Capital University's Studio A: An Analog Adventure

Preamps

Compressors

Utility

Audient ASP 800

The UA 2-610 was inspired by the revolutionary 610 console invented in 1960. Recording engineer Bill Putnam pioneered the concept of modular consoles by building a preamp with gain control and EQ on one circuit board that could be duplicated and attached to an existing console.

The UA 2-610 is a 2-channel vacuum tube preamplifier. Each channel has two gain stages utilizing tubes in single-ended Class A configuration. The configuration of the UA allows for a clear, open tone despite needing more robust transformers. The dual-triode tubes produce warmth that is paramount to the classic 60’s sound, most notably in The Beach Boys’ Pet Sounds. However, it is still used in relatively contemporary acts such as Green Day, Beck, Hole, and No Doubt, in order to add a “vintage touch” to their recordings.

A function of the 2-610 that is lesser-known but can have a huge impact on the color of the preamp is the ability to switch between fixed input impedances. This is done on the lower-left knob for each channel. The UA 2-610 accepts Mic, Line, and Hi-Z signal types. From there, you are able to select the input impedance for whichever signal type is coming into the preamp. As a general rule, input impedance to the preamp should be 10x the output impedance of the microphone you are using, but using impedance as a variable is yet another way to customize the tone you are looking for.

API 512-C

UA 2-610

Purple Action 5C-1

DBX 166 XL

Radial Phaze-Q

The API 512-C is the brainchild of API co-founder and engineer Saul Walker, who invented the legendary 2520 operational amplifier. Similar to the work Universal Audio was doing with modular consoles, Walker designed API gear with the goal of interchangeability. In essence, this meant that if a preamp circuit failed for whatever reason, it wouldn’t corrupt other circuitry within a channel strip, or even an entire console. In the late-60’s early-70’s era when API was beginning to gain traction in the recording industry, interchangeability was a groundbreaking concept that forever changed audio technology. The 512-C model is a way to capture the ingenuity and tone of API gear without needing to make the financial or spatial investment in an entire API console.

The 512-C is a single-channel solid-state preamplifier using the 2520 op-amp. It also has some fairly typical modern preamp features, such as polarity switch, phantom power, a -20dB pad, and Mic/Hi-Z input options. When audio engineers talk about the “classic API sound,” they are most likely referring to the 2520 op-amp. The build for a 2520 is a series of resistors, transistors, and capacitors in extremely close proximity to each other. While a subtle detail that makes way for a painstaking build, this proximity of electronic elements is integral to the API sound.

A few adjectives to describe the API sound could be “musical,” “open,” “punchy,” “rich,” and “aggressive.” The 512-C is certainly most popular for its versatility. It’ll complement any microphone and any instrument. However, the aggressive color of the 512-C is widely loved for its effect on drums, heavy guitar, and bass tracks.

Audient consistently uses ASP800 preamplifiers in all of its products, including the ASP 8024 found in Studio A. The ASP800 preamp utilizes Class A circuitry without transformers for a more detailed resolution. Inventor Dan Dearden truly took a holistic approach to designing the ASP800, understanding the impact of RFI, static, and phantom power. The ASP800 is one of the most versatile preamps as it delivers a low-noise, faithful reproduction of the source while adding a touch of warmth.

The Purple Action 5C-1 is a popular option for a classic 1176-style compressor within a more modest price tag. It is an FET-style compressor using both Class A and Class AB circuitry. The Action has been described to be “big” or “exciting,” similar to the feedback of the famous Purple MC77 compressor. It adds fullness to bass and vocals, and punch to electric guitar and drums. The Field Effect Transistor compression adds richness and lush distortion when overdriven.

The DBX 166 XL is an entirely solid state compressor using VCA technology for attenuation. It is known for delivering a clean, punchy sound. The VCA design within the compressor/limiter portion of this gear allows taming particularly aggressive transients, such as that of drums or vocals.

The DBX 166 XL has a number of patented features that make it an incredibly versatile compressor when dialed properly. The OverEasy® function creates a softer knee for a smoother, more musical sounding compression. DBX’s PeakStop limiter adds a smooth finish to any input. In addition, the 166 XL has a stereo coupling mode, where Channel 1 becomes the master and Channel 2 follows suit. With True RMS Power Summing™ technology, stereo couples produce a solid duplication even with high levels of compression. The DBX 166 XL allows XLR, TRS, and unbalanced inputs as well as holding a dual-channel ¼” jack for sidechain insertion.

The Radial Phaze-Q is a utility outboard device designed to solve a very common problem in an analog studio rig- phase latency. It uses a discrete Class A circuit that adds richness while performing its primary function. While being such a simple design it adds quite a lot of functionality, particularly for dual or stereo miking. Time-Aligning the top and bottom snare can add quite a bit of punch. Or using the Phaze-Q for aligning amp and DI signals from bass or guitar can make it sound bigger and fuller. Whatever you may want to use it for, the Radial Phaze-Q can make a world of a difference when dialed properly.