Analog Obsession: The 2-LA-2 Is Now Shipping!
By Will Shanks
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The new 2-LA-2 Twin T4 Leveling Amplifier: Now Shipping! |
It’s not news that UA has been planning a product for some time that combines two channels of silky-smooth LA-2A optical compression into one 2RU box, with instantaneous stereo linkability at the flip of a switch. In fact, we announced this product nearly a year ago. Finally, the 2-LA-2 has left the building. The long-awaited 2-LA-2 Twin T4 Leveling Amplifier from Universal Audio has begun shipping, to the joy of many patient pursuers of the stereo LA-2A dream.
Eddie Kramer First in Line for the New 2-LA-2
Yes, it’s true. Producer/Engineer extraordinaire Eddie Kramer (Hendrix, Led Zep, Traffic, Kiss, etc.) was among the very first recipients of the 2-LA-2. A long-time user of the LA-2A, he was eager to get his sessions going through this new and wonderful box. A full feature in UA's Webzine "Artist interview" with Mr. Kramer will follow in a subsequent issue!
Description
In case you are unfamiliar with the 2-LA-2, here is a brief description: Though not exactly a clone of the classic LA-2A, the 2-LA-2 is a feature-enhanced stereo evolution of its ancestor that retains the original all-discrete Class A circuitry, the tube amplifiers, and all the core "sonic signature" components. Like its ancestor, the 2-LA-2 works by applying the audio signal to an electro-luminescent light panel that shines on a photoelectric cell, which in turn controls the gain. Designed by original UREI engineer Dennis Fink, the 2-LA-2 carries on the tradition of world-class recording devices that is UA’s long heritage. The original LA-2A is largely considered the best compressor ever made for achieving musical gain reduction, particularly with vocals, and the 2-LA-2 is sure to continue the lineage of excellence in signal processing.
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Several 2-LA-2 units awaiting final test before shipping. |
Finally, a Stereo LA-2A!
Traditionally, the LA-2A is used as a monophonic compressor. Although possible, it is uncommon to gang two units together for stereo operation. T4 modules vary between units in their release times, yet are similar enough from unit to unit to independently achieve the famous LA-2A sound. But ganging them together can be less than ideal, as the subtle differences in release times can negatively affect the stereo image. With the 2-LA-2, the T4 modules are stereo matched to tight tolerances, guaranteeing a smooth and stable stereo image.
The 2-LA-2 addresses the other limitation to ganging two LA-2As as well. It can be a chore to interconnect, calibrate and gain-match two units. You must connect the units with a wire on their barrier-strip screw terminals. Then you have to send a test tone to the units while adjusting the sensitivity switch on the rear of the master unit, to balance the gain reduction elements and metering. Furthermore, the wire must be disconnected to return the units to monophonic use. Forget that hassle! With the 2-LA-2, alternating between stereo and dual mono operation is completely simplified. All connections and calibrations are as easy as the flip of a switch.
Control Set
Of course the 2-LA-2 also retains the original (and very simple) control set of the original LA-2A: the Peak Reduction and Gain controls, Output or Gain Reduction Metering switch, the power switch, plus the front panel Limit/Compress switch that allows a subtle variation of the compressor knee. Rear connections could not be simpler: line in and line out for the two channels, plus IEC socketed power.
Clarification on the 2-LA2’s Features
During the prototype stages of the 2-LA-2 we experimented with faster photo cells to provide the 2-LA2 with a faster attack time that a standard LA-2A. While we did achieve some interesting and useful results, we were unable to locate a reliable source for the required optical cells and decided to remove the feature from the production version. Even though having a fast attack mode would have been a nice option, the real value of the 2-LA2 is that it provides two authentic channels of the classic LA-2A sound for only a little more that a single standard LA-2A.
2-LA-2 Design and Origins
The 2-1176 and 2-LA-2 have had similar design paths. The 2-1176 was really born of the work done on the 6176 Channel Strip, which combined our famous 610 tube mic preamp with the 1176LN in one unit. Having laid out the 1176 for use in a channel strip, we had the building blocks already in place to somewhat easily create a two-channel version of the 1176. With the 2-LA-2, some of the groundwork had already been done in moving the sidechain section of the LA-2A to the LA-610 All Tube Recording Channel, which incorporates the T4 gain-reduction circuit of the LA-2A into the 610. The LA-610 borrows only the gain-reduction circuit of the LA-2A, but the 2-LA-2 is really two complete LA-2A compressors in one box, including the input and output amplifiers.
Like all Universal Audio hardware products, the 2-LA-2 uses only the finest-quality parts. From the metal film resistors and WIMA capacitors to the beefy power supply to the custom UA input and output transformers, the 2-LA-2 will provide a lifetime of reliable service. Each channel of the 2-LA-2 features five tubes. That's one more tube than the LA-2A, because of the added T4 module; each T4 requires its own amplifier tube. Additionally, the 2-LA-2 has a much lower noise floor than its ancestor, allowing the 2-LA-2 to be used on low-output sources with less risk of introducing undesirable hiss into your recordings.