Around The Shop: Arcade Fire's Custom Universal Audio 610 Console
Around The Shop: Arcade Fire's Custom Universal Audio 610 Console
In the world of the recording studio, there may be no more recognizable console or mic pre than the Universal Audio 610. With its light green hue and large tactile knobs, Bill Putnam Sr.’s creation was known for adding warmth and harmonics to recordings while still keeping things sounding extremely musical.
The 610 mic pre and recording console’s resumes are beyond stacked. Both were used predominantly on some of the top records of the 1960s and 1970s, including Neil Young’s Harvest, The Beach Boys’ Pet Sounds, The Doors’ L.A. Woman and several Frank Sinatra recordings.Set in an Audio Acoustics case, the make-up of this custom Universal Audio 610 console features includes 11 channels of historic 610 mic pres including five UA 610-A and six UA 610-B pres. The console also features three aux sends, a stereo bus, transformer balanced direct outs, patch bay, new power supply and has recently been serviced. The UA 610-B mic pres in this console were built by Steve Firlotte of Inward Connections. They are exact reissues of the original modules with a more robust build. Only 25 of these modules were built. They have been used on projects by the Black Keys, Red Hot Chili Peppers, Dixie Chicks, Brian Wilson and more. This particular console was recently used in the recreation of the legendary Western Studio 3 for the film, Love & Mercy. This console was most recently owned by Arcade Fire and used for the band’s latest album, Everything Now. Together with producer Steve Mackey (M.I.A./Florence and the Machine) and engineer Eric Heigle, Arcade Fire used the console for tracking the rhythm section, including drum machines and percussion. Read Win Butler of Arcade Fire’s testimonial below to learn more about the band’s connection to the 610 console and its use during the sessions for the album in New Orleans:"This console is absolute magic. The sort of equipment you can do anything with from a production standpoint. Most of the record was tracked through or passed through these channels at some point. The EQs are super musical, and you can be as extreme as you want without anything sounding harsh.”In addition to talking to Win Butler about this custom Universal Audio 610 console, we also sat down with engineer Eric Heigle who worked on Everything Now with Arcade Fire. Read our interview below with Eric below and continue on afterward to see more photos of the console.What was it like working on Everything Now with Arcade Fire?Everything Now was a big project, and for the most part I was the only engineer. Arcade Fire refuses to repeat themselves, and so it makes each album unique from the rest. For “Everything Now” we built a studio inside a tiny carriage house in New Orleans. I believe it is 16’ x 9’ total. The physical space limitation made it difficult, but also created a cretain atmosphere. For the song “Chemistry”, there was over twenty people in that room during a party on halloween night, with twelve musicians playing live to tape. I don’t know any other band that would even attempt that.
Talk about using the Universal Audio 610 console on the sessions for Everything Now. How was the console used in the workflow of the record?
The UA 610 console has a lot to do with drum sounds on that record. I put everything except the kick and snare through the 610. I also used them on most of the lead vocals. In some cases, like in the case of the song “Infinite Content”, the entire two track mix was run through the 610 to add some harmonic embellishment. Sometimes bass or the low end of a drum machine would be run through it as well.
How did the console impact the sound of that album?
The console was a centerpiece for the sound of the album. Those preamps are soooo hot. A lot of the distortion on the record comes from overdriving the 610 preamps. It’s got a massive bottom end and a relatively smooth top end. The sound of the record very much reflects the sound of that console.
I’m sure you’ve used plug-in emulations of the 610 and now you’ve used the actual 610 modules. What was it like actually getting to work with a real 610 console?
Anytime you can reach out and touch something I think it’s a good thing. They also heat the room up which is sometimes good for sweating some takes out. The 610 modules also just have this really wide range in the preamps and EQs. There is an insane amount of headroom. Ain’t nothing like the real thing.
I would like to thank VK for the wonderful sales assistance, service and prices. This was my first purchase with you and it won't be my last. I only wish I'd discovered you years ago!
Matthew R.
I had two Grammy wins this year - Ray LaMontagne & Carolina Chocolate Drops. Both made with help from Vintage King!
Ryan F.
In almost 20 years in Pro audio buying, never did I receive a unit so well packed and exactly as described. Works flawlessly. The whole process has been so smooth. I will never hesitate to do business with you guys in the future and will recommend you to everyone I know.
Martin C.
This was my first experience buying something from Vintage King (although I surf the "used" categories on the website frequently!), and, despite being on the other side of the world, I had absolutely no trouble and everything went very smoothly.
Phil T.
The speed of delivery exceeded my expectations! I was VERY pleased that my shipment arrived in time for a scheduled vocal tracking session. The packing insured that my order arrived safely. And the sales staff responded quickly to questions regarding the product.
James P.
Thank you so much! Vintage King has been so fair and easy to work with. I can't thank you enough. It feels good to trust such a hefty purchase to folks who are so helpful and knowledgeable. Vintage King is a sound designers dream store.
Noa L.
You guys have excellent customer service and I am excited about the next upgrade I complete on my fifth recording facility. I've been in the studio business for forty plus years. The salesman I worked with at Vintage King was the best of the best. You all rock!
Robby T.
I would recommend Vintage King to any one looking for top-class gear, unbeatable customer service and the best prices on the map!
Jake D.
My experience with Vintage King was excellent. The order was here fast considering it was out of stock. The sales person had SKB send it to me directly and I couldn't have been more pleased.
Michael D.
From the minute I placed my order I was kept well-informed through each step in your process. Even though I was buying a comparatively modest piece of gear, your attention to detail made me feel like I was purchasing a six-figure mixing desk.
Thomas W.
I am a new customer of yours. You guys provided me the absolute best deals in ordering all the equipment to power my brand new recording studio. Your customer service is amazing and i will always deal with you from here on out.
Rob M.
Thanks for your great service and getting this out today. You guys really are the Kings!
Alan B.
Better than expected! Truly impeccable service. Your team was professional, knowledgeable, provided speedy delivery above and beyond standard. Vintage King Audio is definitely my go to for all of my audio and information needs.
James O.
For assistance in better understanding the content of this page or any other page within this website, please call 888.653.1184 during normal business hours.
In the world of the recording studio, there may be no more recognizable console or mic pre than the Universal Audio 610. With its light green hue and large tactile knobs, Bill Putnam Sr.’s creation was known for adding warmth and harmonics to recordings while still keeping things sounding extremely musical.
The 610 mic pre and recording console’s resumes are beyond stacked. Both were used predominantly on some of the top records of the 1960s and 1970s, including Neil Young’s Harvest, The Beach Boys’ Pet Sounds, The Doors’ L.A. Woman and several Frank Sinatra recordings.
Set in an Audio Acoustics case, the make-up of this custom Universal Audio 610 console features includes 11 channels of historic 610 mic pres including five UA 610-A and six UA 610-B pres. The console also features three aux sends, a stereo bus, transformer balanced direct outs, patch bay, new power supply and has recently been serviced.
The UA 610-B mic pres in this console were built by Steve Firlotte of Inward Connections. They are exact reissues of the original modules with a more robust build. Only 25 of these modules were built. They have been used on projects by the Black Keys, Red Hot Chili Peppers, Dixie Chicks, Brian Wilson and more. This particular console was recently used in the recreation of the legendary Western Studio 3 for the film, Love & Mercy.
This console was most recently owned by Arcade Fire and used for the band’s latest album, Everything Now. Together with producer Steve Mackey (M.I.A./Florence and the Machine) and engineer Eric Heigle, Arcade Fire used the console for tracking the rhythm section, including drum machines and percussion.
Read Win Butler of Arcade Fire’s testimonial below to learn more about the band’s connection to the 610 console and its use during the sessions for the album in New Orleans:
"This console is absolute magic. The sort of equipment you can do anything with from a production standpoint. Most of the record was tracked through or passed through these channels at some point. The EQs are super musical, and you can be as extreme as you want without anything sounding harsh.”
In addition to talking to Win Butler about this custom Universal Audio 610 console, we also sat down with engineer Eric Heigle who worked on Everything Now with Arcade Fire. Read our interview below with Eric below and continue on afterward to see more photos of the console.
What was it like working on Everything Now with Arcade Fire?
Everything Now was a big project, and for the most part I was the only engineer. Arcade Fire refuses to repeat themselves, and so it makes each album unique from the rest. For “Everything Now” we built a studio inside a tiny carriage house in New Orleans. I believe it is 16’ x 9’ total. The physical space limitation made it difficult, but also created a cretain atmosphere. For the song “Chemistry”, there was over twenty people in that room during a party on halloween night, with twelve musicians playing live to tape. I don’t know any other band that would even attempt that.
Talk about using the Universal Audio 610 console on the sessions for Everything Now. How was the console used in the workflow of the record?
The UA 610 console has a lot to do with drum sounds on that record. I put everything except the kick and snare through the 610. I also used them on most of the lead vocals. In some cases, like in the case of the song “Infinite Content”, the entire two track mix was run through the 610 to add some harmonic embellishment. Sometimes bass or the low end of a drum machine would be run through it as well.
How did the console impact the sound of that album?
The console was a centerpiece for the sound of the album. Those preamps are soooo hot. A lot of the distortion on the record comes from overdriving the 610 preamps. It’s got a massive bottom end and a relatively smooth top end. The sound of the record very much reflects the sound of that console.
I’m sure you’ve used plug-in emulations of the 610 and now you’ve used the actual 610 modules. What was it like actually getting to work with a real 610 console?
Anytime you can reach out and touch something I think it’s a good thing. They also heat the room up which is sometimes good for sweating some takes out. The 610 modules also just have this really wide range in the preamps and EQs. There is an insane amount of headroom. Ain’t nothing like the real thing.
If you’re interested in purchasing or learning more about this custom Universal Audio 610 console, contact a Vintage King Audio Consultant via email or by phone at 866.591.17532.
