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Overview

Teletronix® LA-2A Classic Leveling Amplifier

True to the Original Design, our Famed Tube-Amplified T4 Electro-Optical Classic Compressor

Audio professionals revere the LA-2A. The original was immediately acknowledged for its smooth, natural compression characteristics. A unique tube-driven electro-optical attenuator system allows instantaneous gain reduction with no increase in harmonic distortion — an accomplishment at the time, still appreciated today. This faithful Universal Audio reissue marks the rebirth of the Teletronix LA-2A. Painstaking care has been taken to ensure that every new LA-2A provides the performance characteristics of the original. Each unit is point-to-point hand-wired and built in Scotts Valley, California, with every component carefully evaluated for authenticity. As a result, today’s LA-2A will bring the same legendary compression characteristics of the original to all of your recordings.

  • True to the original LA-2A in design, manufacturing and performance
  • Lag free, distortion free optical attenuator system
  • 10 milliseconds attack time
  • Hand-built in USA; backed by 1-Year limited warranty
  • View All Features

Each unit is hand-built and hand-wired in-house at UA with each component being carefully evaluated for authenticity. No expense has been spared to guarantee that this LA-2A will bring that classic sound to your recording. Demand the original. Accept no copy.


Features & Specs
Teletronix® LA-2A Classic Leveling Amplifier

Features:
  • True to the original in design, manufacturing and performance
  • Lag free, distortion free optical attenuator system
  • Distortion less than 0.5% THD
  • 0 to 40 dB gain limiting
  • Balanced stereo interconnection
  • Frequency response 1 dB, 30 to 15,000 cps
  • Output level of 10 dBm and 40 dB gain
  • Low noise – less than 70 dB below ±10 dBm output
  • Hand-built in USA; backed by 1-Year limited warranty
Technical Specifications:

Input Impedance
50, 150, 250, 600 ohms

Output Load Impedance
50, 150, 250, 600 ohms

External Connections
Jones Barrier terminals and XLR connectors

Frequency Response
+0/-1 dB 30 Hz to 15kHz

Gain
40 dB ±1dB

Input Level
+16 dB maximum
Output Level
+10 dB nominal, +16 dB maximum

Distortion
Less than 0.5% THD (0.25% typical) at ±10 dBm

Noise
70 dB below +10 dBm output level

Attack Time
10 milliseconds

Release Time
0.06 seconds for 50% release; 0.5 to 5 seconds for complete release

Meter
dB gain reduction and dB output
Power Requirements
35 watts, 120/240 volts, 50/60 Hz
Environmental
Maximum operating temperature 160°F
Dimensions
19" Rackmount chassis, 3U
Weight
13 lbs.
Reviews / Ratings

Reviews

1 of 5
  • Peter Frampton

    “The LA-2A and 1176 have been in my life for so long. I can’t do without those."

    Greg Parkin

    (Capitol Studios & Mastering)

    "UA gear such as the 1176 and LA-2A have been staples here at Capitol since their creation."

    Review
    07/2010

    Glenn Rosenstein

    (Ziggy Marley, U2)

    "There's a very specific reason why pieces of gear like an 1176 or an LA-2A or an LA-3 became ubiquitous."

    Review
    06/2010

    Justin Gerrish

    (Vampire Weekend)

    "Mixing [Vampire Weekend] I put LA-2As on the bass. I also used an 1176 and an LA-3A on the vocal, together in series."

    Review
    02/2010

    Jim Dalrymple

    (The Loop)

    "[I use] the Fairchild Compressor, Neve 1081, Neve 1073, LA-2A and the 1176 Compressor. They all give you something different."

    Review
    09/2009
  • Jay Newland

    (Etta James, Norah Jones)

    “The LA-2A for me is sort of a default that I always go to. It always works great.”

    Tony Kanal

    (No Doubt)

    "The LA-2A is a must-have in my studio. With the LA-2A in my bass recording chain, I know I'm going to get great tone every time."

    John Cuniberti

    (Joe Satriani, The Meters)

    “The LA-2A is a beautiful instrument."

    Carl Glanville

    (U2)

    "The sonic picture is completed with the output of the 610 being connected to my LA-2A or 1176 before being committed to tape."

    Mark Hawley

    (Tori Amos)

    "I got hold of a LA-2A and gave it a try, and immediately liked what it was doing. As a result, I bought one for the studio..."

  • Gareth Jones

    (Grizzly Bear, Depeche Mode)

    "Mixing Grizzly Bear's Veckatimest, we used all UA gear we could get our hands on - 1176s & LA-2As of course."

    11/2009

    Ted Spencer

    (Audio Media)

    "[The LA-2A] is simply indespensible and will sonically complement other compressors in the rack beautifully."

    11/2002

    Ted Spencer

    (Pro Audio Review)

    “My sense is that this [LA-2A] reissue is better than the older units I have used over many years in various studios.”

    08/2002

    Nick Batzdorf

    (Recording Magazine)

    "[The LA-2A] can control the most unruly signals incredibly tightly and still sound completely natural."

    10/2001

    Mark Cross

    (Audio Media)

    "Having this quality of gear [LA-2A and 1176LN] available for these sessions was a privilege that I could get used to."

    07/2001
  • Mark Cross

    (Audio Media)

    "From percussion to voice to guitars to strings, [the LA-2A and 1176LN] proved to be sonically and technically impressive."

    07/2001

    Dave Martin

    (Pro Sound News)

    "The [reissue] LA-2A has captured the flavor and performance of an original LA-2A, yet it sounds cleaner"

    05/2001

    Michael Cooper

    (Mix Magazine)

    "The LA-2A's uniquely transparent processing makes it incredibly effective for treating vocals ... it can work miracles."

    11/2000

    Michael Cooper

    (Mix Magazine)

    "If I were a mutant I would give the LA-2A three thumbs up!"

    11/2000

    Mark Plati

    (David Bowie, The Cure)

    "[Comparing new and old], I liked the new LA-2A better; it was as warm as the vintage unit, but a lot clearer."

  • Jimmy Mitchell

    (Billy Bob Thornton)

    “When we mix, I always put an LA-2A on [Billy Bob Thornton's] vocals ... the LA-2A plug-ins sounded awesome."

    John Cuniberti

    (Joe Satriani)

    “All his [Satriani] melody guitar parts ... I treat like a human voice. The limiter choice there is hands down an LA-2A.”

User Ratings

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Average Rating (3 Reviews)
    • 1 Star
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    • 5 Star
    by John Hendicott(Monday 20 June, 2011)

    Another classic product from UA. I use this in conjunction with my 1176 and have no need for an EQ as this does everything I need it to. Great at warming up harsh vocals and getting that saturated tone. It took some getting used to, as I would often use with vocals on the way in. In my opinion it's … Read more

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    • 5 Star
    by Eric Frank(Friday 17 June, 2011)

    While the LA2A doesn't work for everyone, when it does it is killer. This is by far my favorite compressor I own. … Read more

    • 1 Star
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    • 5 Star
    by Akos Kovacs(Thursday 16 June, 2011)

    I simply do not track vocals without the LA-2A. It's simple and efficient, adds that inexplainable 'glue' element to whatever you throw at it. I cannot think of a better vocal chain than a U47 running through a Ruper Neve designed preamp into the LA-2A before the signal hits the converters. We recor … Read more

Artists
  • Phil Tan

    With more than 24 #1 Billboard Hot 100 hits, 3 Grammys®, and nearly 300 album credits, there are few engineers that can touch Phil Tan’s recent track record. Read more

    Tucker Martine – My Morning Jacket, The Decemberis

    We talk to the GRAMMY®-nominee on how he incorporated UA gear into two new albums fromThe Decemberists and My Morning Jacket. Read more

    Jacknife Lee

    An Irish musician, remixer, producer, and engineer, Jacknife Lee has worked with legendary rock bands... Read more

  • Peter Katis

    Producer Peter Katis on The National, Jónsi, and Universal Audio Analog Hardware… Read more

    Michael Brauer

    Michael Brauer has enjoyed an illustrious 30-year music career, mixing chart-topping albums by artists including Aretha Franklin and The Rolling Stones. Read more

    Glenn Rosenstein

    Glenn Rosenstein is one of those powerhouse engineer/producers who cut his teeth at NYC’s Sigma Sound in the ‘80s. Read more

  • Mike Shipley

    GRAMMY®-winner Mike Shipley is one of the music industry’s top mixers; his hit-making career spans over thirty years. Read more

    Dave Isaac

    There were many recording techniques used in my years as an engineer back in Detroit in the various recording studios. Read more

    Justin Gerrish

    Justin Gerrish is collecting accolades for his work on the indie release of the moment, Contra by Vampire Weekend. Read more

  • Ed Cherney

    GRAMMY® and TEC award-winning producer/engineer Ed Cherney is one of funniest people you could ever meet. He’s also one of the most talented. Read more

    Elliot Mazer

    Elliot Mazer is the man responsible for the sound of some of the most beloved classic rock records of all time, including Janis Joplin’s In Concert (live album)... Read more

    Vance Powell

    Vance Powell accepted the GRAMMY® award for The Raconteurs album, Consolers of the Lonely. Read more

  • Matt Knobel

    Matt Knobel has a great job. A job that many of us covet. He is the head engineer at South Beach's Setai Recording Studio. Read more

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