Already set with Manly Variable MU and 2-1176 but want that LA-2A electro-optical sound as a part of the palette. Want it to complement ELUX 251 and Telefunken V72 for vocal tracking into a Pro Tools.
The Manley is a bit less money for a 2 Ch. unit than a single Ch. Universal LA-2A. My concern is that it may not have the body of the LA-2A.
Anybody have experience and/or thoughts about which way I should go here?

Thanks,

Jack

I have owned one of the Urie LA-2A's and an Elop and used a most recent re-issue LA-2A.

Personally, I like the Elop.
However, the Urie was quite a nice unit. It was a little TOO colored for me but, the color was nice. It sounded thicker and slower. The Elop always seemed kinda hi-fi during direct comparison. I could use the Elop in more cases. In fact, I wouldn't hesitate to try it on anything.
The Urie was nice on Vox and Bass.
The reissue was not directly compaired but, I recall it being similiar to the Urie more so. It seemed thicker. I don't recal a nipple erection as experienced with both other units.
However, I am sure it is a nice unit.


I doubt any of these would be a bad choice.


Best of luck

D

I'd go with the ELOP. I know the LA2A has a long history as a vocal compressor, but I think it has a more vintage vibe. I prefer the faster attack time in the ELOP. I think that the ELOP allows for more compression without the pumping effect, and the fast attack will really help with singers that aren't totally in control of their own dynamics.

I agree with both of the above posts-

The Elop sounds nothing like the LA2A.

If you want the LA2A sound buy an LA2A.

If you want something leaner and cleaner than you have a couple of choices.

My preference for vocals would be a Tubetech CL1B with different tubes.

For something similar to the LA2A but different, the LA3A.

For fast Elop compressors look at the OCL-2,the buzz Audio and the Manley.

My personal preference is probably in that order.

Thanks,

You guys have been helpful - speaking to all my worst fears about both pieces.
Yes, Iam concerned about the hi-fi sound of the Manley with the 'hole' in the midrange.
My main usage for this unit would be vocals. This might allow me to purchase a single unit. Is anyone of you using either of these in a stereo configuration for instrument recording. I would probably be using the Manley Vari-Mu for overheads so I guess I should ask what people are using el-ops for in a stereo mode other than that.

Best regards,
Jack

I think I'd go with Thrill and suggest the Tube Tech.

I've got mixed feelings for Manley stuff. They are good, but maybe not my cup of tea.
I'm perhaps the only on this forum that don't love the Massivo
(not that it's crap in any way).


BUT, I haven't heard the SLAM, though.


ruudman

I love the Tube-Tech CL1B also, but I think the ELOP is a total no brainer. The Tube-Tech requires a bit more know-how with compressors. Sometimes if you are both producing the vocal, and engineering it too, a "set and forget" unit is more desirable. The Distressor is also a total set and don't worry about it compressor. It adds more color, in a rock-and-roll kinda way (to me).

I would recommend the Manley. I have not found any hole in using it for vocals. It is an outstanding unit. Less colored than the LA2 A but in a very good way.

Just to be clear.
When I stated "hi-fi" I did not mean there was any hole in the mids.
I meant that there is a more clinical OR precise feel to the sound of the Manley.



D

Thrill - what do you mean by different tubes for the CL1B?

FWIW, there is also the option of either something in the "hotrodded" LA2A, vein, like the Requisite L2M, or if you're up to doing a bit of home cooking, something like the bloo Technologies LA2A - which seems to get favorable reviews from the D.I.Y. crowd

The stock tubes in the CL1B sound like crap.

Sometimes just switching the input tube is the difference.

The Telefunken tubes worked really well.

Not to hijack this particular thread, but...

Would you say that tube upgrades are an improvement for Tube-Tech stuff in general, or specifically the CL1B?

I've only done it to the CL1B.

I would imagine that it would help in general, especially on the MP1a mic pre(which sounds cool already).

I wouldn't say a "Dragon" valve sound like crap, but they CAN. But Telefunken valves are one of the most consistent valves
you can get:
Others triodes are Mullard, Philips Miniwatt, Brimar and Amperex.

If you can, go for valves that are internally
matched, when the valves are twin triodes.


ruudman

What i should have said is they sound crappy inside the CL1B.

Sometimes a little too bland and closed.

You should take a look at the ADL 1000 (Anthony Demaria Labs). I use mine for tracking vox, guitar and bass. Really FAT meaty sound! I've seen these go for $700 used on Ebay!



http://www.anthonydemarialabs.com/products.html

So many choices...

There's also the Eclair La-La limiter, which uses actual T4Bs, and sounds incredible. I may sell several things in my studio over the years to come, but this will never be one of them. In "needle-twitch" mode it's also a great bus/mastering sweetening process. I don't know if they're still being made.

The Pendulum OCL-2 is also an optical compressor on my lust-list.

Distressors in "opto" mode are also fun -- great on bass DI tracks.

There's also that Fairman box that Labs is trying to sell in the classifieds section here... Looks interesting, except for the Euro versus Dollar thing

-dave

I'm kinda getting a feel for people's comments on the Manley ELOP and the Universal LA-2A.

Someone mentioned the Pendulum OCL-2. I took a look at that on line and it looked pretty interesting - as well as the ES8. I'm a West Coast guy and haven't seen any of that around.

Any recommendations or comments on those?

Thanks,

Jack

Vocals? The CL2B is great. But ELOP is outstanding.

The LA2A has the vintage spirit. (and that hf roll off... noisy...)

About the price: 1ch of LA2A = 2ch of ELOP.

(=D)

i have a 2-1176 la2a and a manley elop. You should def. go with an la2a. they are nuts on vox. a sound none of the others can even touch- literally. You will know when you get one and have used it for 3 months before you realize you have to kinda slam it and BANG!!! THAT sound comes out..

They're all different, they all have their own unique flavor and behavior. They're all good. To really know which on is "best" for you, you'd need to hear `em all. The Manley is definitely an excellent unit, can't go wrong, it's a keeper. Can always get something else in addition down the road. I'd recommend to get the ELOP first since it's probably most versatile, works well on just about anything and can really limit when you need it to.

I am interested in the new UA LA-2A and Manley ELOP for vocals, bass, and acoustic guitar. How does the sound of each compare? Please only discuss these two units. I understand Manley is hi fi, but is it cleaner, smoother, is the LA-2A warmer?

Thanks

The pros with the Manley are obvious;
1. You get two limiters and it's still cheaper than the UA.
2. They now have a HP filter on it which makes it more flexible.

The pro with the LA-2A is
1. It's a real LA-2A
2. It has the option to be a compressor or limiter with different ratios.
3. Side chain when turn the screw.

The most important thing though for me is the sound of the compressor.

Elop being stereo would convince me, as they are both well-reviewed from what I have heard.

I've had my elop since '93 and have never experienced, nor have anyone I've worked with since then noticed or made mention of a hole in the mids...

I know both are great optic compressors, but what is the sound difference?

As has been stated several times by people who use both, the LA-2A is more colored, while the ELOP is very clean. I use them both quite often, but for different purposes. Rent them both and then make your decision.

FWIW, I use the LA-2A when I want to actually hear the compressor for it's character; and I most often use the ELOP at the end of a chain to invisibly catch peaks (though lately a Fatso has been floating my boat there).

I have used an old LA-2A which sounded incredible on vocals (have not tried the new UA versions though). I also owned a Manley ELOP for a few years (was really happy with it but had to sell at the time). Hard to say because I didn't compare the 2 at the same time but I think people saying that the ELOP is more "hi-fi" sounding is accurate. I didn't like the ELOP on mix buss, but loved it for tracking vocals and bass so for my needs it didn't need to be a stereo unit. So given the opportunity I would probably choose an LA-2A over an ELOP if I could find an LA-2A that sounded as good as the one I had previously used. I think you'd be happy with either an LA-2A or ELOP though

Thank you for your response. Just for clarification, Is the new reissue LA-2A also more colored than the ELOP? If so, I will look at the LA-2A next.

The reissue LA2a is very similar to vintage units I have used which they themselves all sounded a bit different if you want to scrutinize the individual track.

One thing I will say is with the stock tubes the UA sounds a bit dark and flat. Some nice NOS tubes will return that lively dimension that have made the LA2a a classic.

I can't imagine the Elop being anyhting but a great choice too, but if you want colored compression I would definitely take the La2a vintage or reissue over the elop.