The No.1 Website for Pro Audio
LA-2A or LA-3A (don't like the 1176)
Old 20th August 2013
  #1
Lives for gear
 
Dizzy's Avatar
 

LA-2A or LA-3A (don't like the 1176)

Alright first let me begin with the in paranthesis of not liking the 1176, to be fair I've never heard the hardware version - actually haven't heard either of the hardware versions and that's why I'm making this thread as I'm going into more and more hardware. I'm going off of the Waves versions of all of these, how accurate of a representation to what their hardware counterparts sound like? I'm not sure. But I certainly cannot get the Waves 1176 on a vocal to sound good, whatsoever.

Waves LA-2A, however, I've been using for some time now on just about everything vocally - have always ignored the LA-3A.

Recently, began using the Waves LA-3A and I've been liking it.

Now these plugins may represent nothing whatsoever to their hardware versions, so that's where you knowledgeable people come and and help me if you're ever so kind to do so.

Whatever compressor I go with will be primarily for tracking vocals.

It'll be ran through either an MA5 or 737 preamp/U87 microphone.

One question I do have about the LA-2A in comparison with the 3A is the tubes. Because the 2A does pass through tubes, does that automatically fatten & warm a vocal out of it just being ran through with no GR? If so, I might want to lean towards this piece over the 3A.

From my understanding the 3A is a bit faster, which will suit the quick exertion of hip hop vocals maybe a bit better? But at the same time, 2A's slowness can always be fixed in the mixing stage with a touch of another compressor, no?

And then I have to ask, regarding the 3A, without the tubes - does it have any characteristic of adding a fattening/warmer sound? Or is it just a really nice transparent compressor without adding much of anything to your passing through signal?

Thanks in advance for any help guys.
Old 21st August 2013
  #2
Lives for gear
For vox it is beautiful and I would NOT use anything after it.
And "yes" to your statement about going through without gain reduction.
Old 21st August 2013
  #3
Lives for gear
 
Dizzy's Avatar
 

That's +1 on the LA-2A preference.

For that modern hip hop sound, however, it seems like multiple compressors are being chained these days.
Old 21st August 2013
  #4
Lives for gear
 
hasbeen's Avatar
I have both an LA2A and 1176. I think both are a studio staple. The LA2A shines on vocals as the previous poster said but use it with an 1176 and you can do some amazing things.

Don't let the lack of both deter you though. I would rather have my LA2 than a LA3. At least for starters.
Old 21st August 2013
  #5
Lives for gear
 

The plugins are useful but very far from the actual hardware.
Old 21st August 2013
  #6
Lives for gear
 
Dizzy's Avatar
 

+2 on the LA-2A then, ha.

Can you school me on why I seem to hate the Waves version of the 1176? I can't seem to get a smooth vocal out of it no matter how I play with it. The LA-2A/3A, however, instantly get nice smoothened vocals out of them.
Old 21st August 2013
  #7
Lives for gear
 

Use the 1176 first to tame transients and then let the la-2a do it's thing.
Old 21st August 2013
  #8
Quote:
Originally Posted by Dizzy View Post
Whatever compressor I go with will be primarily for tracking vocals.
In that case, personally I'd pick one with release control. Compressors without atk+release control aren't going to be as flexible. If you made me choose between tracking everything with an outboard LA2A or the CLA76 plugin I'd take the plugin.
Old 21st August 2013
  #9
Lives for gear
If I had to use the plugins, and could have only one piece of outboard, it would be the LA-2A or maybe the Tube Tech CL 1B.
I usually don't use any plugins, but I have to say that many plugins sound very close to the hardware (e. g. 1176), but I've never heard any plugin that would come close to the LA-2A. They might have a simmilar compression curve and even sound really good, but nothing like a real LA-2A.
Old 21st August 2013
  #10
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by Dizzy View Post
Alright first let me begin with the in paranthesis of not liking the 1176, to be fair I've never heard the hardware version - actually haven't heard either of the hardware versions and that's why I'm making this thread as I'm going into more and more hardware. I'm going off of the Waves versions of all of these, how accurate of a representation to what their hardware counterparts sound like? I'm not sure. But I certainly cannot get the Waves 1176 on a vocal to sound good, whatsoever.

Waves LA-2A, however, I've been using for some time now on just about everything vocally - have always ignored the LA-3A.

Recently, began using the Waves LA-3A and I've been liking it.

Now these plugins may represent nothing whatsoever to their hardware versions, so that's where you knowledgeable people come and and help me if you're ever so kind to do so.

Whatever compressor I go with will be primarily for tracking vocals.

It'll be ran through either an MA5 or 737 preamp/U87 microphone.

One question I do have about the LA-2A in comparison with the 3A is the tubes. Because the 2A does pass through tubes, does that automatically fatten & warm a vocal out of it just being ran through with no GR? If so, I might want to lean towards this piece over the 3A.

From my understanding the 3A is a bit faster, which will suit the quick exertion of hip hop vocals maybe a bit better? But at the same time, 2A's slowness can always be fixed in the mixing stage with a touch of another compressor, no?

And then I have to ask, regarding the 3A, without the tubes - does it have any characteristic of adding a fattening/warmer sound? Or is it just a really nice transparent compressor without adding much of anything to your passing through signal?

Thanks in advance for any help guys.
How are you using the 1176? It's not a comp to overdo. Try using your 1176 plug as a "tone" control and go for a mid level attack and a long release without pushing it to distortion...see how much level you can get out of it without hitting the red with the attack at 11PM and the release at like 5 or 6AM to start....then keep pushing the attack and release back until things feel "held". Keep it as -4dB...don't go for higher compression ratios.

THEN stick an LA2A on the end to soft limit and control the odd transient...just a taste of it with a bit of make up gain so the volume feels good...again don't overdo it and don't let the meter push things into the red...that should give you much better vocals even with just the plugs.
Old 21st August 2013
  #11
Lives for gear
 
Dizzy's Avatar
 

Quote:
Originally Posted by herecomesyourman View Post
How are you using the 1176? It's not a comp to overdo. Try using your 1176 plug a "tone" control and go for a mid level attack and a long release without pushing it to distortion...see how much level you can get out of it without hitting the red with the attack at 11PM and the release at like 5 or 6AM to start....then keep pushing the attack and release back until things feel "held". Keep it as -4dB...don't go for higher compression ratios.

THEN stick an LA2A on the end to soft limit and control the odd transient...just a taste of it with a bit of make up gain so the volume feels good...again don't overdo it and don't let the meter push things into the red...that should give you much better vocals even with just the plugs.
Okay, I guess I was going into the 1176 with the wrong mindset of what it's intended to do as a tool. Following it up I'm getting a better sound that when I was playing with it before, I must say. The attack/release times on that thing are really important apparently, I'm even able to kind of use it fairly aggressively and it's sounding somewhat smooth. Hm.

Pretty good sound with the following settings in the specific vocal I'm running it through.








Now not to throw this thread off completely. But has anyone shot Purple's Action 500 series comp with their MC77? I have an open 500 slot on me and found a pretty decent deal on the Action comp, but if the MC77 is worth going for more-so then I'll dwell on it and pick that up some time down the road (just did some mildly extensive research on some hardware 1176's, concluded the MC77 would be more of what I would want than the LN's).
Old 21st August 2013
  #12
Quote:
Originally Posted by nnajar View Post
The plugins are useful but very far from the actual hardware.
I have to respectfully disagree. Some of the plugins are actually very, VERY close. Now whether that slight difference is incredibly important to you is another thing all together but they are close enough that many people are not able to pick which is which in a shootout.

It would be nice to think that the difference in sound is huge considering the difference in price but that just isn't the case.
Old 21st August 2013
  #13
Quote:
Originally Posted by Full Clip Audio View Post
I have to respectfully disagree. Some of the plugins are actually very, VERY close. Now whether that slight difference is incredibly important to you is another thing all together but they are close enough that many people are not able to pick which is which in a shootout.

It would be nice to think that the difference in sound is huge considering the difference in price but that just isn't the case.
Actually the Waves CLA plugins are far from the hardware and have done this shootout many times and even one of my customers was baffled at how big a difference it was. Anyways LA-3A is are my favorite to me put vox in it and butter comes out the other side. 2A's are gold too but really it's all about preference.
Old 21st August 2013
  #14
Gear Nut
 

Quote:
Originally Posted by Full Clip Audio View Post
I have to respectfully disagree. Some of the plugins are actually very, VERY close. Now whether that slight difference is incredibly important to you is another thing all together but they are close enough that many people are not able to pick which is which in a shootout.

It would be nice to think that the difference in sound is huge considering the difference in price but that just isn't the case.
I have to disagree that plugins are very very close...
Any plugins I A/B with actual hardware, I pick hardware all day long.
Old 21st August 2013
  #15
Gear Nut
 

Back to OP, try ELOP to track your vocal.
Old 21st August 2013
  #16
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by Dizzy View Post
Okay, I guess I was going into the 1176 with the wrong mindset of what it's intended to do as a tool. Following it up I'm getting a better sound that when I was playing with it before, I must say. The attack/release times on that thing are really important apparently, I'm even able to kind of use it fairly aggressively and it's sounding somewhat smooth. Hm.

Pretty good sound with the following settings in the specific vocal I'm running it through.








Now not to throw this thread off completely. But has anyone shot Purple's Action 500 series comp with their MC77? I have an open 500 slot on me and found a pretty decent deal on the Action comp, but if the MC77 is worth going for more-so then I'll dwell on it and pick that up some time down the road (just did some mildly extensive research on some hardware 1176's, concluded the MC77 would be more of what I would want than the LN's).
I prefer the JLM FC500 FET to any other single slot 1176 inspired 500 series unit. But the action is GREAT.

I know you think you're sounding good with the vocal...but back the level off, you're still clipping (red light on your plug-in...) trust me, you want to back the output down...and let the next thing in the chain (plug, fader, whatever) give you back the level.

Last edited by herecomesyourman; 21st August 2013 at 05:19 AM.. Reason: I said snare, not vocal...because I'm mixing drums! Whoops.
Old 21st August 2013
  #17
Lives for gear
 
Dizzy's Avatar
 

Quote:
Originally Posted by herecomesyourman View Post
I prefer the JLM FC500 FET to any other single slot 1176 inspired 500 series unit. But the action is GREAT.

I know you think your sounding good with the snare...but back the level off, you're still clipping (red light on your plug-in...) trust me, you want to back the output down...and let the next thing in the chain (plug, fader, whatever) give you back the level.
I actually wasn't clipping, I forgot to click the clip button and run the audio through again. It stays red if you don't click it again, and when I was playing with the level initially it clipped and just stayed on the whole time while I dialed it in. Got the same settings as posted and there's no clipping. Sounding pretty good, should mention that I have the RComp for some very very, VERY light touch after it and that's what I'm using to boost back up my gain as well.

So would the MC77/LA-2A be a great combo, greater than the MC77/LA-3A is what we're all agreeing upon?
Old 21st August 2013
  #18
Lives for gear
 
Aaron Miller's Avatar
Quote:
Originally Posted by Dizzy View Post
Okay, I guess I was going into the 1176 with the wrong mindset of what it's intended to do as a tool. Following it up I'm getting a better sound that when I was playing with it before, I must say. The attack/release times on that thing are really important apparently, I'm even able to kind of use it fairly aggressively and it's sounding somewhat smooth. Hm.

Pretty good sound with the following settings in the specific vocal I'm running it through.




Hey bro, I see you're using a medium attack on the 1176. Keep in mind that it's still really fast on this comp. If you try the attack on slowest (1) it may be better for vox. Release on fastest like you have it may add a little grit depending on your ratio and how hard it's working. Slow the release (counterclockwise) for less grit and to time with tempo. You may find it smooths out some. 4:1 often works well on vox IMO. I love Bluey actually: it's got more color to my ears.
Old 21st August 2013
  #19
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by Dizzy View Post
I actually wasn't clipping, I forgot to click the clip button and run the audio through again. It stays red if you don't click it again, and when I was playing with the level initially it clipped and just stayed on the whole time while I dialed it in. Got the same settings as posted and there's no clipping. Sounding pretty good, should mention that I have the RComp for some very very, VERY light touch after it and that's what I'm using to boost back up my gain as well.

So would the MC77/LA-2A be a great combo, greater than the MC77/LA-3A is what we're all agreeing upon?
Love the RVox/RComp. Try the Rvox before the 1176 on a snare drum and keep it on the "Blackface" mode.


Quote:
Originally Posted by Aaron Miller View Post
Hey bro, I see you're using a medium attack on the 1176. Keep in mind that it's still really fast on this comp. If you try the attack on slowest (1) it may be better for vox. Release on fastest like you have it may add a little grit depending on your ratio and how hard it's working. Slow the release (counterclockwise) for less grit and to time with tempo. You may find it smooths out some. 4:1 often works well on vox IMO. I love Bluey actually: it's got more color to my ears.
I concur! Swap to the "Bluey" Blue Stripe mode for your vocal...the CLA 1176 is modeled after a bunch of different ones he owns, but there's a specific Blue Stripe he prefers for vocals that the Bluey version is patterned after most.
Old 21st August 2013
  #20
Lives for gear
 
GreenNeedle's Avatar
 

With the 1176, it seems to make more sense to listen to how the voice (or bass whatever you are running through it) sits against the rest of the mix.
If you use one for live sound you will get the hang of it quick because all you are going for is getting the sound to sit right amongst the rest, strong, proud, clear. I find i can hit 12:1 for vox on a dense mix all the time with out any negative side effects, or all buttons in, and live singers come to me afterwards and say they love the sound they heard. Also i regularly hit 10db gain reduction on peaks or more, especially on 4:1 on vox, acoustics etc. It doesnt matter if it works in the mix and doesn't sound like its going away from you.

Don't listen for compression, just listen for gravity, get it to float without hearing too fast or too slow of a release. The attack is character.
They will also color the top with a slight grit that makes the sound cut a bit.

On the itb CLA stuff the Bluey will give lots of grit, works sometimes, sometimes its too much.

Get your hands on a good blackface and spend sometime doing some live sound with it, then you will get why it's special, real quick.
Old 21st August 2013
  #21
Deleted 2ef94c5
Guest
Learning to identify a FET envelope takes time. They usually grab the audio VERY fast - so fast that the knee character isnt as obvious, which is probably why you don't like it compared to the super obvious knee of the LA2A.

Put the FET first to knock down the spikes. Get the release right for the tune. Then put on the LA2A as your leveling comp - imagining your finger riding up and down as though it knows whats coming.

I guarantee you have heard this a bazillion times on your favorite records cuz i've worked with 200 engineers over 20 years that most all do this in one form or another to park a vocal without squashing the life out of it.

And then automate...
Old 21st August 2013
  #22
Quote:
Originally Posted by KDE View Post
Actually the Waves CLA plugins are far from the hardware and have done this shootout many times and even one of my customers was baffled at how big a difference it was.
I am not necessarily referring to the CLA plugins. I would bet that if you put up the UAD versions against the real thing in a double blind test, very few people on here would be able to identify which is which accurately.

I am fairly sure that the difference between the plugin and the actual unit it was modeled after is smaller than the difference between different hardware versions or vintage units in many cases. As most of us know, one unit can sound very different from another due to component tolerances, build tolerances, component breakdown and even variations in production runs. Even the potentiometers will not be matched exactly.

When really trying to understand how close the sound of the plugin is to the hardware, I think the best way is to try and duplicate the results using your ears rather than simply matching the settings. For all the reasons mentioned, it is very likely that the same settings will deliver slightly different results even with two units that are capable of producing the same results. Finally, relying on the meters to tell you how much reduction is happening or how hot you are pushing it is a bit of a trap as well. Meters can respond VERY differently depending on the meters themselves as well as the circuit driving them so 5 db of reduction on different compressors may yield very different results. It's an approximation at best.
Old 21st August 2013
  #23
Quote:
Originally Posted by hawon View Post
I have to disagree that plugins are very very close...
Any plugins I A/B with actual hardware, I pick hardware all day long.
Of course. This is exactly why double blind tests were created.
Old 21st August 2013
  #24
Quote:
Originally Posted by Full Clip Audio View Post
I am not necessarily referring to the CLA plugins. I would bet that if you put up the UAD versions against the real thing in a double blind test, very few people on here would be able to identify which is which accurately.

I am fairly sure that the difference between the plugin and the actual unit it was modeled after is smaller than the difference between different hardware versions or vintage units in many cases. As most of us know, one unit can sound very different from another due to component tolerances, build tolerances, component breakdown and even variations in production runs. Even the potentiometers will not be matched exactly.

When really trying to understand how close the sound of the plugin is to the hardware, I think the best way is to try and duplicate the results using your ears rather than simply matching the settings. For all the reasons mentioned, it is very likely that the same settings will deliver slightly different results even with two units that are capable of producing the same results. Finally, relying on the meters to tell you how much reduction is happening or how hot you are pushing it is a bit of a trap as well. Meters can respond VERY differently depending on the meters themselves as well as the circuit driving them so 5 db of reduction on different compressors may yield very different results. It's an approximation at best.
Of course i volume match everything and take all the steps to make it as close together as i can. Have not spent to much time with the UAD but was impressed by the UAD 660 plug. I do think plugins are making leaps and bounds.

The main difference between the hardware and the modeled plugins (even UAD) is that they do pretty well on safe settings but always lose the war miserably when they come to being driven. Point in case 1176 plugins DO NOT do "All Buttons" mode anywhere close to a real 1176. Waves API plugins do not sound close boosting 12db. The plugins can't handle extremes and when i want to use a 1176 you can bet you sweet ass im going "All Buttons" in on my room mics. I think we can booth come to an agreement on this.
Old 21st August 2013
  #25
Gear Nut
 
BamesJond's Avatar
 

The LA-3A really shines on lead vocals imo. The Waves CLA3-A sounds nothing like my Universal Audio LA-3A, but the Waves was modeled after CLA's Urei LA-3A. So they should sound different. But my HW just beats the plugin, at least on vocals.
Old 21st August 2013
  #26
Gear Nut
 

Definitely dig the waves cla bluestripe for lead vocs. I have a purple mc77 and it gets tons of use. My understanding is that the purple action is cool but doesn't quite have what the mc77 has. The mofet76 seems cool--worth checking out.
Old 21st August 2013
  #27
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by L Diamond View Post
Definitely dig the waves cla bluestripe for lead vocs. I have a purple mc77 and it gets tons of use. My understanding is that the purple action is cool but doesn't quite have what the mc77 has. The mofet76 seems cool--worth checking out.

Breaking down modern analog variations of the 1176 into laymen terms.


I think the Mofet76 and the Purple MC77 are the two best variations of the 1176 available. the MC77 sounds like the highly sought after modified blackface revision F's (push pull preamp, not class A) that were in NYC based studios like Power Station and The Record Plant from what I've been told by someone who would know firsthand. (*Fletcher)

Sonically the MC77 is going to have a more pronounced top end than pretty much any clone out there because it was designed to sound like those units which were modified to have a bigger high frequency response. It will have lower self noise than Vintage revision E and D and so on going back since the revision F it was modeled after specifically was designed to cut down on noise. The reason why they modded them for bigger high end response back in the day was simple...everyone was cutting to tape which is a much darker sound than digital! So it would help the source cut through with less EQ...only the best techs in the biggest studios in NYC would be able to do these mods so it's really very cool that these are available. Andrew is making something very special with these.

The Mofet76 sounds like an unmodified variation of the revision F...so it's not going to have the more pronounced top end...(but that can be a good thing too!) Also it has the option of a Carnhill transformer on the output which is switchable...(This is very cool honestly since it offers a tonal variation that other units don't have.) Brandon is doing everything he can to make the best product for the money you can buy and that shouldn't be overlooked either. Also if you read my comments about the Blue Stripes below I think the genius in Brandon's design is that with pushing the output volume up until you make up the level you lose swapping transformers...the Carnhill switch will add harmonic distortion in a tasteful way to the signal, similar to a Blue Stripe in some capacity. (Maybe that's why he did it?)

Both versions can be stereo linkable (Purple with a patch cable, Mofet with an old school linking bridge that costs $75), but the Mofet is significantly cheaper since it's not as heavily advertised. Both companies make the finest versions available to the public. (Much better than the Universal Audio variants which are in all honesty, overpriced and not as true to the originals.)


500 Series Vs. 19" Rack:


500 series models have -2dB overall headroom due to power supply based design limitations. Also unless it's a doublewide unit like the Buzz Audio Potion the transformer has to be custom and smaller in order to fit, which will change the sound a bit. The problem I have with that is simply utilitarian, I don't want to put in double wide units in a rack unless I have to, so I can keep cramming more units in there! (The Buzz is actually VERY GOOD...I just can't seem to make myself spend two slots on something that isn't a bus compressor though.)

There are great 500 series iterations...but again...for my money the JLM FC500 FET is the one to beat. It's not the cheapest since the Lindell and IGS have offerings which are extremely affordable, but you can't really front on it's sweepable attack and release and sweepable High Pass Filter. *None of the other variations have sweepable versions of those controls...maybe you get the attack and release with the Purple Action (which is tweaky and easy to push into the red compared to the JLM which has superior control response and an accurate analog VU Meter), but usually they're switches...and the filters are ALWAYS switched on other designs. It also looks to be a modern variation of the Revision F in most respects...only Joe Malone seems to be the kind of guy who is always trying to improve upon what came before so don't let it's small size fool you.

There are obviously full 19" rack designs that are inspired by the 1176...the Slate Dragon looks cool (It's like the "Robocop" of 1176's), Lindell offers a new interesting design...IGS seems to have several FET compressors which are similar, *one which seems pretty spot on in terms of being close to the originals, but I have no idea which revision they have chosen to emulate, etc. But most of these are INSPIRED by the originals. Not trying to be totally authentic...so they might satisfy what you're trying to go after in terms of sound, but a lot of people on this forum get upset about a war of inches sometimes when it comes to accurate recreations or owning vintage originals.

It seems to me that you should go with the best sounding kit to your ears which fits your budget and fills the gap when it comes to having a few of these kinds of compressors in the arsenal.


BLUE STRIPE VARIATION (A, A/B):

There were what...25 original (Class A) Blue Stripes in the world hand made by Bill Putnam? (And Chris Lord Alge has a few of them)...from there possibly a few hundred of the class A/B followup design which has the same faceplate? Maybe a few thousand?

Those versions would have the most total harmonic distortion going on, and the one he favors for vocals that WAVES modeled is probably one of the first 25 since he's said in interviews he has one he always goes back to for lead vocals out of the pile of vintage units he's assembled. He loves them all...but one has a sound that just works for him.

Using deductive reasoning I can hazard a guess that his main go to is one of the original 25 from several other interviews Mr. Alge has given where he always emphatically states that harmonic distortions are the things we're collectively questing after to make a mix more exciting. He has a very grounded in physics mentality...but he lets his ears help him get where he needs to go.

Since no one is trying to make a manufactured clone of the Blue Stripe but Universal Audio (There are kits to make your own...but I haven't seen anything direct from a designer / manufacturer other than UA, whom I don't think I would ever buy from considering how they mucked up the hardware LA2A reissue and every other 1176 clone I've tried / read about.) I would have serious doubts about any modern equivalent hardware being very close to that particular unit which gets used on so many hit vocal takes...so 100% accurate or not...I think the WAVES CLA Blue Stripe modeled plug in is very cool to have. (And I much prefer it to anything UAD makes, Hardware or digital since it can go to Blackface mode and back with the flick of a switch.)

Last edited by herecomesyourman; 21st August 2013 at 08:16 PM.. Reason: I just wanted to make sure I got everything I wanted to say off my chest in an organized fashion that make sense.
Old 21st August 2013
  #28
Lives for gear
 
Dizzy's Avatar
 

Damn, that's some serious schooling to my cranium my friend. Only somewhat considered a 500 series comp as I have another slot open, which looks ugly, ha. Maybe I'll use that for EL's DerrEsser, I like what I see from what piece.

As far as 1176 clones go, the MC77 (sounds) like what I'd be looking to go for. You would not suggest UA's reissue of an LA-2A, though? If you had to suggest a nice sounding LA-2A, what would you suggest?

And lastly - MC77/LA-2A, or LA-3A?
Old 21st August 2013
  #29
Lives for gear
Quote:
Originally Posted by Dizzy View Post
...You would not suggest UA's reissue of an LA-2A, though? If you had to suggest a nice sounding LA-2A, what would you suggest?
And lastly - MC77/LA-2A, or LA-3A?
There have been various reissues of the LA-2A, not including the UA.
In the 90's, an "exact" replica of the Teletronix was put out by UREI &/or JBL
and throughout the years some others.
I'm sure you can find something good out there that's in good condition.
Old 21st August 2013
  #30
Lives for gear
 
hasbeen's Avatar
Quote:
Originally Posted by Dizzy View Post
You would not suggest UA's reissue of an LA-2A, though? If you had to suggest a nice sounding LA-2A, what would you suggest?

And lastly - MC77/LA-2A, or LA-3A?
Unless they have changed drastically since they first came out, I would suggest the UA reissue. Nothing wrong with it. Sounds very nice.
๐Ÿ“ Reply

Similar Threads

Thread / Thread Starter Replies / Views Last Post
replies: 68 views: 7338
Avatar for Deleted d78e603
Deleted d78e603 7th August 2009
replies: 12 views: 4360
Avatar for sparqee
sparqee 10th February 2014
replies: 45 views: 14584
Avatar for KlangGenerator
KlangGenerator 1st June 2016
replies: 11770 views: 906044
Avatar for bowzin
bowzin 6 minutes ago
Topic:
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
๐Ÿ–จ๏ธ Show Printable Version
โœ‰๏ธ Email this Page
๐Ÿ” Search thread
๐ŸŽ™๏ธ View mentioned gear
Forum Jump
Forum Jump