A Letter From Bill Putnam, Jr.
___________________________________________________________
- i -
The 2-610 was inspired by the microphone preamp section of the original 610 console designed by my
father, M.T. “Bill” Putnam, in 1960. The 610 was a rotary-control console and it was also the first
console of a modular design. Although technologically simple compared to modern consoles, the 610
possessed a warmth and character that kept it in demand for decades. A prominent component of my
father’s United/Western Studios in Los Angeles, the 610 was used on many classic recordings by
Frank Sinatra and Sarah Vaughan, as well as the Beach Boys’
Pet Sounds
and
the Doors’
LA Woman
.
The compressor section in the LA-610 utilizes circuit components that are virtually identical to those
in the famed LA- 2A compressor, used on countless recordings for more than fifty years. The heart and
soul of the LA-2A is mostly a result of a special optical gain control element called the T4, and its
uniquely musical response, treasured by engineers the world over, is present in the LA-610 as well.
However, the LA-610 offers an even wider variety of tone and sonic character by virtue of its dual
stage level controls and EQ section. The versatility of the LA-610 lies in its ability to serve as a mic
or instrument preamp with or without EQ and compression. What’s more, the LA-610’s line level input
allows it to be used as a dedicated compressor with or without EQ and tube saturation.
Most of us at Universal Audio are musicians and/or recording engineers. We love the recording
process, and we really get inspired when tracks are beautifully recorded. Our design goal for the LA-
610 was to build an integrated mic preamp / compressor that we would be delighted to use
ourselves—one that would capture the original character of the 610 and LA-2A to create a device that
induces that
“a-ha”
feeling you get when hearing music recorded in its most natural, inspired form.
You’ll find that the controls of the LA-610 are simple and essential: we added only those features
required for practical use without needless duplication of functionality found elsewhere in most
studios. The end result is an outstanding yet easy-to-use product that combines a legendary mic
preamp with a legendary optical compressor, making for a sound that is truly extraordinary.
Developing the LA-610—as well as Universal Audio’s entire line of quality audio products designed
to meet the needs of the modern recording studio while retaining the character of classic vintage
equipment—has been a very special experience for me and for all who have been involved. While, on
the surface, the rebuilding of UA has been a business endeavor, it's really been so much more than
that: in equal parts a sentimental and technical adventure.
We thank you, and we thank my father, Bill Putnam.
Sincerely,
Bill Putnam, Jr.
