The Universal Audio 2-610 is based on the legendary Universal Audio 610 modular console. Designed by Bill Putnam, the Universal Audio 610 was among the first modular recording consoles. Early Universal Audio consoles were used in all of Putnam’s studios including Universal Recording in Chicago and United/Western in Los Angeles. Many prominent engineers such as Bruce Swedien began their careers in these studios with this classic rotary knob console. The 610 was particularly well noted for its preamplifier, and has left its mark on countless classic recordings from Frank Sinatra to Van Halen, to the seminal Brian Wilson recording, Pet Sounds.
- Classic Sound of the Legendary 610 Modular Console
- Variable Gain and Output Levels, Multiple Impendence Settings
- Mic, balanced line and Hi-Z inputs
- High and Low shelving EQ
- Updated “silverface” cosmetics & enhanced build quality
- Improved EQ circuit and more “open” sonics as requested by users
- New switchable -15dB pad as requested by users
- Ultra quiet operation
- Custom wound double sized alloy transformers
FORM FACTOR
One channel, multi-input, gain, filter, parametric equalizer with insert capability and internal power supply
• Inputs: Mic (balanced, XLR), MI (Musical Instrument; unbalanced, 1/4” TS)
• Gain control: +15dB to +7dB, 5dB steps
• Fine control: -5dB to +5dB, continuously variable
• Phase switch, Phantom power (P48) switch
• Filter — Second-order Butterworth active high-pass filter; 100Hz, flat, 40Hz
• Insert control: split parametric equalizer from preamplifier
• EQ section: four bands, fully parametric, continuously variable controls
• EQ IN switch
• Overload (OL) indicator: peak indication, preamplifier and equalizer
INPUT
Microphone: 1 kΩ balanced, >80dB CMRR, +17dBu max input before clipping
Insert In: 20 kΩ balanced bridging, >40dB CMRR, +21dBu max input before clipping
MI: 1 MΩ unbalanced, +8.5dBu maximum input before clipping
THROUGHPUT
Bandwidth:
-0.1dB / +0.002dB, <10Hz to >30kHz, worst-case
-3dB, >300kHz and <<10Hz, typical
<0.003% Harmonic distortion, 20Hz to 20kHz, typical
<0.006% SMPTE Intermodulation distortion, typical
30v/usec discrete low-noise precision operational amplifiers, GML 9202
Noise:
-80dBu broadband, EQ engaged, typical
-112dBu EIN, MI input
-120dBu EIN, Microphone input (Rs = 150Ω, 30kHz BW), worst-case
-80dB crosstalk, 20Hz to 20kHz, worst case
OUTPUT
+27.0 dBu clipping
< 3 mV output offset, stabilized by DC servo correction, direct coupled
Wired pin 2 “hot”, 3-wire unbalanced
OTHER
Internal linear power supply, 110V/220V switch, 50/60Hz; +/-28 VDC, +/-18 VDC, +48VDC
Approx. power consumption: 28W; 500mA/250V slo-blo fuse installed (110V operation)
Separate Ground and Chassis connections at rear
19″ W x 1.75″ H x 10″ D rack mount chassis, black anodized aluminum, silver legend
Weight: 11 lbs., approximate; shipping weight may vary
Using the same circuit topology as the original ISA microphone pre-amplifier designs, the Red 1 offers four channels of ultra-high quality Focusrite microphone amplification. Used with high quality ribbon, valve and condensor mics, the Red 1 obtains outstanding results with any sound source, but especially voice, piano and string instruments.
With four mic pre-amps in a single unit, the Red 1 is ideal for those looking for improved audio performance, as a compact ‘way in’ to digital recording systems, or for location multi-mic recordings. Each channel offers custom-wound Focusrite input transformers, switchable phantom power, phase reverse, an easily-read illuminated VU meter, and a handy scribble disc for denoting channels. Mic gain is switched in 6dB steps over a 66dB range, for accurate, precise channel matching and recall.
The output stages of both the Red 1, with its custom transformer, will easily drive very long cable runs – up to several kilometers – without significant loss of quality, making them ideal for remote recordings.
- Hand-made in the UK
Crafted to the highest standards, all the Red Processors are manufactured solely in the UK using machine-tooled, half-inch thick claret red anodised aluminium. - Classic transformer-based pre-amp
The benefits of Focusrite’s classic pre-amp topology include superb common-mode rejection, an excellent overload margin, an extremely low noise floor and super-wide bandwidth. - Phase Reverse and Phantom Power
Available independently on each channel via firm-response illuminated switches - VU output level meter
Four easily-read illuminated porthole window VUs are provided. - Scriblle discs
Four handy scribble discs for denoting each channel - Stepped gain potentiometers
Mic gain is switched in 6dB steps over a 66dB range, for accurate, precise channel matching and recall.
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| The 1073 preamp yields a really fat sound. It seems to add subharmonics to the low end which makes the bottom end sound huge. It smoothes the top end which gives the highs a silky sheen. As well the 1073 compresses transients a little bit. It is a smooth, fat., larger than life sound. An added bonus is to use the DI inputs to fatten samples, synths and mixes since the DI can handle line levels. The 1073 equalizer is very broadbanded and musical. It has a hi-pass filter with four frequencies- 50 Hz, 80 Hz, 160 Hz and 300 Hz. The low frequency band is shelving and has four frequencies – 35 Hz, 60 Hz, 110 Hz and 220 Hz. The low end of this equalizer is so tight that you can boost 220 Hz and not muddy up the sound. The mid band has six frequencies – 360 Hz, 720 Hz, 1.6 kHz, 3.2 kHz, 4.8 kHz and 7.2 kHz. The bandwidth is broad so you can boost or cut a lot without making things sound processed or unnatural. The hi band is shelving and is fixed at 12 kHz. It is smooth and silky and a little goes a long way. | |
The ASP008 is a compact, 1U rack mount unit featuring eight ultra high quality mic preamplifiers developed from the renowned mic-pre design used in the acclaimed ASP8024 recording console.
The design uses an 8 transistor discrete Class A front end with extended band-width and a noise floor close to the theoretical Johnson limit. Carefully chosen close tolerance components are used to achieve high CMRR at all gain settings and distortion is minimised to less than 0.001% at 20dB gain and +10dBu output. This outstanding technical performance delivers a mic amp with incredible transparency and detail without colouration or other unwanted artefacts.
Each Mic amp also features switchable input impedance, allowing the user to explore the subtle variations in microphone character that are determined by output termination.
All channels include an XLR input, ‘soft start’ 48V phantom power, switchable input impedance, 25-250Hz hi-pass filter as well as line input selection. Channels 1 and 2 also feature a -20dB attenuator and a high-impedance Instrument/DI input on a front panel mounted jack. LEDs provide indication of signal present and overload.
Two digital output option cards are available – one with ADAT optical interface, the other with AES/EBU and ADAT. Both cards now support sample rates of up to 96kHz over ADAT S/MUX.
