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how do you spell smooth? answer: 6-1-7-6

#41
thanks CalerverasG.
after experimenting with the 6176's input controls earlier this evening (i.e. the input 'gain' and level controls), i found that you can dial in more or less tube 'color' by selecting the -10 or -5 for less color, or the +5 or +10 setting for more tube coloration. then you can adjust the level for various amounts of drive, from super clean, to very dirty. there are quite a few 'colors' in this part of the unit alone.

after that, you can voice the compressor for a huge clean compressor tone or an overdriven vintage compressor tone or anything in between, so even though it has a somewhat sparce amount of knobs, its a little deceiving, because it really is capable of alot of tones, and every single one of them sounds awesome. the comp also has the 'ALL' setting, and here's the way that the manual describes it:

"All - Implements the “All-button” or “4 button trick” (sometimes also known as “British Mode”), in which the 6176 duplicates the overdrive that occurs when all four ratio buttons on an original 1176 are pushed in simultaneously. One of the most unique features of the 6176 limiter / compressor is the ability to select a ratio value of ALL. In ALL mode, distortion increases radically due to a lag time on the attack of initial transients (a phenomenon which might be described as a "reverse look-ahead"). The ratio goes to somewhere between 12:1 and 20:1, and the bias points change all over the circuit, thus changing the attack and release times as well. The unique and constantly shifting compression curve that results yields a trademark overdriven tone that can only be found in this family of limiter/compressors."
that's where it can get really dirty yet thick and syrupy compression.

to me, this is a very impressive and usuable preamp/comp and i'll definitely be using it the next time that i record as well.

i mean, its one of those pieces of gear that right when you plug into it, it kinda makes you wonder, why don't all bass amps sound like this? i never thought that i'd say this, but i think i even like playing thru it better than my '69 SVT, and the more i play thru it, the more i love it.

and as far as its eq goes, it so big sounding the way that it is flat, actually has more eq flexibilty than a Fender Bassman, a Showman, a Sunn 2000S or a B15N, and i've never had a problem making any of those amps sound great live. so now i can't wait to use it at my next gig.
 
#42
what about misuse, john? have you tried abusing the controls to get gnarly sounds in any of these pres? i remember you saying you weren't into that, i believe, but just curious if you've tried it.
 
#43
JimmyM said:
what about misuse, john? have you tried abusing the controls to get gnarly sounds in any of these pres? i remember you saying you weren't into that, i believe, but just curious if you've tried it.
Click to expand...

yeah, i've done that with all of them. i always max out the controls and dial them in ways that you really aren't supposed to just to get a better feel of the units. the UA takes to it the best. it can sound like a really dirty tube amp if that's what you're looking for. the Focusrite doesn't sound good when you dime the input, but you can get its 'vintage' compressor to get it dirty. you can overdrive the Avalon too, but doesn't really get dirty in a way that i'd use it that way. if i wanted that, i'd just use something like a VT pedal.

i'll try and post a recording of the UA later today to show what it can do.
 
#45
I was comparing the LA-610 today against my VT Bass>Aphex Punch Factory setup, I have to admit I am having difficulty finding what the extra $1310 gets me. :hmm: For what the VT and PF are, they are quite nice, actually. :)
 
#46
Hi Jeff,
I have a Punch Factory and, IMO, its a mediocre compressor at best. i never use it, and should have sold it a long time ago.

i don't know what monitoring system or cab you were using, but i think the difference between VT pedal and the 610 preamp is: size (of soundstage), transparency, dynamics, fullness, clarity etc.

IMO, the VT is a really good pedal, but IME, its not even close to being in the same league the UA's preamp, however, if it works for you, and you can't hear enough difference, that's great. if you're looking for kind of a dirty SVT sound, it may even work better.
 
#48
Well, a big part of what you're paying for with the Universal Audio piece is it's fat mic preamp. The majority of them I've sold are to people looking for a warm signal path for their condensor microphones. The d.i. is really the icing on the cake.
 
#49
I recall some comments about the compressor in the UA LA-610 being vulnerable to amp-top vibration in live use, so I'm curious to hear your take on the UA's compressor when you've got some gig time on it.

Although I prefer it for recording, I've been pleased enough with the solo-610 for occasional live use that the LA-610 mkII and 6176 are becoming awfully tempting.
 
#50
Jeff Scott said:
Thanks, John, for that. Maybe I should put the money into an audiology test! :help:
:hiding:
Click to expand...

not at all Jeff.
what i'm saying is, if you can get a sound that you really love with VT and a PF, by all means, go for it. and i'm definitely not saying that you wouldn't be able to. that's what i was trying to get at when i was saying, in a way, it doesn't matter how much, or little you spend, as long as it gets you what you want. 99% of is in the player's head and fingers anyway.
 
#51
derrico1 said:
I recall some comments about the compressor in the UA LA-610 being vulnerable to amp-top vibration in live use, so I'm curious to hear your take on the UA's compressor when you've got some gig time on it.
Click to expand...

i know i'll really find out at the gig, but i've cranked the 6176 to gig levels (and beyond) at home on occasion, and it hasn't had any adverse effects on it yet.
 
#52
John, I am curious what it is you don't like about the PF.

I am still thinking of springing for the LA-610 for recording, and if your gig goes well with the 6176, for gigs, too. I am just trying to justify the expenditure and want all valid opinions to help me in that. :)

There is the Solo/610 if I decide to forego a compressor, but in playing with the LA-610 I really like all that it does, with everything in the chain. I went back and played through two of them, at GC an SA, with one of my Ricks today, it was heavenly; it does not have much in the EQ department, but what it has sounds great. I think I would miss the EQ if I got the Solo/610, instead.
 
#53
Hi Jeff,
yeah, i would recommend either the LA-610 MKII or the 6176 over just the preamp. the eq, while subtle, is actually very effective, and really GOOD.

i went with the 6176 because i absolutely LOVE 1176LN's, and like its adjustability as well as having makeup gain. and 1176LN's sound great in the chain, even without compressing. the comp in the LA610 MKII is no slouch though.

the punch factory just never gave me what i wanted out of it, and i always found that my bass always sounded better without it. but then again, most of the compressors out there don't really do it for me. i guess that i got spoiled by my 1176LN, EL-8, and even my Aphex 661 and Drawmer DL241 comps.
 
#54
Jeff Scott said:
I think I would miss the EQ if I got the Solo/610, instead.
Click to expand...

I've used the Solo in a few types of gigs--as DI in outdoor festivals with provided backline, as DI and as preamp at club dates w/ house PA, and as a pre-amp at small casuals where the stage rig provides all the bass for the house.

The only time the Solo left me wanting additional eq (which I brought in the form of a Symetrix 551E parametric) was at club dates where the PA spilled onto the stage. And in those cases, I really wouldn't have wanted the eq upstream of the DI feed going to FOH anyway, so having the parametric between the Solo and the power amp was just the ticket.

While additional eq would be a bonus on the Solo, what I miss more is a way to feed the processed signal to both DI and the stage rig's power amp without using a splitter.
 
#55
jeff, i'm a huge fan of the vt. i use it all the time in my home studio because it just plain works and i can get recording done a lot quicker than micing up a b-15. i don't care how inexpensive it is...if something works, it works.
sansamp products seem to find their way on a lot of hit records these days, too.

but if you've gone to a really top notch studio with the big monitors and plugged your bass di into a really nice console with primo channel strips, then you understand why john has this high end preamp thing going on. it does kick things up a few notches if you're into that big clear studio bass sound.

but you don't necessarily need a $2500 channel strip to get there, either. john did some recordings of his "older" preamps a couple weeks ago, and so far my favorites are this discontinued yamaha bass pre that he bought for a song and an alembic bass pre which can be bought new for $1000.

so it's all good. just have fun with what you've got and play to the best of your ability.
 

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