Author: Jooyoung Kim

Mixing Engineer, Music Producer

The History of the UA 610 Preamp and Introduction to the LA6176 Plugin (90% Off Until Nov. 30)

Hi everyone! This is Jooyoung Kim, a mixing engineer and music producer.

It seems like every company is releasing tempting new gear—just yesterday, Warm Audio unveiled a new series of 1176 replicas! I was planning to grab a hand-crafted Japanese unit, but now I’m seriously considering their Rev D model instead. Decisions, decisions…

Today, I want to introduce you to the UAD LA6176 channel strip plugin, which combines the 1176 compressor and 610 preamp.

Purchase LA6176 at Plugin Boutique

This plugin was provided to me as part of the UAD Spark NFR subscription. If you decide to purchase it via the links in this post, I’ll receive a small commission—any support is greatly appreciated! 😊
Let’s dive in!

The History of the Universal Audio 610 Preamp

Universal Audio 610 Console

The 610 preamp originated from Universal Audio’s custom-built mixing console, designed by Bill Putnam Sr. in the late 1950s. Most recording equipment of that era was bespoke, but the 610 introduced a modular design, making it easy to swap out broken channels.

The 610 preamp module

The console offered:

  • High headroom (+30 dBm output, equivalent to a whopping +32.2 dBu!)
  • Mic/line inputs, pad functionality, high/low EQ, and echo sends.

Only about 25 units were made, but they were used by legendary artists like Ray Charles and Frank Sinatra.

Reissues and Plugins

Based on this legendary design, Universal Audio released various reissues like the 2-610, Solo/610, and M610 channel strips and mic preamps.

In the plugin world, Universal Audio introduced two versions:

  • The 610-A Preamp Plugin (faithful to the original design).
  • The 610-B Preamp Plugin (modeled after the reissue).

They also released hardware like the LA-610 (a 610 preamp paired with an LA-2A compressor) and the 6176 (a 610 preamp with an 1176 compressor).

The UAD LA6176 plugin recreates the latter in software form, bringing both its preamp and compressor/EQ sections to your DAW.

Plugin Features

610 Preamp + EQ

The input section works best in Line mode when used with UA Apollo’s Unison preamps. You’ll find:

  • Input Gain control.
  • 75 Hz low-cut filter, -15 dB pad, and phase inversion switches.

The EQ section features a simple shelving design, but the High EQ acts like a tilt EQ when boosted, subtly cutting low frequencies as you increase highs.

High EQ boosted to +4.5

Comp Mode

The compressor section offers two modes:

  1. 1176 Mode (top selector).
  2. LA-2A Mode (bottom selector).

Both modes exhibit slightly different tonal characteristics, with subtle differences in low-end compression.

Even when the EQ and compression are bypassed, the plugin adds natural saturation.

At high SPLs, you’ll notice slight compression even with no additional processing.

1176 Compression

In 1:1 mode, the 1176 exhibits a very subtle knee, creating a compression ratio that feels like 1:1.01—barely noticeable but present.

In 4:1 mode, compression is tighter and more aggressive. Comparing the UAD LA6176 to the standalone UAD 1176LN plugin, their compression curves are nearly identical, suggesting the plugin replicates the 1176’s algorithm seamlessly.

LA-2A Compression

The LA-2A mode behaves slightly differently depending on the model emulated. For example:

  • The Silver model exhibits distinct compression characteristics compared to the Gray model and Tube Compressor emulations.

When used, the plugin adds more harmonic richness than applying the 1176 or LA-2A plugins individually. This makes the sound fuller and more dynamic.

Why Choose the LA6176 Plugin?

UAD has shifted its pricing strategy dramatically, offering deeper discounts during sales like Black Friday. Considering its detailed emulation of legendary hardware, the LA6176 is a powerful addition for any studio setup.

Purchase LA6176 at Plugin Boutique

If you’ve been eyeing premium channel strips, now might be the perfect time to grab this plugin at a fraction of the original cost!

Introducing Leapwing Audio StageOne 2 (50% Off Until Dec. 9)

Hi everyone! This is Jooyoung Kim, a mixing engineer and music producer.

The weather has turned sharply cold since yesterday—it truly feels like winter is here.

Today, I’m introducing a plugin that enhances stereo imaging: Leapwing Audio StageOne 2.

Purchase Leapwing Audio StageOne 2 at Plugin Boutique

About the Plugin

I received this plugin as an NFR (Not for Resale) from Plugin Boutique. If you make a purchase through the links in this post, I’ll receive a small commission—which greatly supports my work. 😊

StageOne 2 features five main parameters: Width, Depth, Phase Recovery, Mono Spread, and Center Gravity. Let’s explore each one.

Width

The Width parameter adjusts the stereo width of your mix. While the phantom center remains intact, sounds outside the center are pushed towards the speakers or even beyond their physical position.

On the analyzer, the original sound appears as a dark blue, while the modified sound is shown in light blue.

Depth

The Depth parameter adds reflections to specific frequency ranges, making the sound feel wetter. Think of it as a Studio Reverb that can be applied selectively to certain bands.

Phase Recovery

Phase Recovery identifies anti-phase elements between the left and right channels and prevents them from disappearing when summed to mono.

I tested it by duplicating a track, phase-inverting one copy, and panning them hard left and right.

Without the plugin, the sound is entirely anti-phase, perceived as coming from outside the speakers. But with StageOne 2 and the Phase Recovery turned on, the sound becomes phase-correct and plays seamlessly.

This feature is perfect for pulling overly phasey sounds back into the stereo field.

Mono Spread

Mono Spread scatters the frequency response and phase of a mono source, creating a pseudo-stereo effect.

Center Gravity

This parameter pans specific frequency ranges left or right, giving precise control over the stereo field.

Why StageOne 2?

There are many stereo imaging plugins out there:

However, few stereo enhancers offer as many advanced algorithms and features as Leapwing Audio’s StageOne 2. Moreover, it tackles phase issues, a rare capability among similar plugins.

The only other plugin I’m aware of with comparable functionality is Acoustic Audio’s Space Control , but StageOne 2’s intuitive parameters and analyzer make it more versatile, even at the composition stage.

If you’re considering a single stereo enhancer, this one might be all you need.

Purchase Leapwing Audio StageOne 2 at Plugin Boutique

Final Thoughts

While the regular price is steep, the Black Friday discount makes this a great opportunity. If you’ve been looking to refine your stereo imaging, give it a try!

See you in the next post! 😊

Basics of Mixing – 10.1 Modulation Effects (Part 1)

Hi everyone! This is Jooyoung Kim, a mixing engineer and music producer.

Today, I want to talk about modulation effects, which are often overlooked during mixing.

(These concepts are based on my book Basics of Mixing, published in Korea.)

What are Modulation Effects?

In simple terms, modulation effects involve changing certain parameters over time.

Do you frequently use modulation effects when composing or mixing?

Do you ever have tools like these but rarely touch them?

I believe modulation effects, along with reverb and delay, are crucial in determining the quality of a track. However, even if you understand the theory behind these effects, you might hesitate to use them if you’re unfamiliar with how they sound in practice.

That’s why I encourage you to experiment with modulation effects regularly, even if it feels forced at first.

Types of Modulation Effects

Let’s break down some common modulation effects:

  1. Tremolo
  2. Vibrato
  3. Flanger
  4. Phaser
  5. Chorus

Before diving into these, we need to discuss two foundational concepts: the All-Pass Filter and the Comb Filtering Effect.

All-Pass Filter

An all-pass filter allows all frequencies to pass through unchanged. But why would we use such a filter?

The answer lies in phase.

When a signal passes through an all-pass filter, the phase shifts depending on the frequency. Combining this filtered signal with the original creates unique sounds due to constructive and destructive interference at different frequencies.

For more details on phase and interference, check out “Basics of Mixing – 2.2 Phase and Interference.”

Comb Filtering Effect

The comb filtering effect occurs when an original signal is combined with a delayed version of itself. This results in a frequency response that looks like the teeth of a comb.

It’s easy to understand this concept through simple experiments.

When every frequency in a signal is delayed by the same amount, some frequencies cancel out (destructive interference), while others amplify (constructive interference). This creates the characteristic comb-like frequency response.

Effects like flanger, phaser, and chorus are built on these principles of phase manipulation.

That’s all for now! In the next post, I’ll delve deeper into each modulation effect.

See you next time! 😊

Audio Expo Seoul 2024 (AES 2024) Recap

Hello, this is Jooyoung Kim, a mixing engineer and music producer!

I always tell my fellow music creators never to overlook hi-fi products.

The term “hi-fi” itself is short for “high fidelity,” meaning playback that is as true to the original sound as possible, without distortion.

Among hi-fi manufacturers, there are many companies with advanced technology that deliver excellent measurements. Working with such devices can be highly beneficial.

All passive speakers, rarely seen in professional audio environments!

I also work in this kind of environment.

However, since anechoic chamber measurements provided by companies don’t tell the whole story, it’s crucial to assess how the devices sound in real working environments and how the sound changes depending on the listener’s position.

With that preamble, let’s dive into my experience at the Audio Expo Seoul, which runs from yesterday through tomorrow. Here’s my review after my visit.

Venue

The event took place on the 30th to 32nd floors of Novotel Ambassador Yongsan and the 2nd floor of Yongsan Electronics Market.

Attendees could check in and receive wristbands at the 1st-floor lobby of Novotel Ambassador.

I explored the exhibits in the recommended order: 32nd floor → 31st floor → 30th floor → Yongsan Electronics Market 2nd floor.

Dynaudio Contour Legacy

First up was Dynaudio’s Contour Legacy, a well-known name even in the pro-audio industry.

It was impressive. I’d love to test it in a more controlled listening environment.

Avantgarde Colibri C2

This was one I’d been eager to hear. However, in the hotel room setup, midrange resonances were quite noticeable.

I switched positions to see if it was a placement issue, but my impression remained the same.

ub+ dB1

At first glance, I thought it was a new release from Devialet, but it turned out to be another brand.

Its sound was decent for the price, and the design was intriguing enough to spark some buying interest. If I recall correctly, the pair was around ₩900,000.

Harbeth Super HL5 plus XD

I finally got to experience Harbeth. It reminded me a bit of ATC in terms of sound character.

Monitor Audio Gold 100 6G

Monitor Audio is known for producing excellent measurements. This model felt somewhat restrained, which might make it suitable for certain types of studio work.

Focal Diva Utopia

Focal is another brand known for its professional audio monitors. While solid, it wasn’t to my taste this time.

Piega COAX 811

Piega’s coaxial ribbon design intrigued me, but the midrange resonance was noticeable—perhaps due to the room acoustics.

Tannoy Kensington GR, Classic Gold

Classic Tannoy sound—impressive as always. It made me consider its potential for studio use.

Wharfedale

Great value for money. While not mind-blowing, the quality was solid for the price point.

Marten Mingus Septet

Visually stunning, though the listening experience didn’t fully convince me.

Audio Physic

Although I don’t recall which model I listened to, it left a positive impression.

Genelec

Genelec, a staple for many engineers, had a setup with coaxial speakers and subwoofers. Unfortunately, the playback was marred by distortion, likely from the LP source.

JBL L100 Classic mk2

Solid, dependable sound, living up to expectations.

Revival Audio Sprint

A standout for me. I could see myself using it in a studio setting. The price was also quite reasonable.

YG Acoustics Hailey

A solid performer with tight, well-defined low frequencies.

Avalon PM 3.2

The most impressive speaker I heard at the expo. Its tight bass and wide frequency range were perfect for modern music production.

B&W 801D4

Sadly, the LP setup held back this speaker’s potential. I’d love to hear it in a better environment.

Overall Highlights

My top picks from the expo:

  1. Dynaudio
  2. Tannoy
  3. Audio Physic
  4. Revival Audio
  5. Avalon

The Revival Audio models particularly stood out for their affordability and performance.

Attending events like this is refreshing for both the mind and soul. That’s all for now—see you in the next post!