only used for Mic & Line inputs.
Position OFF
This position selects the purest signal path, and is called the Modern position; Clean, clear, full
bandwidth that is distortion free.
Position 1
This position selects transformer loading, and is called the Vintage position. This setting changes the
loading on the mic/line input transformer to provide more of that “iron” sound popular in vintage
transformer-coupled preamps. This could be described as warmer and more present, with increased
sensitivity to the microphone’s impedance curve; A bit of harmonic coloration enhancing mid-
frequency tone and presence, or a more three dimensional character. Higher Gain settings will increase
these characteristics.
Position 2
This position is the same as position 1 with the addition of a soft limiting circuit. We call this position
Saturate. This setting uses the same transformer loading as Position 1, but also adds additional
loading to the first stage preamp, which is perfect for smoothing out transients without clipping. When
using this position the input signal is naturally lowered. Experiment with higher Gain settings to
achieve greater “saturation” when using this mode.
Power Switch
The Main power switch is located on the far right side of the front panel. The up position applies power
to the preamp and lights a blue jewel lamp located above the switch.
Note: There is a short power cycle before the preamp is enabled. This delay is used to auto-calibrate
the preamp channels.
7

4110 / 8110 Rear Panels
On the left, AC Power input receptacle. On the right, the MIC INPUT, LINE INPUT, and LINE OUTPUT XLR
connectors. These connectors are discussed in the following sections.
MIC IN
LINE IN
LINE OUT
MIC IN
LINE IN
LINE OUT
4 3 2 1
4 3 2 1
POWER IN:
100-240V 50/60Hz
FUSE RATING:
T 4A 250V
REPLACE FUSE WITH SAME
RATING AND TYPE ONLY!
UNIVERSAL AUDIO, INC
SANTACRUZ, CALIF. - U.S.A.
Figure 4: 4110 Rear Chassis
MIC
IN
8 7 6 5 4 3 2 1
LINE
IN
LINE
OUT
MIC
IN
LINE
IN
LINE
OUT
8 7 6 5 4 3 2 1
POWER IN:
100-240V 50/60Hz
FUSE RATING:
T 4A 250V
REPLACE FUSE WITH SAME
RATINGAND TYPE ONLY!
UNIVERSALAUDIO, INC
SANTA CRUZ, CALIF. - U.S.A.
Figure 5: 8110 Rear Chassis
Input/Output
Standard XLR input and output connectors are provided on the rear panel. Pin 2 is wired positive (hot)
on the LINE and MIC INPUTS. Pin 2 is positive on the LINE OUTPUT when the front panel Polarity push
button switch is out (Off). Pin 3 is positive on the LINE OUTPUT when the Polarity push button switch is
pushed in and lit up (OUT ∅).
AC Power
The 4110 / 8110 use standard, detachable IEC power cables.
Fuse/Mains
There is no user accessible fuse for the 4110 / 8110. The units have an internal power supply circuit
board with its own fuse.
8

Voltage Select
The 4110 / 8110 contains a universal auto-sensing, filtered, multi-stage regulated power supply,
which supports 100-240VAC and 50-60Hz power for trouble-free operation worldwide. No switch
setting is required when changing from 115 to 230 volt use or vice versa.
9

Historical Notes
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. The studios he designed and operated
were known for their sound and were an experimentation ground for his continuing desire to push the
envelope. Universal Recording in Chicago, United and Western in Los Angeles (now Ocean Way and
Cello) all preserve elements of his room designs.
The companies Putnam started, Universal Audio, Studio Electronics, and UREI, built products that are
still in regular use decades after their development.
In 1999 Bill Jr. and James Putnam re-launched Universal Audio and merged with Kind of Loud
technologies – a leading audio software company – with two goals: Reproduce classic analog
recording equipment designed by their father and his colleagues, research and design new recording
tools in the spirit of vintage analog technology. Today Universal Audio is fulfilling that goal, bridging
the worlds of vintage analog and DSP technology in a creative atmosphere where musicians, audio
engineers, analog designers and DSP engineers intermingle and exchange ideas every day. Analog or
digital, UA remains committed to the “hand assembled” ideal that has been forgotten by many audio
manufacturers. Whatever the endeavor, every project taken on by the UA team is driven by its historical
roots and a desire to wed classic analog technology with the demands of the modern digital studio.
The 610 Preamp
The 2-610 was inspired by the Putnam-designed 610 console built in 1960 for his United Recording
facility at 6050 Sunset Boulevard in Hollywood (now Ocean Way). As was the case with most of
Putnam’s innovations, the 610 was the pragmatic upshot of a recurring problem in the studio: how to
fix a console without interrupting a session. The traditional console of the time was a one-piece control
surface with all components connected via patch cords. If a problem occurred, the session came to a
halt while the console was dismantled. Putnam’s solution was to build a mic-pre with gain control,
echo send and adjustable EQ on one modular chassis using a printed circuit board. While modular
consoles are commonplace today, the 610 was quite a breakthrough at the time.
While the 610 was designed for practical reasons, it was aesthetic appeal that made it popular with
the recording artists who frequented United and Western in the 60’s. The character of the mic-pre in
particular made it favorite of engineers like Bruce Swedien, Bruce Botnick, Lee Hershberg and Jack
Joseph Puig; and artists including Sarah Vaughan, Frank Sinatra, Ray Charles, and The Beach Boys.
Swedien describes the character of the preamp as “clear and open” and “very musical”.
Studios 2 and 3 at Western, which featured the 610 console, were the site of many classic recordings
of the 60’s, including the Mamas and the Papas (Bones Howe), Up, Up and Away by the Fifth
Dimension, Herb Alpert, Sergio Mendes (Bruce Botnick), and of course Pet Sounds.
10

Legendary engineer Wally Heider, manager of remote recording at United, used his 610 console to
record many live recordings including Peter, Paul and Mary “In Concert” (1964), Wes Montgomery’s
“Full House” (1962), and all of the Smothers Brothers Live albums. Heider’s console was later
acquired by Paul McManus in 1987, who spent a 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 Ocean Way. Allen Sides, who purchased the studio from
Putnam to open Ocean Way, personally traveled to Hawaii to collect the 610 console that was used to
record the live “Hawaii Calls” broadcasts. Jack Joseph Puig has been ensconced in Studio A with the
610 (and a stunning collection of vintage gear) where he has applied the vintage touch to acts
including Beck, Hole, Counting Crows, Goo Goo Dolls, No Doubt, Green Day and Jellyfish.
The 1176LN Limiting Amplifier and LA-2A Leveling Amplifier
The LA-2A and 1176 compressor/limiters long ago achieved classic status. They're a given in almost
any studio in the world — relied upon daily by engineers whose styles range from rock to rap, classical
to country and everything in between. With so many newer products on the market to choose from, it's
worth looking at the reasons why these classics remain a necessary part of any professional studio's
outboard equipment collection. The basic concept of a compressor/limiter, is of course, relatively
simple. It's a device in which the gain of a circuit is automatically adjusted using a predetermined
ratio that acts in response to the input signal level. A compressor/limiter "rides gain" like a recording
engineer does by hand with the fader of a console: it keeps the volume up during softer sections and
brings it down when the signal gets louder. The dynamic processing that occurs at ratios below 10 or
12 to one is generally referred to as compression; above that it's known as limiting. Modern day
compressors offer a great degree of programmability and flexibility while older devices such as the
1176 and the LA-2A are more straightforward in their design. Perhaps it is this fact that has
contributed to their appealing sound and the longevity of their popularity.
The 1176 LN
The original Universal Audio 1176LN was a major breakthrough in limiter technology – the first true
peak limiter with all transistor circuitry offering superior performance and a signature sound. Evolved
from the popular Universal Audio 175 and 176 vacuum tube limiters, the 1176LN retained the proven
qualities of these industry leaders, and set the standard for all limiters to follow. It was Bill Putnam
himself who, in 1966, was responsible for the initial design of the 1176. Its circuit was rooted in the
1108 preamplifier, which was also designed by Putnam. As is evident from entries and schematics in
his design notebook, he experimented with the recently developed Field Effect Transistor (F.E.T.) in
various configurations to control the gain reduction in the circuit. He began using F.E.T.s as voltage
variable resistors, in which the resistance between the drain and the source terminals is controlled by
a voltage applied to the gate. His greatest challenge was to ensure that distortion was minimized by
operating the F.E.T.s within a linear region of operation.
After several unsuccessful attempts at using F.E.T.s in gain reduction circuits, Putnam settled upon
the straightforward approach of using the F.E.T. as the bottom leg in a voltage divider circuit, which is
placed ahead of a preamp stage.
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The output stage of the 1176 is a carefully crafted class A line level amplifier, designed to work with
the (then) standard load of 600Ω. The heart of this stage is the output transformer, whose design
and performance is critical. Its primary function is to convert the unbalanced nature of the 1176
circuit to a balanced line output, and to provide the proper impedance matching to drive the line
impedance of 600Ω. This transformer is critical due to the fact that it uses several additional sets of
windings to provide feedback, which makes it an integral component in the operation of the output
amplifier. Putnam spent a great deal of time perfecting the design of this tricky transformer and
carefully qualified the few vendors capable of producing it.
The first major modification to the 1176 circuit was designed by Brad Plunkett in an effort to reduce
noise--hence the birth of the 1176LN, whose LN stands for low noise. Numerous design improvements
followed, resulting in at least 13 revisions of the 1176. The D and E 'black-face' LN revisions are
widely considered to be the best-sounding models; therefore Universal Audio modeled our reissue after
these two models.
The LA-2A
The LA-2A leveling amplifier, a tube unit with hand wired components and three simple controls, was
introduced in the early 1960s. It utilized a system of electro-luminescent optical gain control that was
quite revolutionary; gain reduction was controlled by applying the audio voltage to a luminescent
driver amplifier, with a second matched photoconductive cell used to control the metering section.
With its 0 to 40 dB of gain limiting, flat frequency response of 0.1 dB from 30-15,000 Hz and a low
noise level (better than 70 dB below plus 10 dBm output,) the LA-2A quickly became a studio
standard. Originally patented by Jim Lawrence, it was produced by Teletronix in Pasadena, California,
which became a division of Babcock Electronics Corp. in 1965. In 1967 Babcock's broadcast division
was acquired by Bill Putnam Sr.’s company, Studio Electronics Corporation shortly before he changed
the company’s name to UREI®. Three different versions of the LA-2A were produced under the
auspices of these different companies before production was discontinued around 1969.
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