Insider’s Secrets
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11
6176 Versus 2-610 / 1176LN
Why go for the 6176 over a 2-610 and an 1176LN chained together?
One factor, of course, is price: the 6176 costs significantly less than a combination of a 2-610 and an
1176LN. Another factor is space: the 6176 combines both signal processors in a single chassis, thus
saving potentially valuable real estate space in your rack. Don’t forget that, when operating in SPLIT
mode, the two sections can be accessed independently and can process entirely different signals.
But just as important is sound. Indeed, the beauty of the 6176 is that it rides gain just like an 1176LN
and it sounds quite a bit like one, yet it still delivers its own sonic signature. It features an all-new
MOSFET regulated power supply, which not only tightens up bass response but also reduces self-
induced noise, making the 6176 a quieter, more “hi-fi” version of the original 1176LN. For many
years, engineers have had to make the choice between an 1176LN or an LA-2A (another vintage
compressor, now manufactured by Universal Audio, available as a standalone unit or in combination
with a channel of the 2-610 preamp, in our LA-610 model), depending on the tone they want, not
necessarily on how they differ as compressors. The 6176 offers another choice, plus it’s augmented
with tube input circuitry and pre-compression EQ!
Vocals, Vocals, Vocals
The preamp section of the 6176 utilizes a channel of our popular 2-610 stereo mic preamp, favored by
many engineers for vocal recording. In his December 2001 review for
MIX
magazine, Michael Cooper
raved about the 2-610’s abilities in this regard, writing, “The 2-610 is the richest, fattest and
sweetest mic preamp I’ve ever heard on vocals. Bigger than life and possessing astounding depth,
the sound made all other mic preamps I’ve used sound somewhat 2-D by comparison. The bottom end
was big and tight, mids incredibly clear, yet warm as hot fudge, and the sweet highs ultra-smooth.”
Producer Brian Ahern (Emmylou Harris, Johnny
Cash) points out that “most voices and
instruments are defined by their mid-range
frequency content.” He goes on to say that “The
6176 has a powerful and articulate mid-range
lens and the compression has always been one
of my favorites.”
Barry Rudolph, in his June, 2003 review of the 6176 for
MIX
magazine, pointed to the equalization
controls as key for recording vocals, saying “The EQ is wonderful for opening up the top end (10 kHz)
on a vocal mic... the 70Hz LF shelf is smooth and fine for rolling off mic proximity effects or subsonic
noise.” He adds, “For vocal recording, I adjusted the unit for the cleanest sound by backing down the
gain selector and keeping the [preamp’s] output-level knob nearly full-up... Using a vintage Neumann
M49 mic, I found that by boosting 1.5 dB at both 10 kHz and 100 Hz, the EQ corrected that mic’s
occasional tendency to sound nasal. I got a big vocal sound with very good dynamic range and a
warmth that helped out when my female singer sang at full voice and near the top of her range.”
“
The 6176 has a powerful and articulate
mid-range lens and the compression
has always been one of my favorites”
— producer Brian Ahern
