Universal Audio 6176 Users Manual
Model 6176
Channel Strip
Universal Audio Part Number 65-00053
Universal Audio, Inc.
Customer Service & Tech Support: 1-877-MY-AUDIO
Business, Sales & Marketing: 1-866-440-1176
www.uaudio.com
Notice
_____________________________________________________________
This manual provides general information, preparation for use, installation and operating instructions
for the Universal Audio 6176.
The information contained in this manual is subject to change without notice. Universal Audio, Inc.
makes no warranties of any kind with regard to this manual, including, but not limited to, the implied
warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be
liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in
connection with the furnishing, performance, or use of this material.
Copyright
© 2009 Universal Audio, Inc. All rights reserved.
This manual and any associated software, artwork, product designs, and design concepts are subject
to copyright protection. No part of this document may be reproduced, in any form, without prior written
permission of Universal Audio, Inc.
Trademarks
6176, 1176LN, 2-1176, LA-610, LA-2A, 2-LA-2, LA-3A, 2-610, 710, 4110, 8110, SOLO/110, SOLO/610,
2192, DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio,
Inc. Other company and product names mentioned herein are trademarks of their respective
companies
Contents of This Box
This package should contain:
• One 6176 Tube Preamplifier / Compressor
• 6176 Operating Instructions
• IEC Power Cable
• Registration Card
ii
A Letter From Bill Putnam, Jr.
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Thank you for purchasing the 6176 Channel Strip. The 6176 combines a modified channel of our 2-610
vacuum tube microphone preamplifier with our 1176LN all discrete solid state FET-based limiter /
compressor.
The 2-610 was inspired by the microphone preamp section of the original 610 console designed by my
father, M.T. “Bill” Putnam, in 1960. The 610 was a rotary-control console and it was also the first
console of a modular design. Although technologically simple compared to modern consoles, the 610
possessed a warmth and character that kept it in demand for decades. A prominent component of my
father’s United/Western Studios in Los Angeles, the 610 was used on many classic recordings by
Frank Sinatra and Sarah Vaughan, as well as the Beach Boys’ Pet Sounds and the Doors’ LA Woman.
My father also designed the 1176 limiting amplifier, back in 1966. There were many versions of the
1176 produced throughout the years. We patterned our 2001 reissue on the D/E versions, prized by
engineers the world over and widely believed to be the best-sounding models. These versions were
characterized by their custom transformer input stage, low noise (LN) circuitry, and Class A (1108
style) output stage. (Later versions replaced the Class A output stage with a push-pull Class-AB
output stage, and eventually replaced the transformer input with a differential op-amp circuit.) The
limiting / compression section in the 6176 captures that highly recognizable blackface 1176LN sound.
Most of us at Universal Audio are musicians and/or recording engineers. We love the recording
process, and we really get inspired when tracks are beautifully recorded. Our design goal for the 6176
was to build an integrated mic preamp / compressor that we would be delighted to use ourselves—
one that would capture the original character of the 610 and 1176LN to create a device that induces
that “a-ha” feeling you get when hearing music recorded in its most natural, inspired form.
You’ll find that the controls of the 6176 are simple and essential: we added only those features
required for practical use without needless duplication of functionality found elsewhere in most
studios. The transformers and tubes received much of our R&D attention. We opted for a transformer
design that features double-sized alloy cores with custom windings. Our tubes are carefully selected
and tested individually. To us, this extra effort is well worth the time and cost because the end result
is an outstanding yet easy-to-use product that combines a legendary mic preamp with a legendary
limiter/compressor, making for a sound that is truly extraordinary.
Developing the 6176 —as well as Universal Audio’s entire line of quality audio products designed to
meet the needs of the modern recording studio while retaining the character of classic vintage
equipment—has been a very special experience for me and for all who have been involved. While, on
the surface, the rebuilding of UA has been a business endeavor, it's really been so much more than
that: in equal parts a sentimental and technical adventure.
We thank you, and we thank my father, Bill Putnam.
Sincerely,
Bill Putnam, Jr.
iii
Important Safety Instructions
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Before using this unit, be sure to carefully read the applicable items of these operating instructions and the safety
suggestions. Afterwards, keep them handy for future reference. Take special care to follow the warnings indicated on
the unit, as well as in the operating instructions.
1. Water and Moisture - Do not use the unit near any source of water or in excessively moist environments.
2. Object and Liquid Entry - Care should be taken so that objects do not fall, and liquids are not spilled, into the
enclosure through openings.
3. Ventilation - When installing the unit in a rack or any other location, be sure there is adequate ventilation.
Improper ventilation will cause overheating, and can damage the unit.
4. Heat - The unit should be situated away from heat sources, or other equipment that produce heat.
5. Power Sources - The unit should be connected to a power supply only of the type described in the operating
instructions, or as marked on the unit.
6. Power Cord Protection - AC power supply cords should be routed so that they are not likely to be walked on or
pinched by items placed upon or against them. Pay particular attention to cords at plugs, convenience
receptacles, and the point where they exit from the unit. Never take hold of the plug or cord if your hand is wet.
Always grasp the plug body when connecting or disconnecting it.
7. Grounding of the Plug - This unit is equipped with a 3-wire grounding type plug, a plug having a third
(grounding) pin. This plug will only fit into a grounding-type power outlet. This is a safety feature. If you are
unable to insert the plug into the outlet, contact your electrician to replace your obsolete outlet. Do not defeat
the purpose of the grounding-type plug.
8. Cleaning - Follow these general rules when cleaning the outside of your 6176:
a. Turn the power Off and unplug the unit
b. Gently wipe with a clean lint-free cloth
c. If necessary, moisten the cloth using lukewarm or distilled water, making sure not to oversaturate it as
liquid could drip inside the case and cause damage to your 6176
d. Use a dry lint-free cloth to remove any remaining moisture
e. Do not use aerosol sprays, solvents, or abrasives
9. Nonuse Periods - The AC power supply cord of the unit should be unplugged from the AC outlet when left
unused for a long period of time.
10. Damage Requiring Service - The unit should be serviced by a qualified service personnel when:
a. The AC power supply cord or the plug has been damaged: or
b. Objects have fallen or liquid has been spilled into the unit; or
c. The unit has been exposed to rain; or
d. The unit does not operate normally or exhibits a marked change in performance; or
e.
The unit has been dropped, or the enclosure damaged.
11. Servicing - The user should not attempt to service the unit beyond that described in the operating
instructions. All other servicing should be referred to qualified service personnel.
iv
Table of Contents
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Notice ...................................................................................................................................ii
A Letter From Bill Putnam, Jr. .................................................................................................iii
Important Safety Instructions ..................................................................................................iv
Two Page, Two Minute Guide To Getting Started .........................................................................1
Front Panel ............................................................................................................................3
Rear Panel .............................................................................................................................9
Interconnections ................................................................................................................... 10
Insider’s Secrets .................................................................................................................. 11
The Technical Stuff ............................................................................................................... 18
Glossary of Terms ................................................................................................................ 35
Recall Sheet ......................................................................................................................... 39
Specifications ...................................................................................................................... 40
Additional Resources / Product Registration / Warranty / Service & Support ............................... 41
v
The Two Page, Two Minute Guide To Getting Started
(
)
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No one likes to read owner’s manuals. We know that.
We also know that you know what you’re doing—why else would you have bought our product?
So we’re going to try to make this as easy on you as possible. Hence this two-page spread, which we
estimate will take you approximately two minutes to read. It will tell you everything you need to know
to get your Universal Audio 6176 up and running, without bogging you down with details.
Of course, even the most expert of us has to crack a manual every once in awhile. As the saying
goes, “as a last resort, read the instructions.” You’ll find those details you’re craving—a full
description of all front and rear panel controls, interconnection diagrams, insider’s secrets, history,
theory, maintenance information, block diagrams, specifications, even a glossary of terms—in the
pages that follow.
Manual conventions:
Means that this is an especially useful tip
Means that this is an especially important bit of information
And when we need to direct you to a page or section elsewhere in the manual, we’ll use the universal
signs for rewind
Getting Started With Your 6176:
Step 1: Decide where the 6176 is to be physically placed and place it there. The 6176 is housed in a
standard two-rackspace 19" chassis, and so we recommend that it be securely mounted in a rack if
possible.
Step 2: Mute your monitors and then, using balanced cables with XLR connectors, connect the 6176’s
rear panel Preamplifier and Compressor line outputs to the appropriate inputs on your patch bay,
mixer, or DAW. (Note: If you only have one available patch point or channel input, connect only the
Compressor line output.)
Step 3: Set the Polarity switch on the left side of the front panel to its down position, ensuring that the
output signal will be in phase with the input signal. If using a microphone, set the Pad switch (on the
left side of the front panel) and the Phantom Power switch (in the center of the front panel) to their
down positions so that the pad is not engaged and no phantom power is being applied.
Step 4: Set the JOIN/SPLIT switch in the center of the front panel to its up (JOIN) position. This ensures
that the 6176 will act as a channel strip, with its preamp output internally routed to its
limiter/compressor. (Note: In JOIN mode, neither the Preamp line output nor the Compressor line input
is functional.)
Step 5: Connect a source signal (mic, line, or
instrument) to the 6176’s rear panel balanced XLR
Preamp mic or line input, or to the front panel
unbalanced ¼" jack Hi-Z input. ( see page 10 for an interconnection diagram)
Step 6: Make sure the Power switch in the center of the front panel is off (down) and then connect the
supplied IEC power cable to the rear panel AC power connector.
Step 7: On the left side of the front panel, turn the Level control to its minimum (fully
counterclockwise) position and set the Gain control to 0 (center position).
) or fast forward (
.
Make only one type of connection (Mic,
Line, or Hi-Z) to the 6176 Preamp.
1
The Two Page, Two Minute Guide To Getting Started
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Step 8: On the right side of the front panel, set the Ratio switch to BP (fully counterclockwise) in order
to temporarily bypass the 6176 limiter / compressor section. Set the Meter switch to PRE so that the
meter displays the output level of the signal leaving the 6176 preamp section.
Step 9: Power on the 6176. The purple LED above the power switch will light up.
Because the 6176 is a tube device, it needs several minutes to achieve stable operating
temperature. During warm-up, audio quality may vary slightly.
Step 10: If a microphone requiring 48 volts of phantom power is connected to the 6176, turn on the
+48V switch (up position).
Step 11: Unmute your speakers and begin monitoring the 6176 Compressor line output. Use the 6176
front-panel Input Select switch to select the connected source and then apply input signal while
slowly increasing the Level control to approximately 7. You should now be hearing signal.
Step 12: While watching the 6176 meter, set the preamp Gain switch (on the left side of the front
panel) so that sufficient signal strength is achieved. Experiment with differing degrees of preamp
Gain and Level to hear the various amounts of coloration the 6176 can impart to your signal. For the
cleanest, most uncolored signal, set the Gain switch to its lowest usable setting with Level set
between 7 and 10. If you are using a microphone and you hear distortion even at the lowest Gain
level, employ the -15 dB pad to reduce the input level. If you are using a connected microphone or HiZ instrument input, experiment also with various impedance settings to achieve optimum tonality for
your source signal.
Step 13: Experiment with the effect of the 6176’s high and low shelving filters on your source signal.
Step 14: Now it’s time to activate the limiter/compressor section of the 6176 on the right side of the
front panel. Begin by setting the Input and Output knobs to approximately 5 (12 o’clock position) for
unity gain. Then set the Ratio to 1 (or, alternatively, turn the Attack knob past its fully
counterclockwise position so that it clicks). In this mode (a compression ratio of 1:1), signal passes
through the limiter/compressor section, thus adding “color,” but with no gain reduction. Compare the
difference in tonality between ratios of BP and 1.
Step 15: To hear the effect of the 6176 gain reduction circuitry,
select different Ratios of 4, 8, 12, 20, and ALL. (ALL mode
duplicates the overdrive that occurs when all four ratio buttons
on an original 1176 are pushed in simultaneously) and varying
the Input level and Attack and Release times. Note that, unlike
many other devices, the 6176 attack and release times are faster when their associated knobs are
turned clockwise, and slower when they are turned counterclockwise. Set the Meter switch to GR in
order to view the amount of gain reduction being applied to the signal. Note that as you increase the
amount of gain reduction (by raising the Input level and/or selecting higher ratios), the overall signal
may be attenuated. If necessary, you can make up the difference by turning the Output knob
clockwise. Change the Meter switch to COMP in order to view the final output level. A meter reading
of 0 corresponds to an output level of +4dBm at the 6176 output.
Step 16: Set the JOIN/SPLIT switch in the center of the front panel to its down (SPLIT) position. In this
mode, the internal connection between the output of the 6176 preamp section and the input of the
limiter/compressor section is broken, so that each section functions as an independent device, each
with its own dedicated input(s) and output.
For more information, refer
to the “Front Panel” and
“Rear Panel” sections on
pages 3 – 9.
2
Front Panel
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NOTE: The left side of the 6176 front panel contains all preamp controls, while the right side
contains all limiter / compressor controls. All controls (except the Level, Attack, Release, Input, and
Output knobs) are stepped, allowing settings to be easily reproduced.
(1) Gain - Adjusts the gain of the input stage in 5 dB increments. Turning the Gain switch clockwise
raises the gain. Because this also has the effect of reducing negative feedback ( see page 25),
the Gain switch alters the amount of the input tube’s harmonic distortion, a major contribution to the
“warm” sound characteristic of tube equipment. The higher the Gain setting, the more coloration the
6176 will impart to the incoming signal.
(2) Input Select - Determines which of the following three inputs is active: Mic, Line, or Hi-Z. The
Mic and Hi-Z inputs each provide two different impedance settings.
Mic - Selects the signal arriving at the rear panel balanced XLR Preamp MIC INPUT
connection. ( see #7 on page 9) The impedance for the Mic input can be set to 500 ohms
or 2.0K ohms. Switching between these two positions while listening to a connected
microphone may reveal a different tonal quality and/or gain difference. Typically, a
microphone preamplifier should have input impedance roughly equal to about 10 times the
microphone output impedance. For example, if your microphone has an output impedance of
approximately 200 ohms, the switch should be set to the 2.0K position. However, making
music is not necessarily about adhering to technical specifications, so feel free to
experiment with the settings to attain the desired sound: you will not harm your microphone
or the 6176.
Line - Selects the signal arriving at the rear panel balanced XLR Preamp LINE INPUT
connection. ( see #6 on page 9) This connection has an input impedance of approximately
13K ohms and is intended to accommodate mixers, DAWs, tape machines, other mic
preamps, signal processors, or any device with a line level output, such as keyboards, sound
modules and drum machines. Using this input, the 6176 can act as a “tone box” for linelevel signals, offering a variety of sonic colors based on front panel control settings.
3
Front Panel
4
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Hi-Z - Selects the input signal arriving at the front panel unbalanced ¼" jack Hi-Z
connection. ( see #5 on page 4) Intended for the direct connection of electric guitar,
electric bass, or any instrument with a magnetic or acoustic transducer pickup, this can be
set to either 47K ohms or 2.2M ohms. The 47K ohms setting is best suited for the -10 dBv
level signals typically provided by active basses and guitars, while the 2.2M ohms setting is
more suitable for instruments with passive pickup systems. Since a particular instrument’s
output impedance may actually be somewhere between the active and passive levels, feel
free to experiment to achieve the best sound at the desired level. ( see page 26 for more
information)
(3) -15 dB PAD - Reduces the mic input signal by -15dB. (This switch has no effect on Line or Hi-Z
signal.) Use this to reduce the incoming signal in cases where undesired distortion is present at low
gain levels (for instance, where especially sensitive microphones are used on loud instruments).
(4) Polarity - Determines the polarity of the 6176’s Preamp LINE OUTPUT. ( see #5 on page 9)
When IN ø is selected, the signal is in phase, and pin 2 is hot (positive). When OUT ø is selected, the
signal is out of phase, and pin 3 is hot (positive). Polarity reversal may be useful in cases where
more than one microphone is utilized in recording a source.
(5) Hi-Z Input - Connect high impedance signal from an instrument such as electric guitar or bass to
this standard unbalanced ¼" jack connector. If a connection is made to the Hi-Z input, be sure that
there is no connection also made to the Mic or Line inputs.
Make only one type of connection (Mic, Line, or Hi-Z) to the 6176 .
(6) Level - Determines the amount of signal sent to the Preamp output stage. For the cleanest, most
uncolored signal from the 6176, set the Gain switch ( see #1 on page 3) to a low setting (-10 or -
5) while turning the Level knob until the appropriate output signal is attained.
The numeric values for the Level knob are NOT specific dB values.
You can come up with many useful tonal variations by experimenting with different
Impedance, Gain, and Level settings.
(7) High Frequency - Selects the corner frequency for the high shelving filter. Available frequencies
are 4.5K (kHz), 7K (kHz), and 10K (kHz).
Front Panel
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(8) High Boost/Cut - Selects the amount of cut or boost applied by the high shelving filter. The
positive and negative numbers on the front panel denote dB values (-9, -6, -4.5, -3, -1.5, 0, +1.5, +3,
+4.5, +6, +9).
(9) Low Frequency - Selects the corner frequency for the low shelving filter. Available frequencies are
70 Hz, 100 Hz, and 200 Hz.
(10) Low Boost/Cut - Selects the amount of cut or boost applied by the low shelving filter. The
positive and negative numbers on the front panel denote dB values (-9, -6, -4.5, -3, -1.5, 0, +1.5, +3,
+4.5, +6, +9.
(11) +48 V - Most modern condenser microphones require +48 volts of phantom power to operate.
This toggle switch applies 48 volts to the 6176 MIC INPUT when the switch is up (in the +48V
position). ( See page 26 for more information about phantom power)
Keep phantom power off (switch down) when it is not required.
(12) Power - Turns the 6176 power on or off. When powered on, the purple LED immediately above this
switch is lit.
Always check the power requirements of your microphone with the manufacturer before
applying phantom power.
To avoid loud transients, always make sure phantom power is off when connecting or
disconnecting microphones.
(13) Join / Split - This switch allows separate use of the preamp section and the limiter / compressor
section. When the switch is in the SPLIT (down) position, each side of the 6176 acts as a separate
device, each with its own separate rear panel in / out connections. ( see #1 and #2 on page 9 and
#5 and #6 on page 9) When the switch is in the JOIN (up) position, the 6176 behaves like a channel
strip, with the preamp output automatically routed internally to the limiter / compressor section.
When operating in JOIN mode, the rear panel Preamp LINE OUT and the Limiter/Compressor
LINE IN jacks are automatically disconnected.
5
Front Panel
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(14) Attack - Sets the amount of time it takes the limiter /compressor to respond to an incoming
signal and begin gain reduction. The 6176 attack time is adjustable from 20 microseconds (FAST) to
800 microseconds (SLOW). The attack time is fastest when the Attack knob is in its fully clockwise
position, and is slowest when it is in its fully counterclockwise position.
Turning the Attack knob all the way fully counterclockwise position (past the point where it
clicks) has the same effect as setting the Ratio switch to the “1” position, where signal
passes through the limiter / compressor section but is not processed. This is commonly
used to add the “color” of the 6176 limiter / compressor without any actual gain reduction.
When a very fast attack time is selected, gain reduction kicks in almost immediately and
catches transient signals of very brief duration, reducing their level and thus "softening" the
sound. Slower attack times allow transients to pass through unscathed before limiting or
compression begins on the rest of the signal.
(15) Release - Sets the amount of time it takes the limiter /compressor to return to its initial (pre-
gain reduction) level. The 6176 release time is adjustable from 50 milliseconds (FAST) to 1100
milliseconds (SLOW). The release time is fastest when the Release knob is in its fully clockwise
position, and is slowest when it is in its fully counterclockwise position.
If the release time is too fast, "pumping" and "breathing" artifacts can occur, due to the
rapid rise of background noise as the gain is restored. If the release time is too slow,
however, a loud section of the program may cause gain reduction that persists through a
soft section, making the soft section inaudible.
Unlike many other devices, the 6176 Attack and Release times get faster, not slower, as
their corresponding knobs are turned up (clockwise).
(16) Meter Function - This switch determines what the 6176’s VU meter displays: either the preamp
section (PRE) output, the amount of gain reduction (GR), or the compressor’s output level (COMP).
When PRE is selected, a meter reading of 0 corresponds to a level of +4 dBm at the rear panel
Preamp LINE OUTPUT jack. ( see #5 on page 9)
(17) Input - Determines the level of the signal entering the limiter / compressor section, as well as
the threshold. Higher settings will therefore result in increased amounts of limiting or compression.
6
Front Panel
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(18) Output - Determines the final output level of signal leaving the limiter / compressor section.
Once the desired amount of limiting or compression is achieved with the use of the Input control, the
Output control can be used to make up any gain lost due to gain reduction. Set the Meter switch to the
Compressor (COMP) position while using the Output knob to set the desired output level. ( see #16
on page 6)
(19) Ratio - Determines the severity of the applied gain reduction. (A ratio of 4:1, for example, means
that whenever there is an increase of up to 4 decibels in the loudness of the input signal, there will
only be a 1 dB increase in output level, while a ratio of 8:1 means that any time there is an increase
of up to 8 dB in the input signal, there will still only be a 1 dB increase in output level.) When higher
ratios (12:1, 20:1, or ALL) are selected, the 6176 is limiting instead of compressing. Note that higher
Ratio settings also set the threshold higher.
The 6176 Ratio control allows seven different modes of operation:
compressor output, thus completely removing its associated “tone” from the signal. (This feature is
provided so you can quickly remove the limiter / compressor section from the signal path altogether
without having to physically move cables.)
BP (Bypass) - This position automatically routes the preamp output directly to the limiter /
When the 6176 is set to a ratio of BYPASS, none of the other limiter / compressor controls
are operational.
1 - Selects a 1:1 ratio (no gain reduction).
Setting the 6176 to a ratio of 1 has the same effect as turning the Attack knob to its fully
counterclockwise position (past the point where it clicks), where signal passes through the
limiter / compressor section (and in doing so takes on its tonal “color”) but with no actual
gain reduction.
4 - Selects a 4:1 ratio (moderate compression).
8 - Selects an 8:1 ratio (severe compression).
12 - Selects a 12:1 ratio (mild limiting).
20 - Selects a 20:1 ratio (hard limiting).
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. ( see page 25 for more information.)
7
Front Panel
8
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Setting the 6176 to a ratio of ALL causes distortion to increase radically due to a lag time on
the attack of initial transients and constant changes in the attack and release times as well
as a change in the bias points. Consequently, the meter will go wild, often resting at
maximum. Don’t worry, though – you won’t be harming the 6176 by using this mode!
Engineers typically use “All” mode on drums or on ambience or room mics. It can also be
used to “dirty” up a bass or guitar sound, or for putting vocals “in your face.”
(20) Meter - A standard VU meter that displays either the preamp section output level, amount of gain
reduction, or limiter / compressor section output level, depending upon the setting of the Meter
Function switch. ( see #16 on page 6) Occasionally, the meter may require calibration.
( see page 27 for instructions for calibrating the 6176 meter)
In order to set a specific amount of limiting or compression on the 6176, begin by turning
the Output knob to unity gain (approximately 5) and the Input knob to its fully
counterclockwise (0) position. Set the Ratio as desired, then set the Attack and Release
controls to “5” so that some gain reduction is enabled. Set the Meter Function switch to the
GR position so that the meter shows the amount of gain reduction, then slowly turn the Input
control up until the desired amount of gain reduction is achieved. Finally, adjust the Attack
and Release times until they are suitable for the program material and make up any gain
necessary by raising the Output knob as desired (set the Meter Function switch to COMP to
view the final limiter/compressor output level).
Rear Panel
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(1) Limiter / Compressor LINE OUTPUT - A balanced XLR connector carrying the line-level output
signal of the 6176 limiter/compressor section. Pin 2 is wired positive (hot).
(2) Limiter / Compressor LINE INPUT - Connect line-level input signal (coming from a device such
as a mixer, DAW, tape machine, or signal processor) to the limiter/compressor section via this
balanced XLR connector. Pin 2 is wired positive (hot).
(3) Limiter / Compressor Input Loading - When this button is pushed in, the input impedance will be
600 ohms, typical of older vintage gear. When the button is out, the impedance will be 15K ohms. In
some situations you may perceive a “brighter” tone by using the 15K ohm position.
(4) AC Power Connector / Fuse Holder - Connect a standard, detachable IEC power cable (supplied)
here. If fuse replacement is required, use only a 400 mA time delay (slow blow) fuse for operation at
115 V, or a 200 mA time delay (slow blow) fuse for operation at 230 V.
Never substitute different fuses other than those specified here!
(5) Preamp LINE OUTPUT - A balanced XLR connector carrying the line-level output signal of the
6176 preamp section. Note that Pin 2 is positive when the front panel Polarity toggle switch is down
(IN ø). Pin 3 is positive when the front panel Polarity switch is up (OUT ø). ( see #4 on page 4)
(6) Preamp LINE INPUT - Connect line-level input signal (coming from a device such as a mixer,
DAW, tape machine, or signal processor) to the preamp section of the 6176 via this balanced XLR
connector. Pin 2 is wired positive (hot). Note: If a connection is made to this Line input, be sure that
there is no connection also made to the Mic or Hi-Z inputs.
(7) Preamp MIC INPUT - Connect your microphone to this standard XLR connector. Pin 2 is wired
positive (hot). Note: If a connection is made to the Mic input, be sure that there is no connection also
made to the Preamp Line or Hi-Z inputs.
Make only one type of connection (Mic, Line, or Hi-Z) to the 6176 preamp section.
9
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