Recording - September 2011 - 31

allows you to connect additional sources such as the direct outs of a mixer or even additional mic preamps. The selectable sample rate covers all of the bases from 44.1 to 192 kHz at 16 or 24 bits. This section also includes a selectable peak limiter, and each channel has its own 2stage LED level indicator. Each channel has +48 V Phantom power, –15 dB pad, a lowcut filter, phase reversal, and—on the rear—an XLR mic input, an XLR balanced line input, a pair of 1/4" TRS insert jacks, an XLR balanced output, and—in front—a self-detecting 1 /4" Hi-Z instrument input. Each channel also has a pair of new features not found on the original 710. The first is a simple 1176-style compression circuit, fixed at a 4:1 ratio and a 10 dBu threshold. It has two preconfigured attack- and release-time settings: Fast with an attack time of 0.3 ms and a 100 ms release time, and Slow with 2.0 ms and 1100 ms respectively. The second new feature is the inclusion of traditional channel inserts on each preamp channel. On the digital side there are a pair of ADAT optical outputs, a pair of BNC word clock connectors with a 75 ohm termination switch, and a single AES/EBU D-sub output. Each jack is metal and solid, no cheapo plastic connections here! Comp time I admit I was initially not expecting much from each channel’s new 1176inspired compressor. I have reviewed built-in, single-control preset compressors in interfaces and mic preamps before, and I have found them usually to trend toward utilitarian/bland... or worse, “nifty” or “novel”, meaning not very useful on a variety of traditional signal types! In contrast, while the 4-710d’s compressor is simple with limited settings, it is simple in a classic LA-2A/LA-3A kind of way, and that can only be a good thing. When the compressor is engaged, the input and output knobs of the preamp take on the extended role of functioning like a vintage “push-pull” compressor where you push the input gain into the threshold and it clamps down on the signal, and then you use the output knob to bring the compressed signal back up in volume. It is a bit of a balancing act when setting the desired amount of compression, as the smaller knobs do not have as broad a throw as a full-fledged 1176 or LA unit, and these same controls are still controlling levels in and out of the mic pre as well. Because of that, using the VU meter is essential for

checking both gain reduction and input drive, and having a dedicated meter per input channel becomes more than a luxury, it’s vital and much appreciated. How does the compressor sound? This is a vibe piece, no doubt about it. If you want sterile precision, look elsewhere. This compressor on the Slow setting is bold and smooth, and on the Fast setting can be quite clampy and forward. While not a full-on 1176, it is sonically in the ballpark, and thanks to the 710’s additional drive and tone-blending capabilities it can also exhibit a nice aggressive bite. With the available line level inputs, it was equally at home in a mixdown situation as it was during tracking, and who couldn’t use four extra hardware compressors during mixdown? And before you ask: I tried and liked it on a lot of different signal types, but if I had to highlight one use that really stands out, I would say this thing kills on electric guitar tracks. Digital interface Adding A/D conversion to a mic preamp is not unheard of, but rather than being a bonus feature, the 4-710d’s converter is a full-featured affair, especially since it offers eight full channels. While it’s not eight channels of ultra-high-end conversion like you’d get from UA’s 2192 converter or something along those lines, it easily goes toe-to-toe with most mid-level 8-channel interfaces on the market, and is a marked improvement over the converters in the mid-priced interface I have in my portable rig. Conclusions The biggest strength of the 4-710d is its overall integration. It all works seamlessly together, and nothing seems like a marketing gimmick or a useless add-on feature. I was a Twin-Finity fan already, so four of them in one box is just more of a good thing. The compressors are useful for both tracking and mixing, and the addition of eight channels of A/D conversion make this unit an attractive option as the centerpiece of a project studio, a compact remote tracking rig, or simply for adding some unique and different high-quality character to a pro room. Oh, and the price? You get all this for a respectable $2k street. Compared with what you’d spend if you were to buy four tube-based mic pres, four compressors, and a separate analog-to-digital converter, it’s easy to see that the 4-710d is clearly a bargain! Now I just have to wonder... if you have four channels of Twin-Finity, is that Eight-Finity...?

Price: $2499 • More from: Universal Audio, www.uaudio.com
RECORDING SEPTEMBER 2011

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Recording - September 2011

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