The DCS Remote Preamp combines two console-grade mic-pres, specialized monitoring capabilities for artist & engineer, and easy remote control/DAW integration making an ideal upgrade to the basic features/sonics found in most audio interfaces. With 100% digital control of analog, the Remote Preamp offers fully remote-controllable, highly detailed, uncolored recording based on its advanced transimpedance design. The two channels of the DCS Remote Preamp can be used dual mono or can be joined for stepped, matched-stereo gain structuring. Plus a Mid/Side encoder is included, allowing for direct recording of the MS-Stereo result.
The Remote Pre also features a high-quality headphone amp with “monitoring only” effects such as user-tailored reverb and EQ, making it easy to quickly create an artist monitor mix without having to deal with complex configuration or latency issues inside the DAW. Best of all, the remote control can be placed anywhere from desktop to recording room, giving the artist flexibility unlike any other device in its class. Position the preamp as close to the source as desired, or remotely control your own recording experience away from the computer as you keep the remote close at hand. Lastly, the DCS Remote Preamp offers high quality backlit VU metering for observing Preamp Output or DAW/Cue levels.
Today, the 1176LN is new again. While it certainly would have been possible ' and much simpler ' to modernize and "improve" the 1176LN, every effort was made to remain faithful to Putnam's design and intentions. Carefully trained staff hand-wire and test each unit until it meets our uncompromising standards. This Universal Audio Classic version of the 1176LN captures all the nuance of the original through obsessive attention to detail and delivers that trademark sound. Demand the original. Accept no copies.
Read about the 1176 Design History
The 1176SA was first offered for the original 1176, but has become increasingly difficult to find for use with either vintage or new 1176s. Due to customer demand for stereo operation, we carefully recreated the original adapter. The 1176SA is a small device (4.25" x2.5" x1.75") which rests behind the 1176s. The 1176SA sports a full metal enclosure for proper shielding, gold-plated connectors. A 2-year battery is included. The 1176SA is compatible with both new and vintage models.
Finally, a true stereo 1176! With over 2000 units already sold to date since the year 2000 re-birth of Universal Audio's 1176LN, it is clear the public's love affair with the legendary sound of the 1176 is still as passionate as ever.The 2-1176 builds from the circuit design of UA's hugely successful 6176 Channel Strip and combines two 1176 channels from that unit-- an uncompromising design, with all the same components- stereo matched to boot!With the release of the 2-1176, we once again put that sound into your rack but with twice the tone, twice the character and twice the compression-- at an unbelievable price, and half the space. As you would expect from UA, it also retains all the features and trademark sound of its ancestor, and switches easily between dual mono and stereo link.And yes--it does All-Button!
The 2192 offers tremendous flexibility in signal routing and monitoring. You can, for example, run signal into the analog inputs at sample rates ranging from 44.1K to 192K and simultaneously output it to AES/EBU (single or dual-wire), S/PDIF and ADAT (with industry standard S-MUX interleaving for sample rates above 48kHz). The selectable output monitor allows you to monitor any of the digital inputs or the analog input with no interruption of the transcoding.
The UA 2192 also serves as an extremely high-quality digital-to-analog and analog-to-digital converter. If, for example, you're working on a digital console or workstation that utilizes higher sample rates, the 2192 can dramatically improve your monitoring environment and/or the quality of your analog masters. As a front-end for a native workstation, the 2192 provides two channels of sterling sound quality for tracking, monitoring and mastering.
Now you don't have to choose between advanced digital features and old world analog quality... the 2192 delivers both.
610B Mic PreThe 2-610 microphone and instrument preamplifier has received praise from many corners. Michael Cooper, in his review for Mix Magazine, called it "hands-down, the most dimensional mic preamp I've ever heard!" Peter Wade, engineer/producer who has worked with acts ranging from Wyclef Jean to Jennifer Lopez, said simply, "This box rocks." The 6176 mic preamp sections maintains the quality and character of the 2-610 while adding high-tension power regulation for improved bass response and a front-panel 15db pad switch.
1176LN Limiting AmplifierAs legendary engineer/producer Andy Johns put it, "The 1176LN is the workhorse compressor." The 1176LN may well be the most loved compressor in history. Its trademark lightning-quick attack and release times and the tone of its Class A output amplifier have enhanced countless recordings over the last thirty-five years. We've recreated the 1176LN for the compressor section of the 6176 with the same exacting, attention to detail and tradition we use on our 1176LN. The resulting character, heritage and tone simply cannot be found on other channel strip units
Audio Inputs--Mic Pre Section
Audio Inputs--Compressor Section
Audio Outputs--Mic Pre Section
Audio Outputs--Compressor Section
Our UA Classics reissue of the LA-3A meticulously retains all the internal and external qualities of the original: The same simple control set, class A design, and the T4 electro-optical attenuator, which is the source of the LA-3A’s program dependent compression. It also retains the 2RU half-rack design, and comes complete with a single-unit rack assembly--no additional kit is necessary. All the original rear panel connections and controls are also maintained, while the commonly performed “LA-3A gain mod” is added as an additional switch for maximum studio versatility.
Unlike its predecessors, the SOLO/610 has continuous Gain control with even greater range, allowing for more precise gain structuring and doubles as input signal padding. The SOLO/610 has all the essential features and maintains the 610’s flexible dual impedance selection for both Mic and DI inputs. The SOLO/610 also includes DI features like Thru plus Ground Lift and a versatile Line/Mic level output switch. The SOLO/610 is hand-assembled by Universal Audio in the USA.