Interview: Brian Ahern
Legendary Producer Brian Ahern Test Drives the New Universal Audio 6176
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| Brian Ahern |
“I usually have all my Universal Audio gear going, during a session and during the mix."
Brian Ahern’s Nashville studio is filled with Universal Audio gear. He counts three LA-2A purchased in the late seventies for the Trio Project (Dolly Parton, Linda Ronstadt and Emmy Lou Harris), two 1176s, two 6176s and the UAD-1 Powered Plugs (DSP card with software versions of the vintage compressors and EQ). Ahern recently tried out the new 6176 on some reissues of some of his older Emmy Lou Harris records, Pieces of the Sky, Luxury Liner, Elite Hotel, Quarter Moon and a Ten Cent Sky and Blue Kentucky Girl.
The 6176 combines Universal Audio’s two most successful products—the 2-610 microphone/instrument preamplifier and the 1176LN compressor—into a single “channel strip” product and features several improvements over the standalone 2-610 mic preamp and 1176LN compressor. The mic preamp now features a 15db pad and a beefed-up power supply that tightens up the bass. The compressor section still has the twenty micro-second attack time and program dependency of the original 1176, but it is much quieter. Universal Audio sees the 6176 as vintage character with modern specs.
Ahern is employing the 6176 for recording vocal overdubs and in the mastering process as well. “I taking the original 1/4’ masters mixed in the seventies and running them thru the dual 6176s to add a bit more loudness. Keep up with contemporary values, so we say? “ Ahern chuckles. “I like that color that the tube/pre amp of the 6176 generates.”
“I’ve been using a pair of Neumann M50s (originals, not reissues) for the vocals. The M50 Omni capsule is built into a plastiscene ball mounted on a pedestal inside the microphone cage. From this subtle and arcane technology combined with the 6176, results a sense of depth and “being there” enhanced by the microphone’s uncanny ability to put acoustic guitar “in-your-face” from a distance of twelve feet! You record the whole instrument and air around it, instead of jamming it up to the sound hole.”
Ahern records directly onto a Studer 24 track analog tape machine and then transfers his recordings into the computer. When he does overdubs he does basically the same thing. He plays back the computer track, records analog onto the Studer and then records back into the computer. Everything is stereo in nature and begins analog.
He likes to use the 6176 as the pre amp. “Most voices and instruments are defined by their mid-range frequency content. The 6176 has a powerful and articulate mid-range lens and the compression has always been one of my favorites.”
One of the secrets to Ahern’s amazing sound is that he usually doesn’t add compression in the mix. Between the 6176, and the analog tape he gets enough warmth. “I can set up the 6176 for two different feeds on the microphones which gives me a very subtle coloration. Then I have control on the input and the gain of the mic preamp before I even get to the compressor, which gives me more options. When I go to the Studer I can then pick 2 different stocks and two different speeds so there’s four more options there.”
He also prefers to use the 6176 EQ on direct input for bass overdubs. Recently he used it on a vintage Hagstrom Bass overdub. He used a little low end EQ and put some overdrive the Preamp. “The Equalizer is well thought out and the innovative Impedance Selections create subtle tone changes that are otherwise unavailable. My vintage Hagstrom Bass bloomed as never before through the Instrument Input.”
Ahern mixes on a Yamaha DM2000 Digital Console that allows him to integrate his digital and analog gear. He often uses the 1176 compression in the mixing process, “massaging” his tracks. But he prefers to use the LA-2A on bass tracks “Once in a while, I’ll use it on a lead vocal that’s a little harsh sounding and shrill. It sounds good too on electric piano when it’s too square wave sounding.“ He sometimes uses the digital version of the LA-2A from the UAD-1 Powered Plug Ins especially on a secondary instruments (not vocal or bass).
“I usually have all my Universal Audio gear going, during a session and during the mix. I used the LA-2A all over the newly released Producer’s Cut surround DVD-A that I put together for Emmy Lou Harris. I just wish I had more.”
For an in-depth review of Brian's new Producers Cut DVD Audio at highfidelityreview.com, click HERE:
http://www.highfidelityreview.com/reviews/review.asp?reviewnumber=10985886
--Interview by Marsha Vdovin
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