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Turning up the Peak Reduction rotary control increases compression. One 12AX7 and one 6AQ5 tube serve the sidechain circuit, which includes the T4 module. The compressor uses the exact same T4 electro-optical cell as the LA-2A, which is notable because the T4 produces the vintage compressor’s fabled and unique compression curve, and attack and release times. Boost or cut (0/1.5/3/4.5/6/9 dB) is available for each band via switched rotary controls. Two three-way toggle switches let you choose a fixed corner frequency for each band: 70, 100 or 200 Hz for the low EQ and 4.5, 7 or 10 kHz for the highs. The preamp section also features independent high- and low-shelving EQ facilities. Joining the 15dB pad are toggle switches for 48-volt phantom power and polarity reversal. Total maximum preamp gain is a respectable 61 dB. A separate level control serves the 12AX7 output gain stage. As you turn this switch clockwise, negative feedback is reduced and gain increases along with pleasing harmonic distortion. A five-position gain control adjusts the gain of the preamp’s 12AX7 input stage in 5dB increments. The LA-610’s preamp section features a five-position rotary switch that selects among line, mic and DI inputs, with the latter two each offering a choice of two different input impedances: 500 ohms or 2 kilohms for mic input, and 47 kilohms or 2.2 megohms for DI. The LA-610’s preamp is also voiced to have a slightly more prominent high-frequency response than the 2-610.
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(The 2-610’s 6072 tube output stage has been moved in the LA-610 to serve its compressor’s makeup gain.) The LA-610 also includes a 15dB pad on its front panel, a feature I wish the 2-610 also had, considering the latter’s limited headroom. However, the unit’s preamp circuitry departs from a 2-610 channel in significant ways: Two 12AX7 tubes serve the LA-610’s two gain stages, as opposed to one 12AX7 and one 6072 per 2-610 channel. The unit’s custom I/O transformers are the exact same ones used in the 2-610. The compressor section does not have a sidechain input. A high-impedance (instrument DI) input is accessed via an unbalanced ¾-inch phone jack on the front. The 2RU LA-610’s rear panel sports separate mic, and line inputs and a line output on balanced XLRs. And so I particularly relished the thought of reviewing the company’s new all-tube LA-610 channel strip, which combines a modified channel of the 2-610 with an LA-2A - style optical compressor.
#UNIVERSAL AUDIO LA 610 MK II SERIES#
I often chain them in series to record tracks in my studio. The unique combination of electroluminescent panel and photo-resistors inside the T4 cell are the crucial circuit components that give both these compressors their signature sound.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. The electro-optical detector or "T4 cell", is the very heart and soul of the Teletronix LA-2A. After the preamp section, the LA-610 offers a new T4 optical compressor. The 610 tube preamp, DI and EQ is from the 6176 and is based on the legendary console modules developed by Bill Putnam in the 60's Featuring Compression with the same musical control of the LA-2A. The Universal Audio LA-610 combines the 610 mic pre/EQ/DI section and a T4 opto-compressor into a single 2U design. Universal Audio LA-610 MKII Valve Channel Strip