Bill Putnam and UREI (Universal Recording Electronics Industries) were responsible for many of the studio innovations we now take for granted. Their product line includes the 176, LA-2A, 1176 and later compressors like the LA22 and the 7110. Following the sale of UREI to Harman some products were sold under the JBL brand name. Hence the 7100 is described as a UREI / JBL compressor

“Bill Putnam was the father of recording as we know it today” – Bruce Swedien

The UREI 7110 is a single-channel compressor in conventional format with attack & release controls and variable ratio. Unlike the 176 & LA-2A (valve) and the 1176 (FET) it uses a VCA as the gain control element. The front panel has the usual stereo link switch and an auto switch for program-dependent settings. There is no bypass switch

First impressions are that the 7110 is pretty audible in operation and has tons of character. It responds well to changes in both threshold & ratio and, unlike many compressors, when using ratios above about 8:1 it’s still possible to hear a change in character. It’s very responsive to attack & release settings – fast attack will neuter drum hits very effectively

The sidechain detector is a little unusual – response can be varied from RMS (averaged) to Peak or anywhere in between. This turns out to be the 7110’s secret weapon. The detector controls how the sidechain responds to transients and, in combination with attack & release controls, it’s possible to have a slow-acting compressor acting on average levels, a faster compressor reading peaks or any combination of these variables. This transforms the 7110 into a very serious compressor indeed. So much so, I’m surprised this feature isn’t on more compressors

I had lots of fun testing the 7110 on drum tracks. It’s easy to produce a dbx 160X-like thwack on drum transients. Super-fast compression, Valley People Dynamite-style , is possible too. With higher compression ratios and detector set to peak, you can achieve serious squashing a bit like an SSL talkback compressor. What’s surprising is that all these sounds are so easily accessible from a simple front panel

Quite why the UREI 7110 is not a studio legend I don’t know. It’s now in the “Honourable Mentions” section of my Top 5 Compressor List

“I’m always shocked at how great this compressor sounds on drums, vocals, acoustic guitar ect. anyone ever tried running a whole mix through a pair? It’s aggressive but still has an expensive sound”

“It is a fantastic comp for bass, with a big full low end, a smooth warm sound, and low noise”

“The more I use them, the more I appreciate how cool they are. The real magic with these units is the knob that is variable between a peak and RMS detector. With it set on peak, it’ll get aggessive as all hell with tons of distortion, and even get pretty close to the distessor nuke thing as a limiter”

“The peak-RMS morphing is unique in compressor land. I can’t really compare it with high end compressors but it has a certain smack , probably comparable with units like the distressor or 1176”

“I’ve found it work great for smashing the room mic. For that alone its worth having”

“Best all-around compressors I have ever owned. Few compressors work well on various sources like these do”

“Awesome underrated compressors. I have 2x7110s, 2xLA-12s, and 2xLA-22s in my arsenal. They should be up there with the 1176s and LA2As. No studio should be without them”

“7110’s are a very well kept secret, along with my Urei LA-22’s. I use them like my lungs”

“and it can do nasty nasty as well…”

“very mean.. kinda grainy.. the Peak/RMS knob is the best feature.. great for smashing drum loops… better than distressors for this job”

“this is one great sounding compressor, especially for current used prices. aside from the FMR Audio RNC, it’s probably the only sub-$1000 compressor worth owning. Unlike the RNc however, this box ads a pretty substantial degree of color to the sound” 

“The 7110 also kicks butt, just differently”

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Like all previous versions of the 1176 this has a balanced output via an output transformer. The input  is electronically-balanced like the last few versions of the original. From there it feeds the FET gain-reduction element, a make-up gain amplifier, a line amplifier and the output transformer

In my opinion the 1176 is the best compressor available for bass guitar and vocals. On my Compressors page I say:

“Nothing sounds like an 1176 – it’s a one-off, a freak, an outlier – and that’s why it’s stood the test of time. For vocals and bass guitar, nothing betters it for a punchy, aggressive sound. Set it for a fairly slow attack, fastest release and 4:1 compression then just ramp up the input level till the vocal sits where you want it. A little tweak on the attack time, a hint of EQ and job done”

This 1176LN is in excellent condition with the typical surface discolouration of the aluminium case but an almost-unmarked front panel. All knobs & switches are original. Photos show the compressor for sale

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Rare & super-flexible stereo compressor from UREI. The LA-22 is a slept-on classic that is overlooked by many. Like the BSS DPR-402 it’s complex but super-capable

UREI compressors need no introduction. Many of their products are definitive pieces of outboard gear which have spawned clones, DIY versions and official reissues. Some years after the legendary optical & FET-based compressors of the 70s and 80s came a range of VCA compressors including the LA22

The LA-22 is a dual-channel VCA compressor in a compact 1U box. It has attack & release, threshold & compression ratio controls like a traditional compressor but adds a number of rarely-seen features like variable response and parametric sidechain EQ

“Its my #1 go-to vocal mixdown compressor”

“The Urei LA-22 is a great and overlooked vintage compressor”

“The main feature of the LA-22 is its frequency dependent mode”

“I think I like it” – Jules Standen

“It’s a thick box – great for certain tracks but no the kind of thickness you’d want for the mix”

“The LA22 is my favorite vocal compressor”

“I use mine on vocals as de-esser often. Also gets use on some electric guitars. The build in sidechain EQ is a great feature”

“Q: Would you put a la22 over a end mix? To give it a vintage feel?”
“A: No. but I would use it on the master bus to stomp the mix to snot”

The LA22 will appeal to those who like a compressor with character. Although it’s a VCA compressor it can be made to be surprisingly unsubtle. The key to this is the peak / rms detector control. As with the UREI 7110, pushing this toward peak produces a compressor that can grab transients and twist them into a pretzel. It may be at home doing subtle compression but there is a definite hooligan tendency within the LA-22

This is not a compressor you can get to grips with immediately but one to learn & get comfortable with over time. The sidechain, equaliser & variable detector response means it’s possible to dial up pretty much any kind of dynamic effect you want but you’ll need to know your way round it first. Once you do, you’ll find it a real asset, particularly as it has two linkable channels

My only criticism is the cramped front panel. It’s loaded with knobs & switches and isn’t easy to learn. This is not a rack unit to bury at the bottom of a rack – sit it nice & high so you can get to grips with the control layout. It reminds me a little of the BSS DPR-402 – both are complex, deep devices that need to be learnt. In the case of the UREI I think it will be time well spent. It’s as close as you’ll find to a compressor that does everything

Photos show the compressor for sale

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Vintage equaliser from UREI. The 546 is a two-channel, four band parametric equaliser with variable high- and low-pass filters and input gain controls. In usual UREI fashion, the ergonomics and signal path have been honed to perfection , producing a highly useable, efficient EQ

Each band has a push-pull, in / out switch to bypass that band only. Each channel has a bypass switch and this 546 has been modified with a filter bypass switches. In bypass bandwidth is extended to 200 KHz

The 546 is easy to use with plenty of scope in the controls and well-judged linearity. The tightest filter setting has a high Q is suitable for notching out problem frequencies. At broader settings each band is wider & smoother. The 546 turns out to be my favourite bass equaliser – it’s easy to put weight into a bass sound, or warmth, or depth without it sounding wooly

“There’s also a certain curiosity factor with this eq. Every engineer that’s been in my studio since I got it has immediately zoned in on the 546 and been intrigued with it. There were only about 1,000 made, I believe, so it’s not something everyone has seen”

“Very useful piece of gear IMHO! Good for notching out annoying freq’s in guitars/vocals. You may find you like on a variety of sources”

“A friend was clearing out his studio of older stuff and gave me his a few years ago. It sounds good, great for bass, guitars or vocals. Mine seems a bit sensitive to overload, probably needs new caps.

The 546 was original UREI [United Recording Electronics Industries] gear from their Sun Valley days, and was pre – JBL. I think 70’s.”

“It’s a great parametric EQ for the price that they seem to fetch. They do not have a lot of headroom (which is a problem with lots of parametrics) but you can generally work around it. Not a warm or sweet sounding EQ but great for surgical stuff like fixing bad kicks, vocals, etc”

In very good used condition. Has minor rack rash & case marks but it’s in great shape for a vintage piece. All knobs are original & in good condition Refurbished & psu recapped. Tested & working 100%. Photos show the EQ for sale

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Each eq section has variable Q enabling tight notches or boosts or broad lifts & cuts. Three bands are dedicated to low, mid and high-frequencies, and cover a couple of octaves or so, while the fourth is switchable low / mid / high. This means the fourth section can be used in addition to another section, to pinpoint areas to cut or boost. For example, you can put a nice broad boost on the low end of a snare with the low or mid section, notch out the ring using the fourth – and still have two bands, plus the filters, to work with

After working with it I got to really like the 545. It has the typical UREI attention to detail and the usability you’d expect, but is also more than the sum of its parts. It has that UREI mojo

This 545 has been refurbished in our workshops – the power supply has been recapped, pots & switches cleaned & lubricated, and the front panel & knobs cleaned. The case has some surface corrosion but the inside is clean & tidy and it works a treat. Supplied with a set of short XLR pigtails and set to 220V for use in the UK & Europe. Power cable supplied on request. Tested & working 100%. Photos show the EQ for sale

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This 535 has been completely refurbished. The boost / cut sliders have been replaced with new pots. The pots are mounted closer to the front panel which removes much of the stiffness common with the 530 and 535. With all new pots this 535 works better than new

The unit has been recapped with uprated Panasonic electrolytic capacitors in the power supply. The tantalum caps have been replaced with electrolytics, main reservoir caps increased in value and decoupling caps fitted. Finally, all the electrolytics in the audio path have been replaced with uprated Panasonic bipolar caps

Tested & working 100% and better than new. Photos of the 535 for sale to come

Universal Audio was one of the early pioneers in audio equipment. Founded in 1946 by Bill Putnam, UA produced recording equipment as a sideline to his Universal Recording record company. The company was later renamed United Recording Electronics Industries, giving us the famous UREI name & logo

Bill Putnam was responsible for many innovations in recording including the 1176 compressor, the valve Teletronix LA/3A and transistor UREI LA4/A levelling amplifiers. UREI produced a wide range of products and the 535 is one of many equalisers they produced in the late 70s and 80s

The 535 is a two-channel graphic equaliser with ten bands per channel, in / out switch, input gain trim and a transformer-coupled output with overload LED. It’s a simple design, owing a lot to the earlier 527 & 529 mono graphics

Like all UREI kit from this period, it’s built like a tank with a very functional case, secured by the traditional UREI exposed hex-head screws, and a beautifully-finished aluminium front panel. Inside, it’s best-practice, 1970s-style, with a thick circuit board, huge (by today’s standards) through-hole mounted components, massive American transformers and lots of hand-wiring

The 535 is a 10-band equaliser with frequencies at octave spacings. It has a reputation as a great guitar EQ – the bands are wide enough to be smooth, but tight enough to pull out or accentuate specific frequency bands. It definitely sounds crunchier than plugin EQs and can be as subtle or as lairy as you like, depending how far you push it

Like all UREI gear, the 535 has tons of sonic character and great visual appeal. It has a functional appearance, like much German audio equipment, so simple & so logical that it can’t be bettered. That combination of simplicity, rugged construction & great sonics is as compelling now as it was in the 1970s

Great analogue outboard gear never dates and never devalues if it’s as simple, effective and well-designed as this UREI equaliser. In that respect, it’s the polar opposite of software plugins. A UREI 535 will sound unlike any other EQ you own and give you two channels of no-faff equalisation for guitars, loops, drum ambience, effects – whatever you like

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