We can’t post an article about compressor emulations without mentioning the 1176, which is a firm favourite in most studios and genres of music production. Watch our video below to hear Wave's model of producer and engineer Jack Joseph Puig's Fairchild called PuigChild in action. The term “glue” is often thrown around a lot when describing the characteristics of a compressor, but not in the case of a Fairchild! A little generally goes a long way with a Fairchild. Suitable applications for vari-mu compressors are on drum mixes, sub mixes and of course masters. It will swallow up 6u of rack space and weigh a hefty 30kg.īoth the stereo 670 and its mono counterpart were designed in the early 1950s and are known as vari-mu limiters which are unique in that they use tubes for gain reduction as well as amplification. The original unit is no small device either. If you find a 670 on the used market expect to spend around $40,000 for a decent example, then, if you do get our hands on one be prepared to spend thousands of dollars replacing the 20 vacuum tubes regularly. It is known for delivering astonishing sound and is a rare unit to find these days with only a handful of top studios lucky enough to own and maintain one. The Fairchild 670 is considered by serious studio gear monkeys to be the absolute gold standard in the world of compressors. Watch our video below to hear Waves CLA-2A plug-in against a modern-day Universal Audio hardware LA-2A.
#CLA 2A COMPRESSOR HARDWARE SOFTWARE#
Over the years the LA-2A turned out to be quite a popular device in the software world being modelled by many third-party plug-in developers, most notably by Waves who emulated Chris Lord Alge's own favourite unit. Simply reduce the Peak Reduction while increasing the Gain to level compensate, and the rest is down to what amount of dynamic squeeze you feel your tracks need. Peak Reduction and Gain which makes LA-2A compressors one of the easiest dynamics processors to set tastefully.
Two simple controls dial in LA-2A compression. Vocal tracks are the main order of business for any LA-2A or emulation as their compression characteristics generally help to push vocals to the front in most styles of music.
It handles gain reduction with barely any harmonic distortion side effects. The LA-2A is a tube electro-optical attenuator. For nearly six decades the original Teletronix LA-2A Leveling Amplifier has been a popular compressor choice in audio production, known widely for its abilities to apply instant and smooth sounding compression with ease.
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