Insider’s Secrets
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- 10 -
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.”
So why go for the LA-610 over those two devices chained together?
One factor, of course, is price: the LA-610 costs significantly less than a combination of a 2-610 and
LA-2A. But just as important is sonic signature. Cooper goes on to say, “The LA-610's compression
characteristics definitely sounded like those of the LA-2A, yielding ultra-transparent and natural-
sounding control over dynamics... Both paths sounded awesome, with the LA-610 being more modern,
sparkly and precise, and the 2-610/LA-2A combo sounding full, dark and chocolaty with understated
highs. Despite their spectral differences, both signal paths lent that wonderful tube richness that fans
of Universal Audio gear adore.”
Producer Fred Maher agrees. “What I like about
the LA-610,” he says, “is that it's super clean,
super warm. And although it is based on very
old-school technology, you can get some very
modern sounds out of it. It will give some
squishy, squashy compression like a more
modern compressor if you want, but it can also
be very subtle and LA-2A-like. In these days [of DAWs], since there's no warmth from tape
compression, it's critical to have something like the LA-610.”
Indeed, the beauty of the LA-610 is that it rides gain just like an LA-2A and it sounds quite a bit like
an LA-2A, yet it still delivers its own sonic signature. For many years, engineers have had to make
the choice between an LA-2A or an 1176 (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
6176 model), depending on the tone they want, not necessarily on how they differ as compressors.
The LA-610 offers another choice, plus it's augmented with pre-compression EQ!
Vocals, Vocals, Vocals
The preamp section of the LA-610 utilizes a channel of our popular 2-610 stereo mic preamp, used by
many engineers for vocals. In his December 2001 review for
MIX
magazine, Michael Cooper raved
about the 2-610’s abilities to enhance vocal recording, 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.”
“
In these days [of DAWs], since there's
no warmth from tape compression,
it's critical to have something like
the LA-610” — Fred Maher
