UREI

Browse UREI vintage audio equipment in the Vintage Technology Archive.

Compressor

• 175B — UREI 175B tube limiter — a valve compressor that stayed in commercial studio racks from the late 1970s through the 1990s.

Dynamics Processor

• 1176LN — The UREI 1176LN is a FET-based peak limiter — the most widely used limiter in the world, per UREI's own period advertising.
• LA-22 — UREI LA-22 dual-channel compressor/limiter/expander — flagship of the LA Series, with onboard parametric filter and expander mode.
• LA-2A — UREI LA-2A — the first commercially viable electro-optical tube limiter. Up to 40 dB gain reduction, ~10 µs attack, 1987 price $1346. The studio classic that had to be re-run.

Filter

• 565-T — UREI 565-T filter set — four tunable active filters, 20 Hz–20 kHz, 50 dB notch depth. The analog problem-solver for hum, resonance, and effects.
• 565T — UREI 565T Little Piper filter set — two end filters and two notch filters, 20 Hz–20 kHz, listed at $1,196 in 1985. Thin record.

Mixers

• 1620LE — UREI 1620LE — Soundcraft's 2005 reissue of the classic UREI DJ mixer, six channels, balanced house/booth outs, faithful sonics.

Power Amplifiers

• 811-C — Little is documented about the UREI 811-C. Beyond a brief period new-products note, the surviving record is thin. The 1987 item in Recording Engineer
• 813-C — UREI 813-C: little-documented C-series studio monitor, 101 dB sensitivity, coaxial midrange + titanium compression driver, single-point source.

Studio Monitor

• 813B (1983) — UREI 813B (1983) Time Align studio monitor — 40 Hz–17.5 kHz, 101 dB sensitivity, 195 lb, $2,096 in 1986. A wall-mount coaxial legend.

Other Models

• 1176/1178 — UREI 1176 (1967) and 1178 (1979) — the FET solid-state peak limiter and its stereo twin, from Bill Putnam Sr. Loved by Lord-Alge and Brauer.
• 539 — Obscure UREI 539 room EQ filter set: 27-band cut-only with minimum-phase LC networks. Documented mainly in a 1985 Modern Recording listing.
• 6210 — UREI 6210 Energizer Amplifier — 40W into 8 ohms, low-feedback complementary output, built to bolt onto JBL 4400 Series monitors.
• 811S — UREI 811S Time-aligned studio monitor — the smaller sibling to the 813, trusted in trucks, film rooms, and control rooms through the 1980s.
• 815B — UREI 815B studio monitor — 235 lb, 103 dB sensitive, twin 15-inch cones, 40 Hz–17.5 kHz. The Series B flagship that ruled control-room bass.
• 815S — UREI 815S Time-aligned studio monitor — Altec 604 duplex drivers, 800-series crossover. A working-room tool, not a collector trophy.
• 920-16 — UREI 920-16 Cooper Time Cube — a 16ms/14ms acoustical tube delay line with four UA 1109 cards, 600-ohm floating I/O, and a sound no plate or spring could fake.
• LA-10 — UREI LA-10 single-channel compressor/limiter — three gain reduction circuits, Smart-Slope ratios 1.5:1 to ∞:1, transformer-isolated outputs, 1U rack.
• LA-12 — UREI LA-12 dual-channel compressor/limiter from the LA Series — three gain reduction circuits, 1U rack, ~$850–$895 list.
• LA-4A — UREI LA-4A solid-state optical compressor/limiter — LED attenuator, RMS detection, selectable ratios, used in major studios through the 1980s.
• LA3A — UREI LA-3A optical compressor — the LA-2A's solid-state sibling. Studio-standard leveling from the late '70s onward.
• MODEL-200 — UREI Model 200 Automatic Response Plotting System — a modular sweep generator/receiver for hard-copy audio response curves, 0.05 dB resolution, 20 Hz–20 kHz.
• MODEL-527A — UREI Model 527A — a 1/3-octave graphic equalizer that working studios bought in pairs and sold off with the console.
• MODEL-537 — UREI 537 1/3-octave equalizer — 27 active filters, 40 Hz–16 kHz, better than 110 dB S/N, 3 inches tall, rack-mountable.
• MODEL-539 — UREI Model 539 active room equalizer — 27 ISO third-octave bands, 40 Hz–16 kHz, 15 dB attenuation, 110 dB S/N, +24 dBm output.
• MODEL-546 — UREI Model 546 dual parametric equalizer (1980): two channels, four variable-bandwidth parametric sections each, 30dB gain, transformer-isolated outputs.
• MODEL-562 — UREI Model 562 Feedback Suppressor — five active notch filters, 60Hz–6kHz, tunable high/low cut, $488. The cure for howlback in monitor rigs and halls.
• MODEL-6500 — UREI Model 6500 (1981): 275W/ch into 8 ohms, 600W into 2 ohms, dual independent plug-in channels with Conductor Compensation.
• MODEL-809 — UREI Model 809 Time Align studio monitor — compact near-field sibling to the 813, with a 300mm (12-inch) coaxial driver and titanium compression driver.
• MODEL-813 — UREI Model 813 Time Aligned control room monitor — Altec 604 duplex drivers, 800-series crossover, the studio main monitor UREI called an industry standard.
• MODEL-927 — UREI Model 927 four-channel digital delay line — 92 dB dynamic range, no companding, 127 ms per output. The delay behind the Grateful Dead's time-aligned PA.
• SR-6630 — JBL/UREI SR6630 professional power amp — 300W/ch into 4 ohms, 2U fan-cooled, made in USA. Naming varies across sources; production years undocumented.