With fast & faster Attack (in the microsecond range) and Release times, this unit can be pushed, for a real in-your-face quality. Utilizing transistorized FETs (Field Effect Transistors) for its circuitry, the 1176 defines punchy compression, and is a favorite on drums, where it’s known for creating “big” aggressive drum sounds. #Light compressor for podcasting plus#Short of grossly overdriving it, you really can’t get a bad sound out of it, and the hardware unit is perfect as a front-end compressor for vocals, controlling levels transparently, without imparting an overly compressed quality that might turn out to be too much later on in the mix.įig 2 A couple of vintage 1176s, plus (another) UA reissue Take a look at the racks in almost any medium-to-large studio, and you’ll see the LA-2A well-represented. They-and a host of other companies-also make virtual emulations of the unit (actually, all the compressors in this list are also modeled in software), but here I’ll just focus on the real (physical) thing. LA-2As are still in production, from Universal Audio’s hardware division-UA is the current incarnation of the company that made the original, and their reissues are spot-on. Add in the LA-2A’s tube output section, which lends it that sought-after analog warmth, and you’ve got a true classic on your hands. That means that the response varies with the incoming signal, kind of continually optimizing the compressor response as the audio varies. One of the secret ingredients of the LA-2A-that it shares with many of the classic/vintage compressors in this list-is that its response is “program-dependent”. That quality has made it especially popular for vocals, though it’s also favored for bass, and many other instruments as well. The T4’s response gives the LA-2A a relatively slow attack (around 10 ms or so), and a slow, gradual release, which makes for transparent gain control-it can squeeze a signal pretty hard without the audio really sounding “compressed”. In fact, it’s all automatic-there are almost no front-panel controls, just a knob for increasing compression and the usual make-up gain-no Ratio, no Attack & Release, it’s all determined by the circuit. The particular response of the light and resistor determines the specific response characteristic of the compressor. The light glows in response to incoming signal level, and the resistor reduces gain accordingly. The LA-2A uses a T4 optical attenuator-this is made up of an electro-luminescent panel (an internal light, basically), coupled with a photoresistor. The LA-2A is an optical compressor-as you know, compressors all employ detection and control circuits to determine when signals cross Threshold and apply the appropriate gain reduction. Fig 1 An original vintage Teletronix LA-2A and the current UA reissue
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