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.

The 2-610 has been updated for 2007 with enhanced features and build quality, and a new cosmetic treatment. At user’s requests, the 2-610 has the extended top end shared by its cousins, plus a -15 dB pad. In addition, the 2-610 has improved stability in the feedback design of the shelf filters as well as an improved power supply. Our expertise in analog design translates into a classic tube preamplifier with all of the character of its vintage predecessor, yet designed for the requirements and rigor of the modern studio. Whether you're running pure analog or seeking to enhance your digital audio workstation, the 2-610 will bring classic tube character to your recording.
 
Retro styling, along with the less visible benefits of old-fashioned build quality, are obviously high priorities at the new Universal Audio. With its cool purple jewel lamp and big black knobs, the 2-610 looks like a museum piece right out of the box. Weighing almost 12 pounds, the solid metal 2-rackspace chassis seems meant to last well into the next millennium. The gray and black color scheme makes it clear that Universal Audio isn't buying into modern graphics trends. The enclosure is well ventilated at the top, and heat is minimal for a device of this type. A peek at the interior reveals quality parts, a large torroidal transformer, American-made General Electric 6072A tubes, and 12AX7a tubes silk-screened with the Universal Audio logo.

What's up?
The 610's straightforward rear panel has three balanced XLR jacks (mic input, line input, and line output) for each channel, an IEC power-cord jack, a fuse holder, and an AC voltage-selector switch. It lacks insert jacks and has no provisions for -10 dBV operation.

Each set of channel controls on the front panel is delineated by a raised rectangular section; the two sets are separated by the company logo, AC power switch, and individual 48V phantom power switches located in the center of the panel. Individual channel controls are simple and arranged in a spacious, orderly fashion with the massive Master Level knob (marked numerically from 0 to 10 with intermediate dots) as the centerpiece. According to Universal Audio's David John Hinson, that level control is located in the circuit between the initial tube gain stage control (marked in decibels: -10, -5, 0, +5, and +10) and the final tube output stage. Hinson also says the negative gain settings were not a feature of the original 610 console circuit but were added for the 2-610.

All about the tubes...
The unit's two tube gain stages let you achieve a wide variety of tube coloration and harmonic distortion. The manufacturer recommends keeping the Level control set between 7 and 10 and making coarse adjustments with the Gain knob to get the cleanest sound out of the preamp. Incidentally, the 2-610 has no level or peak metering of any kind.

The Gain knob and a Polarity Reverse switch occupy the upper left corner of the channel section. Below those are the ¼-inch DI jack and a 5-position Input Select switch. That control selects either line, microphone, or DI input as the source, with variable impedance settings for mic (500? and 2 k?) and DI (47 k? and 2.2 M?). As explained in the thorough and well-illustrated manual, variable input impedance can be used to match the source with an appropriate load, as well as to subtly adjust the tonal characteristics of some microphones and electronic instruments. All input and output signals pass through custom-designed transformers.

An equalization section is located to the right of the Master Level knob. High-frequency shelving values are switchable between 4.5, 7, and 10 kHz, with boost and cut available in 1.5 dB increments between -9 and +9 dB. Similar cut and boost increments are available for low-frequency shelving, with corner frequencies switchable between 70, 100, and 200 Hz.

• 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
• Classic Sound of the Legendary 610 Modular Console

Microphone Input Impedance

Brosjyre

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