Analog Obsession: 2-LA-2 Twin T4 Leveling Amplifier
By Will Shanks
Grab your patchcables, folks-it's almost here: the fervently requested, much anticipated, altogether amazing 2-LA-2 Twin T4 Leveling Amplifier! UA fans have been asking for a two-channel LA-2A for years-as long as they had asked for a two-channel 1176LN. While we met the demand for a two-channel 1176 some time ago with the award-winning 2-1176 Twin Vintage Limiting Amplifier, the challenge of a two-channel LA-2A was a bigger mountain to climb, and so it took a little longer to find our way. But find our way we did, as the 2-LA-2 elegantly combines two channels of silky, tube-amplified, stereo-matched optical gain reduction in one space-saving 2U unit.
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2-LA-2 Twin T4 Leveing Amplifier
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The 2-LA-2 is designed by original UREI engineer Dennis Fink, with the same design team that brought you just about every amazing product the Universal Audio has made. Rest assured, this is the real deal-but with some amazing additions. To be sure, the 2-LA-2 is not an exact component clone of the classic LA-2A, but 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.
“The 2-LA-2 delivers the same authentic, smooth-as-silk gain reduction you’ve come to know and trust with the LA-2A.”
Two-Speed Recovery
The 2-LA-2 is a breakthrough in optical compression, featuring two socketed T4 modules on each channel, offering switchable slow and fast compression recovery times. This adds versatility to the 2-LA-2 that its predecessor was never able to offer. The original LA-2A is arguably considered the best compressor ever made for achieving musical gain reduction, particularly with vocals. But because of the somewhat slow release of the optical gain reduction, some see the LA-2A as a one-trick pony. Of course the slow recovery setting on the 2-LA-2 delivers the same program-dependent, artifact-free gain reduction made famous in the original device; however, the new fast-recovery setting offers speedier recovery times than the original. Some old-timers keep around a few T4 modules as a way to achieve various release times on their LA-2A, but the fastest T4s ever made were probably still too slow to make a dramatic difference in recovery time. The fast setting on the 2-LA-2 gives it a recovery time that is significantly faster than any optical compressor before it, making the 2-LA-2 an amazing compressor for every studio task, even drums. Furthermore, this trick is now accessible at the flip of a switch!
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Stereo Link
The other limitation with the original LA-2A is it is somewhat difficult to run two as a stereo pair, and it has therefore traditionally been used on monophonic sources. This is for two reasons.
First, T4 modules vary between units in their release times. While T4s are similar enough from unit to unit to independently achieve the famous LA-2A sound, 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, both the slow and fast pairs of T4 modules are stereo matched to tight tolerances, guaranteeing a smooth and stable stereo image.
Second, 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 the monophonic use. Forget that hassle! With the 2-LA-2, alternating between stereo and dual mono operation is completely simplified, as all connections and calibrations are as easy as the flip of a switch.
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.
Sound and Sources
While the LA-2A may be seen by some as a "specialty" tool-doing one thing, but doing it like no other-the 2-LA-2, with its fast recovery time, is elevated to the status of a highly versatile compressor suitable for every studio task. Whether on smooth, ballad-style vocals or aggressive rock drumming, horns, strings or piano, the 2-LA-2 has an amazing sound to offer. From monophonic sources to stereo bus compression or even on the master bus, the 2-LA-2's versatility allows users the magic of program dependent optical compression on any source. How does it sound? Incredible, of course! With the fast release time, the 2-LA-2 has made optical compression a beautiful thing for ANY source!
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LA-2A
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2-1176
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6176
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LA-610
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The 2-1176 and 2-LA-2 have had similar design paths. The 2-1176 was really birthed from 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. While the LA-610 borrows only the gain-reduction circuit of the LA-2A, 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 audiophile 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.
From drum bus to master bus, vocals to vibraphones, the 2-LA-2 delivers the same authentic, smooth-as-silk gain reduction you've come to know and trust with the LA-2A, but conveniently redesigned into a 2U two-channel package.