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One of the most iconic compressor/limiters of all time is the Teletronix LA-2A. The unique warmth of its compression, especially on the human voice, has made it one of the most popular designs ever made. The complex physics of how it compresses an audio signal is matched only by the complexity of all the revisions it has undergone since its creation.
Thanks to several changes in ownership, the LA-2A has seen a large volume of refinements in its basic design. This has made it extremely difficult to know the differences between the various versions that have been released over the years.
Here at Vintage King, we have serviced and sold a multitude of units, and have seen every variety possible. Read on to better understand the nature of each particular unit and learn more about one of the greatest compressors in history.
The model name LA-2A stands for Leveling Amplifier, version 2, first revision. The original amplifier of this type was designated the LA-1, invented by Jim Lawrence, an electrical engineer and founder of the Teletronix Engineering Company in Pasadena, California in 1958.
Teletronix made radio broadcast equipment, and the original limiting amplifier was intended to level out the audio signal for broadcast. Its innovation lay in using an electro-optical sensor (designated the T4) to detect signal changes that would trigger compression or limiting.
It was a simple design of which maybe a hundred were made before improvements led to the second design, the LA-2. This version used an improved photo sensor, the T4A, and the unit became popular in radio stations across the country. By 1962, further improvements led to the first revision of the LA-2, dubbed the LA-2A.
Starting with the first revision, there have been seven major iterations of the LA-2A. These different designs include the two main versions, two sub-versions, and two reissues. Finally, there is the current resurrection of the design that is still being manufactured by Universal Audio. All of the major technical and cosmetic changes are detailed below.
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It stands to reason that the official Universal Audio LA-2A reissue is the closest to the original spec that one could hope for, utilizing a custom copy of the original transformer, as well as the T4B opto-cell from the 60s.
Inspired by the LA-2A, Acme Audio's Opticom XLA-3 MKII is an optical limiter that combines the best characteristics of three separate compression curves into a single unit. If you're looking for something for your 500 Series rack, the brand also makes a smaller version called the Opticom XLA-500 that still features a tube in its design.
The Doublewide from Retro Instruments is a compressor that gives off LA-2A vibes, but its small size also allows it to fit into your 500 Series rack. Unlike other Retro products, this one is designed completely from scratch and features four tubes hidden inside and two timing modes for a wide range of compression options.
Another classic optical compressor comes from Tube-Tech in the form of the CL 1B. This compressor has truly become a favorite in the modern studio setting as it is being used on hit records in the worlds of hip-hop and pop every single day. It's design features two time-controllers, a gain-reduction element and a tube-based push-pull amplifier.
IGS Audio makes several LA-2A reproductions that run the gamut of variations on the original design. The IGS Audio One LA is the classic version of the LA-2A, while the IGS Audio One LA 500 is a 500 Series size version and the 576 Blue Stripe takes design cues from the classic Revision A.
One last option comes from Anthony Demaria Labs, who have created a vacuum tube mono compressor/limiter known as the ADL C/L 1000. With a hand matched optical attenuator and custom in/out transformers, this compressor can give you everything from warmth to straight up crunch during tracking and mixing.
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