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 it's not found on more compressors
I had lots of fun testing the 7110 on drum tracks. It's easy to produce adbx 160X-likethwack on drum transients. Super-fast compression,Valley People Dynamite-style , is possible too. With higher comnpression 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
"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 aggresive 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"
Technical
The 7100 is packaged in a typically tough American 1U steel case. Internal construction is simple with a single PCB & through-hole components so it will be repairable in the future. The power transformer has been replaced with a 220 Volt unit for use in the UK / EU. Mains input is 220 Volts AC with a rear-panel fuseholder and a short, captive 3-core cable terminated in an IEC socket. A standard UK or Euro Schuko IEC cable will be supplied on request
The unit has a balanced input & unbalanced output on XLRs, jack sockets and barrier strip. The detector input is on a jack socket. Like a dbx 160X, the circuit board has a space for an optional output transformer
Upgrades
The power transformer has been replaced and the power supply capacitors replaced & upgraded with higher capacity, premium-quality Panasonic caps bypassed by film caps. The audio path has no capacitors apart from a pair of back-to-back electrolytics bypassed by a high-quality film cap. These have been left but can easily be replaced
In excellent used condition. Tested & working 100%. Recapped, upgraded power supply
Vintage gear
All vintage gear will have case scratches and marks. It may also have, or develop, noisy pots and switches. I make my descriptions as accurate as possible and note any existing defects. I test each item before shipping, and and supply a test sheet for it, but please understand that vintage gear will not be perfect and adjust your expectations accordingly
Payment
I accept payment by PayPal only for postal items and PayPal or cash on collection
Delivery
Collection from Brighton BN1 or I can send via insured courier. Turnaround up to 3 days, shipping 3-5 days
Returns
Items can be returned within 14 days. Return postage to be paid by the buyer and returned items must be unused, unmarked and as received. Please retain the packaging to reuse