SynthMaster One kv331 Audio 1.3.4 32-bit and 64-bit (VST) Windows 8 and 10 Instructions: Just run the installer. Direct Download (359MB) January 13, 2020 21. Waves 11 Full Bundle (Win) Waves 11 Full Bundle (Mercury, SSL, Abbey Road, MultiRack and +) Waves 2020-Jan 64-bit Windows 8 and 10 Online Installer Direct Download (301MB) January 10, 2020 17.
Some info: 1176 CompressorThe reputation of this analog classic is well known throughout the audio industry. Originally designed and built during the 1960's, the 1176LN was the first to use a field effect transistor (FET) as a voltage-controlled variable resistor, and that innovation was the key to the product's unique character. An in-depth analysis of the 1176LN's 'personality' allowed Universal Audio to methodically reproduce those results within a plug-in architecture, and now offer that same character to computer-based audio workstations. Source:Hardware Compressor Types And Characteristics Tube (valve) compressors are more typically know as Vari-Mu. Unlike some designs, which simply have a valve in the circuit, a Vari-Mu compressor uses the valve for gain control.
As pointed out by Case (2007) a circuit is sent to a valve by the level detection unit to alter its gain, which results in compression of the audio signal. Vari-Mu compressors do not have a ratio control and increasing amounts of gain reduction are achieved with louder levels (Izhaki 2008). Due to the use of a valve for gain reduction, Vari-Mu compressors are not as fast as the transistor-based units.
This can make them a suitable choice for drum busses and full mixes when preservation of transients is desirable. The classic Fairchild 660/670, Altec 436 and modern Manley Variable Mu are all examples of compressors that use valves for gain reduction.Optical compressors (more commonly known as Opto) use a light and a light sensitive resistor to alter gain (Case 2007). A bulb, illuminated by the level detection circuit, shines on a photo-resistant material to control the amount of gain change. As noted by Izhaki (2008) despite the fact that light is used, Opto compressors are slow to respond to rapidly changing musical dynamics making them a poor choice if quick clamping on transients is required. The classic UA LA-2A and modern Tube Tech CL-1B are examples of popular Opto compressors.VCA Compressors are arguably the most common design. These compressors use a transistor based voltage-controlled amplifier. When using a VCA in a compressors circuit the control voltage is derived from the input signal and any gain reduction is related to this level.
In simple terms, more level, more voltage more gain reduction. VCA compressors are considered to be the most transparent of the hardware-based designs. As Paul White states “In very general terms, a well-designed VCA compressor will provide the most transparent gain reduction, which is ideal for controlling levels without changing the character too much” (White 2003). Examples of VCA compressors include the dbx 160, the SSL console compressorsand the Neve Portico 5043.FET Compressors use a Field Effect Transistor.
Like the VCA, FET compressors can achieve very fast attack and release times. FET compressors also tend to colour the signal somewhat due to the FETs non-linear transfer function (White 2000). The 1176 and the Empirical Labs Distressor are both examples of FET compressors. Source:Tube and Optical = slow workingVCA and FET = fast workingTo be aware of:Dynamics processors are essential when recording, mixing and editing music. But when it comes to compressing an entire sum signal, a lot of digital compressors turn out to be unusable, many of them were made to process single-track signals only.On complex sources they tend to produce a 'pumping' sound, distort or just make your music lifeless.
There are manufacturers telling you 'this is the only compressor you'll ever need'. Don't believe them. Sound signals are far too complex to be handled by a single device.Your music deserves care and attention to details. This applies especially to the post-mixdown stage, often referred to as 'mastering'.source:Klanghelm DC1A was the best compressor listed in above post's and what i keeptit colors ( add ) a little in the low end around 200 -400 hz so it's not completely transparentbut the compression style is good.DC1A is free! So try it out for yourself.Any other freeware suggestions?
I im doing a site to site vpn for the first time on a 891 to a rv 120 (gui) but it doesnt connect. I thinking it might be my access list on the 891. Chages made.-RV router log2012-08-08 16:12:33: rv120wIKE INFO: Configuration found for xx.xx.xx.24.2012-08-08 16:12:33: rv120wIKE INFO: Initiating new phase 2 negotiation: xx.xx.xx.134500xx.xx.xx.2402012-08-08 16:12:33: rv120wIKE ERROR: Unknown notify message from xx.xx.xx.24500.No phase2 handle found.2012-08-08 16:13:33: rv120wIKE ERROR: Phase 2 negotiation failed due to time up. Hello Manny,Can you change the nat configuration:ip access-list extended natdeny ip 10.10.10.0 0.0.0.255 192.168.1.0 0.0.0.255permit ip 10.10.10.0 0.0.0.255 anyno ip nat inside source list 1 interface Dialer1 overloadip nat inside source list nat interface Dialer1 overloadAlso can you do the following on the router after you generate traffic for the VPNsh crypto isakmp sadebug crypto isakmpdebug crypto ipsecAnd provide us the results.The configuration on the Remote site related to the VPN stuff will be a plus.Regards. Configure l2tp vpn mikrotik. The error that i get in the rv120 is012-08-02 18:15:35: rv120wIKE ERROR: Phase 1 negotiation failed due to time up for xx.xx.xx.xx500.
I would like to thank clintmartin for this link: This is a seriously excellent compressor and it is free to boot. I have used the SMART C2 hardware compressor a lot in the past. (don't own it but borrowed it though) It just does very nice things to a mix and it also makes the VU meters move in a certain way too after the C2 is applied to a mix. I have been trying various software compressors to try and get as close to the C2 as I can with sometimes varying results from close to nothing like it. So far the mastering compressor in Harrison Mixbus has been very good. (Danny suggests the API 2500 and I am still keen to get it too) But this compressor sounds very very good, very transparent and it makes the VU meters dance in a very similar way to the C2. Even when pushed very hard it does not sound like it is being pushed very hard and still maintains nice transparency.
Excellent compressor. Highly recommended!! Jeff Evans I would like to thank clintmartin for this link: This is a seriously excellent compressor and it is free to boot. I have used the SMART C2 hardware compressor a lot in the past. (don't own it but borrowed it though) It just does very nice things to a mix and it also makes the VU meters move in a certain way too after the C2 is applied to a mix.
I have been trying various software compressors to try and get as close to the C2 as I can with sometimes varying results from close to nothing like it. So far the mastering compressor in Harrison Mixbus has been very good.
(Danny suggests the API 2500 and I am still keen to get it too) But this compressor sounds very very good, very transparent and it makes the VU meters dance in a very similar way to the C2. Even when pushed very hard it does not sound like it is being pushed very hard and still maintains nice transparency. Excellent compressor.
Highly recommended!!Thank's a lot, this is indeed a decent compressor and will be in my collection.I found out that i like the sound of FET compression like 1176 type emulationsto me they sound Fat and smooth in the compression behaviour. DubdiscipleOpinions vary on quality but there is an attempt at what you seek here: antress.blogspot.com. These plugins caused a stir when they were introduced because the interfaces were blatantly modeled after well known classic gear. I tried them years ago but did no formal comparison. Free and worth tryThanks, but i have already tried those, to be honest i am not quite sure about those compressorshave tried them many times but ended up deleting them again.The antress ' The lost Angel ' and ' Fire chainer ( 1176 type compressor ) ' must be the better of them IMO.I may have to test it one final time once more.So far i use: Klanghelm DC1A and the TDR Feedback Compressor II.
Jeff Evans I would like to thank clintmartin for this link: This is a seriously excellent compressor and it is free to boot. I have used the SMART C2 hardware compressor a lot in the past. (don't own it but borrowed it though) It just does very nice things to a mix and it also makes the VU meters move in a certain way too after the C2 is applied to a mix. I have been trying various software compressors to try and get as close to the C2 as I can with sometimes varying results from close to nothing like it.
So far the mastering compressor in Harrison Mixbus has been very good. (Danny suggests the API 2500 and I am still keen to get it too) But this compressor sounds very very good, very transparent and it makes the VU meters dance in a very similar way to the C2. Even when pushed very hard it does not sound like it is being pushed very hard and still maintains nice transparency. Excellent compressor. Highly recommended!!Glad you liked it Jeff. Have you tried LimiterNo.6?
It has a good RMS limiter as the first module, but the Limiter is the best I've tried. I use it over Pro-L every time!
A stereo track compression test.what to listen for when Using / Testing a compressor is: ( put sonar into a loop in a song somewhere.)use a song that has definition and not to mutch sound going on. ' you need to be able to hear details 'Rip a song of a CD if needed for the test, and import it into sonar.1. Coloring!How do the compressor sound when it is active, but not compressing and threshold is 0!do it sound Clean, or do it add some Eq / character anywhere in the frequency spectrum?Do it dull the sound, like it's a thin blanket over the speaker.Activate / deaktivate the plugin and really listen carefully many times2.
The LA-2A is arguably one of the most popular compressors ever invented. Revered for its rich, warm tone and smooth, musical compression characteristics, the LA-2A has been a favorite amongst engineers for over 50 years.
In this article, we’ll break down some of the most popular LA-2A emulations to help you determine which one is right for you.
Teletronix LA-2A
The LA-2A was the first compressor to use a tube-driven optical attenuator to achieve gain reduction. The T4 optical attenuator is entirely program-dependent, allowing the compression ratio and release time to vary greatly based on the source material.
The average attack time is fixed at 10 milliseconds, but the LA-2A’s signature sound comes from its unique release characteristic. The initial release time is fixed at 60 milliseconds for 50% of the release, and anywhere from one to 15 seconds for the full release, depending on the program material.
Due to the largely automatic nature of the LA-2A, it features very simple controls: Peak-Reduction knob, Gain Control for make-up gain, and a Limit/Compress switch to adjust the compression ratio.
About the Audio Files
We put some of our favorite LA-2A emulations to the test on drums, bass and vocals with approximately 3 to 5 dB of gain reduction.
Here are unprocessed versions of the three audio files …
Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_1.wavBass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_1.wavVocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_1.wav1. UAD Teletronix LA-2A
Universal Audio offers one of the most accurate LA-2A emulations available, which makes sense since they own the patent. While it doesn’t offer any new features, it does an excellent job of capturing the LA-2A’s signature sound and analog warmth.
In addition to the standard LA-2A Classic, Universal Audio also offers the LA-2A Classic Leveler Plugin Collection, which features emulations of the original “Gray” Teletronix version, the reissued “Silver” UREI version, and the exceptionally rare predecessor to the LA-2A, the LA-2. Each model offers a slightly different take on the iconic sound.
For the purposes of this shootout, we used the “classic” leveling amplifier.
As always, you’ll need some form of UAD DSP hardware to support these plugins.
UAD Teletronix LA-2A – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_2.wavUAD Teletronix LA-2A – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_2.wavUAD Teletronix LA-2A – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_2.wav2. PSP MixPressor2
PSP’s MixPressor2 is easily the most advanced LA-2A-style compressor available. It emulates the classic characteristics of valve and opto-compressors as well as modern compression designs.
The MixPressor2 features fully variable attack and release times, including automatic settings. It also offers options for look-ahead compression for a more modern sound, as well as selectable RMS and peak modes for a variety of sonic options.
It features a Mix control for parallel compression as well as an input for sidechain compression. It also offers a highly configurable sidechain filter — including an option to use the unit as a de-esser.
The first thing you’re likely to notice about the MixPressor2 is its rich, warm analog saturation. Load it on any channel for an instant analog vibe.
The MixPressor2 is available as part of PSP’s MixPack2.
In order to emulate the sound of a traditional LA-2A, we used the “fast” attack setting, “slow” release setting in RMS mode.
PSP Mixpressor 2 – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_3.wavPSP Mixpressor 2 – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_3.wavPSP Mixpressor 2 – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_3.wav3. Brainworx bx_opto
The bx_opto by Brainworx is packed with versatile new features not found on the original LA-2A. The most notable of which is the Speed control, which allows you to dial in the transient response of the compressor. While the bx_opto does utilize the program dependent attack and release times, the Speed control enables you to shape the sound in ways the original LA-2A never could.
bx_opto also features a fully sweepable sidechain filter all the way from 20 Hz to 20 kHz. Choose between high-pass, low-pass, gentle band-pass or aggressive band-pass filter options. A dedicated Mix control lets you dial in the perfect amount of parallel compression.
In order to emulate the sound of a traditional LA-2A, we used the default Speed and Sidechain settings.
Brainworx bx_opto – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_4.wavBrainworx bx_opto – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_4.wavBrainworx bx_opto – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_4.wav4. Native Instruments VC 2A
The VC 2A from Native Instruments sounds silky-smooth and offers an array of updated features. It still utilizes the original automatic attack and release controls, but it introduces a high-pass filter to avoid pegging the needle when compressing bass-heavy signals.
It also features a dedicated sidechain gain control for sidechain compression and a wet/dry control for parallel compression.
And at just $99, it’s one of the most affordable emulations on the list.
Native Instruments VC 2A – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_5.wavNative Instruments VC 2A – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_5.wavNative Instruments VC 2A – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_5.wav5. IK Multimedia White 2A Leveling Amplifier
IK Multimedia’s While 2A Leveling Amplifier nails the unique program dependent characteristic of the original LA-2A. However, it doesn’t emulate the analog tube characteristics of the analog units, making it an excellent choice for smoothing out dynamic performances with transparency.
The White 2A Leveling Amplifier is also available as part of their T-RackS 5 Deluxe and T-RackS 5 MAX.
IK Multimedia White 2A – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_6.wavIK Multimedia White 2A – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_6.wavIK Multimedia White 2A – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_6.wavHonorary Mentions
These are just five of our favorite LA-2A emulations — there are dozens available, each with their own sound.
McDSP’s 6030 Ultimate Compressor features two modules modeled after the LA-2A: the Opto-C and the Opto-L, modeled after the compression and limiting characteristics of the original unit.
Waves offer a spot-on emulation with their CLA-2A, with optional analog noise.
Cakewalk also offers a meticulously modeled emulation with a variable high-pass filter called the CA-2A.
And the best part is, most of the plugins on this list offer free trials, so you can try them out for yourself!
Free Workshop Video: Low-End Mixing Secrets
Discover how to make your kick and bass hit hard by cutting (NOT boosting) the right frequencies! Plus, more counterintuitive ways to get fuller yet controlled low-end in your mix. Download this 40-minute workshop by Matthew Weiss, now for FREE!
- Author: admin
- Category: Category
SynthMaster One kv331 Audio 1.3.4 32-bit and 64-bit (VST) Windows 8 and 10 Instructions: Just run the installer. Direct Download (359MB) January 13, 2020 21. Waves 11 Full Bundle (Win) Waves 11 Full Bundle (Mercury, SSL, Abbey Road, MultiRack and +) Waves 2020-Jan 64-bit Windows 8 and 10 Online Installer Direct Download (301MB) January 10, 2020 17.
Some info: 1176 CompressorThe reputation of this analog classic is well known throughout the audio industry. Originally designed and built during the 1960's, the 1176LN was the first to use a field effect transistor (FET) as a voltage-controlled variable resistor, and that innovation was the key to the product's unique character. An in-depth analysis of the 1176LN's 'personality' allowed Universal Audio to methodically reproduce those results within a plug-in architecture, and now offer that same character to computer-based audio workstations. Source:Hardware Compressor Types And Characteristics Tube (valve) compressors are more typically know as Vari-Mu. Unlike some designs, which simply have a valve in the circuit, a Vari-Mu compressor uses the valve for gain control.
As pointed out by Case (2007) a circuit is sent to a valve by the level detection unit to alter its gain, which results in compression of the audio signal. Vari-Mu compressors do not have a ratio control and increasing amounts of gain reduction are achieved with louder levels (Izhaki 2008). Due to the use of a valve for gain reduction, Vari-Mu compressors are not as fast as the transistor-based units.
This can make them a suitable choice for drum busses and full mixes when preservation of transients is desirable. The classic Fairchild 660/670, Altec 436 and modern Manley Variable Mu are all examples of compressors that use valves for gain reduction.Optical compressors (more commonly known as Opto) use a light and a light sensitive resistor to alter gain (Case 2007). A bulb, illuminated by the level detection circuit, shines on a photo-resistant material to control the amount of gain change. As noted by Izhaki (2008) despite the fact that light is used, Opto compressors are slow to respond to rapidly changing musical dynamics making them a poor choice if quick clamping on transients is required. The classic UA LA-2A and modern Tube Tech CL-1B are examples of popular Opto compressors.VCA Compressors are arguably the most common design. These compressors use a transistor based voltage-controlled amplifier. When using a VCA in a compressors circuit the control voltage is derived from the input signal and any gain reduction is related to this level.
In simple terms, more level, more voltage more gain reduction. VCA compressors are considered to be the most transparent of the hardware-based designs. As Paul White states “In very general terms, a well-designed VCA compressor will provide the most transparent gain reduction, which is ideal for controlling levels without changing the character too much” (White 2003). Examples of VCA compressors include the dbx 160, the SSL console compressorsand the Neve Portico 5043.FET Compressors use a Field Effect Transistor.
Like the VCA, FET compressors can achieve very fast attack and release times. FET compressors also tend to colour the signal somewhat due to the FETs non-linear transfer function (White 2000). The 1176 and the Empirical Labs Distressor are both examples of FET compressors. Source:Tube and Optical = slow workingVCA and FET = fast workingTo be aware of:Dynamics processors are essential when recording, mixing and editing music. But when it comes to compressing an entire sum signal, a lot of digital compressors turn out to be unusable, many of them were made to process single-track signals only.On complex sources they tend to produce a 'pumping' sound, distort or just make your music lifeless.
There are manufacturers telling you 'this is the only compressor you'll ever need'. Don't believe them. Sound signals are far too complex to be handled by a single device.Your music deserves care and attention to details. This applies especially to the post-mixdown stage, often referred to as 'mastering'.source:Klanghelm DC1A was the best compressor listed in above post's and what i keeptit colors ( add ) a little in the low end around 200 -400 hz so it's not completely transparentbut the compression style is good.DC1A is free! So try it out for yourself.Any other freeware suggestions?
I im doing a site to site vpn for the first time on a 891 to a rv 120 (gui) but it doesnt connect. I thinking it might be my access list on the 891. Chages made.-RV router log2012-08-08 16:12:33: rv120wIKE INFO: Configuration found for xx.xx.xx.24.2012-08-08 16:12:33: rv120wIKE INFO: Initiating new phase 2 negotiation: xx.xx.xx.134500xx.xx.xx.2402012-08-08 16:12:33: rv120wIKE ERROR: Unknown notify message from xx.xx.xx.24500.No phase2 handle found.2012-08-08 16:13:33: rv120wIKE ERROR: Phase 2 negotiation failed due to time up. Hello Manny,Can you change the nat configuration:ip access-list extended natdeny ip 10.10.10.0 0.0.0.255 192.168.1.0 0.0.0.255permit ip 10.10.10.0 0.0.0.255 anyno ip nat inside source list 1 interface Dialer1 overloadip nat inside source list nat interface Dialer1 overloadAlso can you do the following on the router after you generate traffic for the VPNsh crypto isakmp sadebug crypto isakmpdebug crypto ipsecAnd provide us the results.The configuration on the Remote site related to the VPN stuff will be a plus.Regards. Configure l2tp vpn mikrotik. The error that i get in the rv120 is012-08-02 18:15:35: rv120wIKE ERROR: Phase 1 negotiation failed due to time up for xx.xx.xx.xx500.
I would like to thank clintmartin for this link: This is a seriously excellent compressor and it is free to boot. I have used the SMART C2 hardware compressor a lot in the past. (don't own it but borrowed it though) It just does very nice things to a mix and it also makes the VU meters move in a certain way too after the C2 is applied to a mix. I have been trying various software compressors to try and get as close to the C2 as I can with sometimes varying results from close to nothing like it. So far the mastering compressor in Harrison Mixbus has been very good. (Danny suggests the API 2500 and I am still keen to get it too) But this compressor sounds very very good, very transparent and it makes the VU meters dance in a very similar way to the C2. Even when pushed very hard it does not sound like it is being pushed very hard and still maintains nice transparency.
Excellent compressor. Highly recommended!! Jeff Evans I would like to thank clintmartin for this link: This is a seriously excellent compressor and it is free to boot. I have used the SMART C2 hardware compressor a lot in the past. (don't own it but borrowed it though) It just does very nice things to a mix and it also makes the VU meters move in a certain way too after the C2 is applied to a mix.
I have been trying various software compressors to try and get as close to the C2 as I can with sometimes varying results from close to nothing like it. So far the mastering compressor in Harrison Mixbus has been very good.
(Danny suggests the API 2500 and I am still keen to get it too) But this compressor sounds very very good, very transparent and it makes the VU meters dance in a very similar way to the C2. Even when pushed very hard it does not sound like it is being pushed very hard and still maintains nice transparency. Excellent compressor.
Highly recommended!!Thank's a lot, this is indeed a decent compressor and will be in my collection.I found out that i like the sound of FET compression like 1176 type emulationsto me they sound Fat and smooth in the compression behaviour. DubdiscipleOpinions vary on quality but there is an attempt at what you seek here: antress.blogspot.com. These plugins caused a stir when they were introduced because the interfaces were blatantly modeled after well known classic gear. I tried them years ago but did no formal comparison. Free and worth tryThanks, but i have already tried those, to be honest i am not quite sure about those compressorshave tried them many times but ended up deleting them again.The antress ' The lost Angel ' and ' Fire chainer ( 1176 type compressor ) ' must be the better of them IMO.I may have to test it one final time once more.So far i use: Klanghelm DC1A and the TDR Feedback Compressor II.
Jeff Evans I would like to thank clintmartin for this link: This is a seriously excellent compressor and it is free to boot. I have used the SMART C2 hardware compressor a lot in the past. (don't own it but borrowed it though) It just does very nice things to a mix and it also makes the VU meters move in a certain way too after the C2 is applied to a mix. I have been trying various software compressors to try and get as close to the C2 as I can with sometimes varying results from close to nothing like it.
So far the mastering compressor in Harrison Mixbus has been very good. (Danny suggests the API 2500 and I am still keen to get it too) But this compressor sounds very very good, very transparent and it makes the VU meters dance in a very similar way to the C2. Even when pushed very hard it does not sound like it is being pushed very hard and still maintains nice transparency. Excellent compressor. Highly recommended!!Glad you liked it Jeff. Have you tried LimiterNo.6?
It has a good RMS limiter as the first module, but the Limiter is the best I've tried. I use it over Pro-L every time!
A stereo track compression test.what to listen for when Using / Testing a compressor is: ( put sonar into a loop in a song somewhere.)use a song that has definition and not to mutch sound going on. ' you need to be able to hear details 'Rip a song of a CD if needed for the test, and import it into sonar.1. Coloring!How do the compressor sound when it is active, but not compressing and threshold is 0!do it sound Clean, or do it add some Eq / character anywhere in the frequency spectrum?Do it dull the sound, like it's a thin blanket over the speaker.Activate / deaktivate the plugin and really listen carefully many times2.
The LA-2A is arguably one of the most popular compressors ever invented. Revered for its rich, warm tone and smooth, musical compression characteristics, the LA-2A has been a favorite amongst engineers for over 50 years.
In this article, we’ll break down some of the most popular LA-2A emulations to help you determine which one is right for you.
Teletronix LA-2A
The LA-2A was the first compressor to use a tube-driven optical attenuator to achieve gain reduction. The T4 optical attenuator is entirely program-dependent, allowing the compression ratio and release time to vary greatly based on the source material.
The average attack time is fixed at 10 milliseconds, but the LA-2A’s signature sound comes from its unique release characteristic. The initial release time is fixed at 60 milliseconds for 50% of the release, and anywhere from one to 15 seconds for the full release, depending on the program material.
Due to the largely automatic nature of the LA-2A, it features very simple controls: Peak-Reduction knob, Gain Control for make-up gain, and a Limit/Compress switch to adjust the compression ratio.
About the Audio Files
We put some of our favorite LA-2A emulations to the test on drums, bass and vocals with approximately 3 to 5 dB of gain reduction.
Here are unprocessed versions of the three audio files …
Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_1.wavBass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_1.wavVocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_1.wav1. UAD Teletronix LA-2A
Universal Audio offers one of the most accurate LA-2A emulations available, which makes sense since they own the patent. While it doesn’t offer any new features, it does an excellent job of capturing the LA-2A’s signature sound and analog warmth.
In addition to the standard LA-2A Classic, Universal Audio also offers the LA-2A Classic Leveler Plugin Collection, which features emulations of the original “Gray” Teletronix version, the reissued “Silver” UREI version, and the exceptionally rare predecessor to the LA-2A, the LA-2. Each model offers a slightly different take on the iconic sound.
For the purposes of this shootout, we used the “classic” leveling amplifier.
As always, you’ll need some form of UAD DSP hardware to support these plugins.
UAD Teletronix LA-2A – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_2.wavUAD Teletronix LA-2A – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_2.wavUAD Teletronix LA-2A – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_2.wav2. PSP MixPressor2
PSP’s MixPressor2 is easily the most advanced LA-2A-style compressor available. It emulates the classic characteristics of valve and opto-compressors as well as modern compression designs.
The MixPressor2 features fully variable attack and release times, including automatic settings. It also offers options for look-ahead compression for a more modern sound, as well as selectable RMS and peak modes for a variety of sonic options.
It features a Mix control for parallel compression as well as an input for sidechain compression. It also offers a highly configurable sidechain filter — including an option to use the unit as a de-esser.
The first thing you’re likely to notice about the MixPressor2 is its rich, warm analog saturation. Load it on any channel for an instant analog vibe.
The MixPressor2 is available as part of PSP’s MixPack2.
In order to emulate the sound of a traditional LA-2A, we used the “fast” attack setting, “slow” release setting in RMS mode.
PSP Mixpressor 2 – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_3.wavPSP Mixpressor 2 – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_3.wavPSP Mixpressor 2 – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_3.wav3. Brainworx bx_opto
The bx_opto by Brainworx is packed with versatile new features not found on the original LA-2A. The most notable of which is the Speed control, which allows you to dial in the transient response of the compressor. While the bx_opto does utilize the program dependent attack and release times, the Speed control enables you to shape the sound in ways the original LA-2A never could.
bx_opto also features a fully sweepable sidechain filter all the way from 20 Hz to 20 kHz. Choose between high-pass, low-pass, gentle band-pass or aggressive band-pass filter options. A dedicated Mix control lets you dial in the perfect amount of parallel compression.
In order to emulate the sound of a traditional LA-2A, we used the default Speed and Sidechain settings.
Brainworx bx_opto – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_4.wavBrainworx bx_opto – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_4.wavBrainworx bx_opto – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_4.wav4. Native Instruments VC 2A
The VC 2A from Native Instruments sounds silky-smooth and offers an array of updated features. It still utilizes the original automatic attack and release controls, but it introduces a high-pass filter to avoid pegging the needle when compressing bass-heavy signals.
It also features a dedicated sidechain gain control for sidechain compression and a wet/dry control for parallel compression.
And at just $99, it’s one of the most affordable emulations on the list.
Native Instruments VC 2A – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_5.wavNative Instruments VC 2A – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_5.wavNative Instruments VC 2A – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_5.wav5. IK Multimedia White 2A Leveling Amplifier
IK Multimedia’s While 2A Leveling Amplifier nails the unique program dependent characteristic of the original LA-2A. However, it doesn’t emulate the analog tube characteristics of the analog units, making it an excellent choice for smoothing out dynamic performances with transparency.
The White 2A Leveling Amplifier is also available as part of their T-RackS 5 Deluxe and T-RackS 5 MAX.
IK Multimedia White 2A – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/05/Drums_6.wavIK Multimedia White 2A – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/05/Bass_6.wavIK Multimedia White 2A – Vocals
https://theproaudiofiles.com/wp-content/uploads/2019/05/Vocals_6.wavHonorary Mentions
These are just five of our favorite LA-2A emulations — there are dozens available, each with their own sound.
McDSP’s 6030 Ultimate Compressor features two modules modeled after the LA-2A: the Opto-C and the Opto-L, modeled after the compression and limiting characteristics of the original unit.
Waves offer a spot-on emulation with their CLA-2A, with optional analog noise.
Cakewalk also offers a meticulously modeled emulation with a variable high-pass filter called the CA-2A.
And the best part is, most of the plugins on this list offer free trials, so you can try them out for yourself!
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