A separate level control serves the 12AX7 output gain stage. As you turn this switch clockwise, negative feedback is reduced and gain increases along with pleasing harmonic distortion. A five-position gain control adjusts the gain of the preamp’s 12AX7 input stage in 5dB increments. The LA-610’s preamp section features a five-position rotary switch that selects among line, mic and DI inputs, with the latter two each offering a choice of two different input impedances: 500 ohms or 2 kilohms for mic input, and 47 kilohms or 2.2 megohms for DI. The LA-610’s preamp is also voiced to have a slightly more prominent high-frequency response than the 2-610. (The 2-610’s 6072 tube output stage has been moved in the LA-610 to serve its compressor’s makeup gain.) The LA-610 also includes a 15dB pad on its front panel, a feature I wish the 2-610 also had, considering the latter’s limited headroom. However, the unit’s preamp circuitry departs from a 2-610 channel in significant ways: Two 12AX7 tubes serve the LA-610’s two gain stages, as opposed to one 12AX7 and one 6072 per 2-610 channel. The unit’s custom I/O transformers are the exact same ones used in the 2-610. The compressor section does not have a sidechain input. A high-impedance (instrument DI) input is accessed via an unbalanced ¾-inch phone jack on the front. The 2RU LA-610’s rear panel sports separate mic, and line inputs and a line output on balanced XLRs. And so I particularly relished the thought of reviewing the company’s new all-tube LA-610 channel strip, which combines a modified channel of the 2-610 with an LA-2A - style optical compressor.
#Universal audio la 610 series#
I often chain them in series to record tracks in my studio. 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.
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