There’s no threshold control to set, just turn up the Peak reduction control and bring up the makeup gain. One of the great things about the LA-2A design is how easy it is to use. Some transients may just barely get through before limiting kicks in which results in a sort of accented attack that might be undesirable. This is hard to hear until you get to about 4-7dB of gain reduction. While the 2A does not have variable ratios, the Limit/Compress switch alters the curve and the way the circuit reacts. Ratios, attack and release are all program dependent, meaning that the circuit reacts differently depending on the volume and transients of the input signal.
This unique circuit creates a very smooth and transparent compression. This in turn increased the resistance applied by the photoresistor turning the signal down. A louder signal equals higher voltage making the plate glow brighter. The T4A or T4B module used in the LA-2A had light sensitive resistors attached to a small plate that glows when a voltage is applied. The LA-2A is tube driven opto compressor and the first compressor to use photo resistors and luminescent panels to achieve gain reduction. T-RackS White 2A is modelled on the Teletronix LA-2A Leveling Amplifier. The real hardware doesn’t know what to do, the metering is just broken in this mode, and the T-Racks Black 76 emulated this quirk also. I just thought of another thing, in ALL mode on the CLA, the metering works correctly, as in it shows Gain reduction. When you crank the attack all the way and it doesn’t smack the transients like you expect, then there’s not much you can do. This is still faster than most but slower than the T-RackS version, which matches the numbers on Wikipedia FWIW. I think possibly the reason I prefer one over the other is the different attack and release times, The CLA attack is 50 microseconds to 1 millisecond and release is 50 millisecond to 1 second. For me the T-Racks version just reacts in a way that feels right, and the CLA version is just “close enough”. The compression off button seems to have been randomly placed.
Ratios are selectable on buttons for 4, 8, 12, and 20:1. Release time is adjustable from 50 to 1,100 ms. The attack time ranges from about 20microseconds to 800 microseconds, significantly faster than most dynamics processors, even modern designs.
How far push cla 2a software#
Luckily there are half a dozen software versions that do the 1176 mojo very well, plus you can use as many as you want, use them in stereo and without any noise. Hardware 1176’s are not cheap, especially vintage ones in good condition. It’s a timeless piece of audio hardware with a distinctive sound, especially when pushed hard. The 1176 is not often used for mastering but is an essential tool for modern pop and rock production, that works on just about any source. Introduced in 1968, it was the first true peak limiter with all solid-state circuitry. The T-RackS Black 76 is an analog modelled recreation of the classic Urei 1176 Peak Limiter. There’s still some time left for the T-Racks Double Deal group-buy, the deals has even been sweetened with a freebie at 1000 users and 2000.
How far push cla 2a professional#
The Black 76 and White 2A are modelled on classic hardware units that have been around for decades and are some of the most used mixing tools used in professional audio production. This review is for the two newest (already a year old) additions to T-RackS. Earlier this month I reviewed T-RackS 3 Deluxe.
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