Distressor -> Warm WA2A. What kind of space are you recording in? It didn’t compare to the real 76s I used during my stint engineering in a commercial facility. The most common combination is to put the 1176 first and set it up as a peak limiter. The usual pair is LA2A and 1176 on vocals and (if remembering correctly) the LA2A goes first to flatten the curve (pun intended) then 1176 afterwards, restraining the remaining transients. It’s a kind of “smash and grab” approach that results in crisp, sharp vocals that sit right upfront in the mix. That will get you a LONG way towards a pro vocal sound for pretty cheap IMHO. The Flea 47 NEXT is a cardioid-only version of the Flea 47, modeled after the iconic Neumann U47 large diaphragm condenser microphone from 1949. This is especially important if you like the sound of vintage gear with loads of funky transformers. EQ both in solo and in context of the mix. I add all other effects to the vocal on mix down. etc. Let’s go! Well, here are compression settings and tips which I use to compress vocals. Lots of my go to settings just didn’t translate and now it just sits around collecting dust. Lead vocals in pop and mainstream music are the centre point of the mix. It’s also frequently used as part of a vocal compression chain, working in series with another compressor such as an 1176 to yield silky-smooth vocals. In particular, I think the slow LA-2A might push the vocals back too much, I've heard some people (a minority) put the LA-2A first, in limit mode, so the quick release of the of the 1176 keeps the vocal in your face, while you still get the … But that’s what I usually end up doing while mixing. One basic rule is that each successive compressor has a lower compression ratio than the one before it, and the first one is typically just catching the peaks. Using a Limiter Tracking vocals with @tommackell today for a new acoustic record he’s working on. That's not a set order though. This month we’re looking at two studio legends: the 1176LN Limiting Amplifier and Teletronix® LA-2A Leveling Amplifier compressors. Rather than having a variable ratio knob, the 1176 uses four buttons to select ratios of 4, 8, 12 or 20:1, though pressing them all in at once produces an even more assertive effect that has become known as the 'nuke' setting, where distortion increases and the attack and release times are no longer fixed and stable. No eq, and no additional compression. New comments cannot be posted and votes cannot be cast, More posts from the audioengineering community. Seems like Ive played with 100's of pieces but never bought the # 1 classic strip-chain of 1073>1176 and /or LA2A. May want to go a little light here depending on the track. Paired with Logic's stock comp on opto mode, simulating an LA2A to the best of it's abilities - sadly the soft clip on it sounds like ass most of the time. Because it gives you more control over the compression and can create a very smooth effect, especially on a track that varies wildly in dynamics. It has Input and Output gain, Attack and Release controls, and four compression Ratios. The point here is to just flatten the higher peaks. Usually will add a bit of 10K and pretty much always the low cut at 80. The amount of level reduction that takes place once the signal crosses the threshold. Researching for a good vocal chain, and compressors for that, I came across a suggestion to use a LA2A with very soft settings, basically in 'soft limiter' mode, and using a DBX160 after that with fairly fast settings for smashing any peaks that where not caught by the LA2A. If not then is it vocal technique, room or wrong mic for the voice, fix as appropriate, if what is coming out of the preamp is not pukka you are into turd polishing trying to fix it later. We’ve done articles and videos in the past showing how they work, but one little-known compression secret is that they can be used together on the same track. The most common combination is to put the 1176 first and set it up as a peak limiter. Press question mark to learn the rest of the keyboard shortcuts. The point here is to just flatten the higher peaks. Come on guys-give it a shot. On vocals, I find the LA2A often comes first, and on bass, the 1176. The iconic Urei (now Universal Audio) 1176 compressor is the paragon of FET compressors. IK Multimedia are the latest plug-in manufacturers to bring us their take on two iconic compressors. The LA-2A can be hit hard to smooth off the biggest peaks before running the signal into the 1176 … but i'm curious to see if any one would choose one of these if they had the real unit. I have a couple guesses as to what could be off but some more info would help us help you out. I'll use it on anything that works, usually compressing, unless the occasion arises where I need to tame some peaks, and I'll switch it into limiting mode. I only say that because I have both now and know the difference However, the 1176LN (low noise) will work for almost everything you put in front of it, where as, the LA2A will not. Vocals too. Big fan of this chain in general! A HPF and some EQ cuts/boosts in the right spots can help your signal not overwhelm the compressors and help you use less compression than you may otherwise use. Here, producer Marco Polo (Masta Ace, Scarface, Talib Kweli, Pharoahe Monch) offers tips on how to use Apollo interfaces and UAD plug-ins to move beyond samples and spur your own creativity. Each one is quite different from the other. Whereas achieving the latter will take some … The LA2A can be a wonderful subtle and transparent comp and hard to make sound bad. The Retro Instruments 176 is based on Bill Putnam’s classic UA 176, which was used heavily for rock vocals throughout the 1960s. Every engineer has a unique chain of gear they rely on for their mix bus and a unique workflow for how they attack their mixes when it comes to the final master fader. The vocal chain today is my @goldenageprojectofficial active ribbon mic into the @warmaudio WA12 MKII preamp —> 1176 compressor —> @warmaudio Tube EQ —> @uaudio Apollo with a piiinch of LA2A in the UA console recording in unison. Also, if it’s a real ‘pop’ tune I use the “all in” ratio setting as it really slams the compressor and makes the vocal … i get hotter , clean signals for sure. Compressor Controls. I’m a big fan of a lot of their stuff but that unit in particular is one I was not fond of on anything, IMHO. so for those reasons recommending settings is virtually useless... and I understand these points. Compressor Controls. VOCAL CHAIN IN THE MIX. Or Waves? To do this, set a high compression ratio, like 12:1, and a fairly fast attack and release. i've been mucking around using them as limiters trying emulate the real deal. Hardware saturation is a bitch to remove in the mix stage if used incorrectly, and I’d argue oversaturation in the recording stage is a relatively high-risk move similar to overcompressing signals since it cant ever be undone. https://www.puremix.net/blog/1176-settings-on-vocal-greg-wells.html In a typical scenario, one simply inserts an instance of the LA-2A into a channel strip with the channel fader at unity gain, sets the Gain Reduction to tame the peaks and transients sufficiently, and then adjusts Gain to bring the new, more consistent signal level back to the desired place in the mix. Need 1176 and la2a style compressor plugins REAPER General Discussion Forum The plugin delivers all the core features of the original hardware unit, along with some extras such as an … Ratio. The (almost) simultaneous launch of the 1176 and LA2A software versions by IK Multimedia and Native Instruments is a good opportunity to make a quick comparison. The mics I normally end up using are the Peluso 2247 LE, Peluso P-12 or TLM 103. On the mix bus chain: ... pumping out of my speakers and how the sounds grow and shrink as a result of the compression and the attack/release settings being used. At higher compression settings, the VC2A has the same characteristic artifacts; producing a thick transient bump at the attack and slightly over-esssed sibilance on vocals. The suggested Opto settings (Attack 10, Rel 0) were tailored after the UREI LA2A. The 1176 is also great for extreme distortion effects with extreme settings, but I doubt you want to do that here. 8. IK Multimedia T-RackS Black 76 & T-RackS White 2A and Native Instruments VC 76 & VC 2A Review : From 1176 to LA2A - Audiofanzine The tubes in the preamp section also allow for some saturation and allows for much fuller tones to be compressed in a more pleasing way than with the 1176. The two compressors used in this way, traditionally, are the Urei 1176 followed by the LA2A. There are no attack, release, or compression ratio controls. Just like all audio tools, there are no hard and fast rules. Or does it sound too compressed? Then around 3-5 dB on the LA-2A. One of my favourite compressors to use on any vocal is the Empirical Labs Distressor. The 1176’s input knob also behaves as the threshold control and can ... including the all-buttons-in setting, has a unique character and vocals typically work well with the attack towards the slowest setting ... on an aggressive vocal, it can be beneficial to start your vocal chain with a FET compressor. Speaking of rediscovery I remembered there is a quote from the LA-2A manual that reminds me of your current technique, just with a dbx as the peak controller: So what we’re going to do is apply the classic 1176 into an LA-2A technique. Slate VMR – I like to use the 1176 emulation included in this plugin for faster dynamic control when needed. That said, I am not sure if I can set up my sd studio bass (or lmb3) before the mxr and manage to make it sounding good live. While the settings of the 1176 are generally faster, the order depends on the musical content—one could imagine needing something faster up front for a quickly-spit rap vocal than a slowly-sung power ballad; thus, the rap track would get the faster compressor first in the chain, while you might switch for the ballad. The 176 was the predecessor to the iconic 1176, which also sounds great on rock vocals. I have messed around with the settings and continue to be a bit dissatisfied with how the vocals sound once I play back the recording on the DAW. I am just wondering if anyone could recommend settings that have given them success in recording male, pop vocals (or male vocals generally). There is Peak Reduction, which increases the amount of compression by lowering the threshold. There's a good chance you're not liking your results because you're overcompressing with both of those in series. Mix down chain would be LA2A (usually silver), 1073 eq, and usually a Lexicon 224 reverb to suite the vocal … It comes with a couple "go to" vocal comps - the 1176 and LA2A. Hardware units are tools, not a crutch. This compressor should not be doing a whole lot, just knocking 2 to 3 dB off of the loudest peaks. If something has the desired effect, go for it! Compression settings for the lead vocal, with the LA-2A Silver. Experiment by reversing the chain. Learn essential functions of popular tube and solid-state compressor varieties, and creative uses for your productions. Or does it sound too focused/not enough air? Whereas the 670's valves are smooth and warm, the 1176's equally fast FET‑based design brightens the tone and adds extra edge and excitement in a way that has made it a fixture on vocals for many top engineers for a half‑century. bvesco says: March 10, 2010 at 8:21 am . Imagine your average gay kid trying to sing well. Then I add what I think the vocal needs. If you dont feed enough to the preamp, the compressors have to work harder to bring the level up, and using too much output gain from either compressor is also going to cause significant noise issues. Aside from that, it is very much like most utility compressors. Using both compressors in series is all about how you use the information above to achieve your desired result. Thanks for all of this detailed explanation, this gives me a lot to think about! You can also reverse the order of the two, using the LA-2A in Limit mode to knock down the peaks, and the 1176 to smooth out the rest of the track. TLS 1295 LEA lets the user fine-tune the attack time and the time constant, making the compressor capable of processing a wide range of audio material. Derived from the 175 and 176 tube compressors, it marked the transition from vacuum tubes to solid-state technology.. With its distinctive tone and its wide range of sounds, deriving from the Class A amplifiers, its input and output transformers, the uncommonly fast … To illustrate - the sound of a Pultec -> 1176 -> LA2A chain will be decisively different if you put a buffering stage in-between every box. The EQ section of your 1073 can be used to help solve such issues. i have a uad 1 card which has the la2a and 1176 as plug ins on it. With a chain like that, if it doesn't sound good, there's either some kind of gain staging issue or you're either doing too much or something's wrong with the singing. I use this on 95% of my vocal chains. What aspects about the recording are not working with the rest of the music? Flea 47 NEXT > BAE 1073 > Retro 176 A good rock vocal is raw and in-your-face, a little rough around the edges with some saturation and rich harmonics. The final classic vocal‑processing contender is Urei's 1176 (and the same marque's near‑identical stereo 1178). I don't think I really slam it into the LA2A, and usually dial in between 30-40'ish in on the peak reduction knob and then whatever makeup gain is needed. The LA-2A Classic Leveling Amplifier, on the other hand, is an opto-based compressor, which means it uses a electro-optical device to perform gain reduction. To do this, disable the compressor and listen to the average level of your track, then enable it and adjust the output gain until you can’t really hear a difference in level. And also for the classic tip to combine a la2a- comp with a 1176- style comp (maybe the free 'antress 7th sign'). There are two useful ranges on the time constants on a dynamics box, one where the gain changes so fast you don't notice, and the other where it changes so slowly you don't notice, the bit in the middle is as much use as tits on a boar hog most of the time. The different compression styles will process the vocal differently so you might want more of one than the other. Does it serve the song? We have a little compression happening with the 1176 but this is kind of a classic combination that I love to try and love to use when it's available to me and that's using a LA2A a LA2A has a really slow compression speed at least with respect to the 1176 and so it's going to catch these longer peaks and things like that and just put a nice shell around this vocal and help to keep it … I'll say it very plainly: You cannot achieve a recording or a mix that matches what you hear on professional releases without a compressor. The 1176 Peak Limiter is a dynamic range compressor designed by Bill Putnam and introduced by UREI in 1967. It was said that this scenario sounds super sweet on vocals. Yes, I'm still looking forward to trying your 660 > 1176 tip (well, 660, 1176, LA2A and dbx in any order really, it seems :-)). Does the vocal elicit an emotional response to the listener? Are you tracking yourself and if so, are you simply being too critical or judgmental on your vocal skill? Again, it always changes, but this is a current starting point for me (in order). I love the LA2A and use it on everything from Kick Drum, Tom Toms, Drum Submixes, Vocals and even Mastering when I need to add a little "authority" to the sound. Some engineers use an 1176 to quickly react to high frequency peaks using fast attack and release settings and then the LA2A for gentle smoothing. I am just looking for a starting point recommendation that has worked well for tracking vocals for someone else with a similar setup. Then get SIR reverb with a 480 or 960 Medium hall impulse. Let’s activate the 1176. The (almost) simultaneous launch of the 1176 and LA2A software versions by IK Multimedia and Native Instruments is a good opportunity to make a quick comparison. The point in signal volume at which compression starts. The point in signal volume at which compression starts. I generally am using a UAD vocal chain approach, with some other plugins sprinkled in the mix. Waves Renaissance Vocals – This plugin just has one control and it’s AWESOME. 4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics. While the list is not in strict rank order and features a round-up of the very best compressors of all types, this time around we have condensed some of our very favourites into the top ten positions, providing something of a 10 Best Compressor Plugins list for those who asked. Check out the video to see both of these compressors being used together on a variety of audio tracks. I set this to just skim the tops for the LA-2A, so no more than maybe 4-6db of reduction on the peaks. The best vocal compressor for voice, bass, drums, and any other audio signal is the topmost studio-quality one you can afford. Look inside your manual for specific numbers, but it may not matter as usually measuring attk and rls times of the unit you have may be different from the manual settings. In series with another compressor (the 1176 is a popular choice), the LA-2A helps deliver silky-smooth vocals. In my opinion, it sounds better to have a signal hit two or more compressors a little bit than trying to get all the way in one go. However, those are part of different chains, so maybe a further post. The LA-2A should be set up just like you would if it were being used alone, with the Compress/Limit switch set to Compress, and Gain Reduction and Gain set to taste. I'll say it very plainly: You cannot achieve a recording or a mix that matches what you hear on professional releases without a compressor. I saw you mentioned it sounds boomy/muddy. I use the 1176 on bass all the time. Get the plate 140 as well. If you feed to much into the preamp, both compressors will bring up noise regardless of settngs. Then use the output gain to match the level. The input gain needs to be adjusted carefully to do this. Waves CLA2A – Any LA2A emulation is perfect for lighter tonal compression. I haven’t used the UAD-1 versions of those plugins but I would also first try 1176 into LA2A just as you have done. The compression should absolutely be musical and groove with the music. There are six main controls on a compressor: Threshold. To review the two compressors, the 1176LN Classic Limiting Amplifier is a FET-based compressor. Hey! I have messed around with the settings and continue to be a bit dissatisfied with how the vocals sound once I play back the recording on the DAW. I've pretty much always use an 1176 into an LA-2A (Waves) in my vocal chain, but I'm starting to think it doesn't work as well as it should. This is pretty close to my setup. With relaxed settings, TLS 1295 LEA is excellent for adding grit and presence to vocal recordings. Change your mic if that's the problem, compress less if that's the problem. The plugin handles drums and percussion really well, but you can slow it down, too. Some people use three or more compressors on a track! In a typical scenario, one simply inserts an instance of the LA-2A into a channel strip with the channel fader at unity gain, sets the Gain Reduction to tame the peaks and transients sufficiently, and then adjusts Gain to bring the new, more consistent signal level back to the desired place in the mix. Compression settings for the lead vocal, with the LA-2A Silver. The two compressors used in this way, traditionally, are the Urei 1176 followed by the LA2A. This article lists free compressor VST plugins.For more categories, return to Free VST Plugins.. A dynamic range compressor is an essential mixing tool and a core part of every digital audio workstation.Owning a high-quality compressor plugin is equally important as having a decent understanding of how compressors work. Is it the tone/brightness that you don’t like? Then blend the compressed vocals underneath to taste. I also like to do bass the same way. Other than that, my vocal bus hits a parallel compressor, and there are reverbs and delays that I use as well. Look up Ford Van's handy vocal trick in this BBS. Are you sure you cant just use one compressor than use another in the DAW? It almost sounds kind of boomy and/or muddy. The usual pair is LA2A and 1176 on vocals and (if remembering correctly) the LA2A goes first to flatten the curve (pun intended) then 1176 afterwards, restraining the remaining transients. I think what I’m noticing might relate to improper gain staging... do you have any recommendations for a resource where I could learn to do this properly? I am currently working with the following vocal chain: Neumann U87 into Warm Audio 1073 clone into Warm Audio 1176 clone into Warm Audio LA2A clone, into an Apollo Twin. We have a little compression happening with the 1176 but this is kind of a classic combination that I love to try and love to use when it's available to me and that's using a LA2A a LA2A has a really slow compression speed at least with respect to the 1176 and so it's going to catch these longer peaks and things like that and just put a nice shell around this vocal and help to keep it … Try playing with input and output gains to get the right amount of “color” and then make sure you’re happy with the input level. I want it warm and in you face-she's a powerful singer-very gutsy, but I want to make her less harsh and in your ear. Using a … #ssl #api #1176 #la2a #antelopeaudio #avidprotools #thermalstudios The best vocal compressor for voice, bass, drums, and any other audio signal is the topmost studio-quality one you can afford. You must have JavaScript enabled in your browser to utilize the functionality of this website. Running that much gear in series can drastically increase your noise floor even without any compression active. Joining us to discuss are veteran mixers Nadim Issa from Let Em In Music in Gowanus Brooklyn, Hip-Hop specialist Paul “Willie Green” Womack and the legendary Frank Filipetti , who mixes primarily … Fiddle from there. The LA2A is transparent in a completely different way from the 1176. That said, I am not sure if I can set up my sd studio bass (or lmb3) before the mxr and manage to make it sounding good live. It's brilliant as a permanent fixture in your vocal compression chain. I tried following a set of instructions I found on a gearslutz post but I don’t think that it worked. I’ve got a pretty fast attack and fast release time, and I’m going to set my input and output to a point where the loudest parts of the vocal performance are brought down, but the quietest parts are not affected. Yes, I'm still looking forward to trying your 660 > 1176 tip (well, 660, 1176, LA2A and dbx in any order really, it seems ). Analog Obsession has released LALA, a freeware emulation of the LA-2A tube compressor in VST, VST3, and AU plugin formats for digital audio workstations on PC and Mac.. LALA is Analog Obsession’s first emulation of the LA-2A Classic Leveling Amplifier. Side-chain Vocal Effects but i'm curious to see if any one would choose one of these if they had the real unit. The scope of dynamics the 1176 offers with exploding Bonham type drums and super dynamic vocal transients is not even in the vocabulary of an LA2A. Slate VMR – I like to use the 1176 emulation included in this plugin for faster dynamic control when needed. As many others have mentioned, I would make sure you’re happy with the level and tone of what’s going into your interface without any compression. This combination works also great with snares and it's interessting to experiment with the chain: Sometimes I favourite the 1176 in the first instance, sometimes the la2a. And it just wouldn’t be rock and roll without the loud, bombastic sound of a super fast compressor clamping down on your vocal. You should have very specific reasons for any outboard gear you use while you track because you obviously can't take them back after something is recorded. If you really like the sound through the chain you have set up, generic preamp->1176->LA2A settings may not work depending on how your gain is staged. From there I would match each compressor individually so the level or more or less the “same” when you bypass them. Compression settings for lead vocals should be as natural sounding as possible.. Because humans are expert listeners, any small unnatural-sounding volume jump or dip will be noticeable and detract from the power of the melody and lyrics. Id like to hear/read some non-marketing truths to your opinions on the mass of 1073's with gain and crunch and the 1176 clones, with and without ALL IN mode....and the more pricey LA2A clones. This compressor should not be doing a whole lot, just knocking 2 to 3 dB off of the loudest peaks. Hit the '2A hard to smooth out the largest peaks, then run the signal through the 1176 to tidy up. How: Send your vocal to two different compressors, an 1176 FET style compressor and LA2A Opto compressor for instance. If you’re struggling with settings try and identify what particularly doesnt sound right to you in your recording. JavaScript seems to be disabled in your browser. Waves Renaissance Vocals – This plugin just has one control and it’s AWESOME. By using our Services or clicking I agree, you agree to our use of cookies. Available as individual plug-ins or as part of the new 64-bit T-Racks suite, there's little doubt as to what IK Multimedia's Black 76 and White 2A are based on: the classic Universal Audio 1176 and Teletronix LA2A hardware compressors. The speed of the 1176 is great for compressing high frequencies, and the lack of a VCA or an Opto circuit allows relatively transparent results. The VU will not be slammed or anything, but will be constantly doing a little work, maybe maxing out at 5-7? 1176 or LA2A for lead vocal? Think of them like this - LA2A is fat and slow, pillowy. Use to taste! Press J to jump to the feed. I am currently working with the following vocal chain: Neumann U87 into Warm Audio 1073 clone into Warm Audio 1176 clone into Warm Audio LA2A clone, into an Apollo Twin. Rock and roll was born in the analog era, so we recommend a mic with some grit, like theFlea 47 NEXT. An 1176 had to be part of this, its the most versatile comp you will ever want, choice for everything but that rich LA2A vocal sound alone. Featuring an EF12 tube and F7 capsule, the Flea 47 Next delivers a soni… Now the dynamics, decide what your issue is (It is perfectly ok to not compress if you don't need to), and decide if your issue is better solved by technique, sometimes stepping back a bit for a loud part gives you more control then a compressor.... Now my general compression notes for newbies (Not specific to that chain), no more then about 3:1 ratio (probably more like 2:1), longish decay time and medium/short attack, dial threshold down to get maybe 6dB of reduction on the loud bits. There are six main controls on a compressor: Threshold. Got this question the other day: “What’s your go-to vocal chain” Obviously most mixes need different processing but I guess, if pressed, I do this: EQ – I usually filter and cut first. I end up trying to add air digitally so I think lacking air and sounding too focused is the best way to describe what I’m hearing. Often called ‘the Swiss Army compressor’, this versatile signal processor can be programmed to sound like an array of classic compressors. With a little practice, you can recreate the compression characteristics of 1176, LA-2A, dbx 160 and vari-mu designs. Sometimes you can’t reign in the dynamics the way you need to with one compressor without causing audible compression artifacts. But the 1176 knocked the big peaks down, which would have thrown the LA-2A into quite a bit of compression. You'll hear the level slowly come back up: your basic “pumping and breathing” effect. IF you have any setting or technique for finding the perfect vocal compression, add your comment and share that trick to other music producers. Know your gear: a U87 is pretty bright, an 1176 is an extremely fast compressor, LA2A is quite a bit slower. 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1176 la2a vocal chain settings

FET compressors are a great choice to help modern vocal styles really “pop” through dense arrangements. Let’s go! Mixing Tip: How To Use Glue Compressor FX Chain; 50 Free VST Plugins For Vocals *I know that often people will say on these forums that there is no one setting that will work for every vocal, it's situation-dependent, you need to experiment etc. My chain is a bit different but also pretty similar and I’ve been liking the following lately: SM58 (yes, for real) > 6176: +3dB 100Hz shelf, gets it a bit closer to an SM7b sound > 1176 (on the 6176): a bit of limiting at 12:1, maybe 3dB or so > UAD LA2A: another 3 or so dB here as well. My best guess / reasoning is probably that we are tweaking a Comp that isnt modelled on an LA2A to do what an LA2A does..... so the normal / expected signal chain methodologies dont automatically apply ..... all that matters is what "hits your ears" the best hence why I say we got very close, but not a home run as they say .... but way way way more than … For example, if you like the sound of getting 5 to 7 dB of compression with the LA-2A, a large peak might suddenly cause 12 dB of compression and the release might not recover in time for the next audio transient. Even give me some settings-I know that's hard to do, but picture the power of Faith Hill but not as creamy and you want her to be--thanks!!!! Vocal chain for this song from @alyssaleelewis from @stealtheskyband today: Neumann U67-API 512C-API 550B-UA 1176-Teletronix LA2A-Orion HD32 into Pro Tools Ultimate. From there, WA273EQ -> Distressor -> Warm WA2A. What kind of space are you recording in? It didn’t compare to the real 76s I used during my stint engineering in a commercial facility. The most common combination is to put the 1176 first and set it up as a peak limiter. The usual pair is LA2A and 1176 on vocals and (if remembering correctly) the LA2A goes first to flatten the curve (pun intended) then 1176 afterwards, restraining the remaining transients. It’s a kind of “smash and grab” approach that results in crisp, sharp vocals that sit right upfront in the mix. That will get you a LONG way towards a pro vocal sound for pretty cheap IMHO. The Flea 47 NEXT is a cardioid-only version of the Flea 47, modeled after the iconic Neumann U47 large diaphragm condenser microphone from 1949. This is especially important if you like the sound of vintage gear with loads of funky transformers. EQ both in solo and in context of the mix. I add all other effects to the vocal on mix down. etc. Let’s go! Well, here are compression settings and tips which I use to compress vocals. Lots of my go to settings just didn’t translate and now it just sits around collecting dust. Lead vocals in pop and mainstream music are the centre point of the mix. It’s also frequently used as part of a vocal compression chain, working in series with another compressor such as an 1176 to yield silky-smooth vocals. In particular, I think the slow LA-2A might push the vocals back too much, I've heard some people (a minority) put the LA-2A first, in limit mode, so the quick release of the of the 1176 keeps the vocal in your face, while you still get the … But that’s what I usually end up doing while mixing. One basic rule is that each successive compressor has a lower compression ratio than the one before it, and the first one is typically just catching the peaks. Using a Limiter Tracking vocals with @tommackell today for a new acoustic record he’s working on. That's not a set order though. This month we’re looking at two studio legends: the 1176LN Limiting Amplifier and Teletronix® LA-2A Leveling Amplifier compressors. Rather than having a variable ratio knob, the 1176 uses four buttons to select ratios of 4, 8, 12 or 20:1, though pressing them all in at once produces an even more assertive effect that has become known as the 'nuke' setting, where distortion increases and the attack and release times are no longer fixed and stable. No eq, and no additional compression. New comments cannot be posted and votes cannot be cast, More posts from the audioengineering community. Seems like Ive played with 100's of pieces but never bought the # 1 classic strip-chain of 1073>1176 and /or LA2A. May want to go a little light here depending on the track. Paired with Logic's stock comp on opto mode, simulating an LA2A to the best of it's abilities - sadly the soft clip on it sounds like ass most of the time. Because it gives you more control over the compression and can create a very smooth effect, especially on a track that varies wildly in dynamics. It has Input and Output gain, Attack and Release controls, and four compression Ratios. The point here is to just flatten the higher peaks. Usually will add a bit of 10K and pretty much always the low cut at 80. The amount of level reduction that takes place once the signal crosses the threshold. Researching for a good vocal chain, and compressors for that, I came across a suggestion to use a LA2A with very soft settings, basically in 'soft limiter' mode, and using a DBX160 after that with fairly fast settings for smashing any peaks that where not caught by the LA2A. If not then is it vocal technique, room or wrong mic for the voice, fix as appropriate, if what is coming out of the preamp is not pukka you are into turd polishing trying to fix it later. We’ve done articles and videos in the past showing how they work, but one little-known compression secret is that they can be used together on the same track. The most common combination is to put the 1176 first and set it up as a peak limiter. Press question mark to learn the rest of the keyboard shortcuts. The point here is to just flatten the higher peaks. Come on guys-give it a shot. On vocals, I find the LA2A often comes first, and on bass, the 1176. The iconic Urei (now Universal Audio) 1176 compressor is the paragon of FET compressors. IK Multimedia are the latest plug-in manufacturers to bring us their take on two iconic compressors. The LA-2A can be hit hard to smooth off the biggest peaks before running the signal into the 1176 … but i'm curious to see if any one would choose one of these if they had the real unit. I have a couple guesses as to what could be off but some more info would help us help you out. I'll use it on anything that works, usually compressing, unless the occasion arises where I need to tame some peaks, and I'll switch it into limiting mode. I only say that because I have both now and know the difference However, the 1176LN (low noise) will work for almost everything you put in front of it, where as, the LA2A will not. Vocals too. Big fan of this chain in general! A HPF and some EQ cuts/boosts in the right spots can help your signal not overwhelm the compressors and help you use less compression than you may otherwise use. Here, producer Marco Polo (Masta Ace, Scarface, Talib Kweli, Pharoahe Monch) offers tips on how to use Apollo interfaces and UAD plug-ins to move beyond samples and spur your own creativity. Each one is quite different from the other. Whereas achieving the latter will take some … The LA2A can be a wonderful subtle and transparent comp and hard to make sound bad. The Retro Instruments 176 is based on Bill Putnam’s classic UA 176, which was used heavily for rock vocals throughout the 1960s. Every engineer has a unique chain of gear they rely on for their mix bus and a unique workflow for how they attack their mixes when it comes to the final master fader. The vocal chain today is my @goldenageprojectofficial active ribbon mic into the @warmaudio WA12 MKII preamp —> 1176 compressor —> @warmaudio Tube EQ —> @uaudio Apollo with a piiinch of LA2A in the UA console recording in unison. Also, if it’s a real ‘pop’ tune I use the “all in” ratio setting as it really slams the compressor and makes the vocal … i get hotter , clean signals for sure. Compressor Controls. I’m a big fan of a lot of their stuff but that unit in particular is one I was not fond of on anything, IMHO. so for those reasons recommending settings is virtually useless... and I understand these points. Compressor Controls. VOCAL CHAIN IN THE MIX. Or Waves? To do this, set a high compression ratio, like 12:1, and a fairly fast attack and release. i've been mucking around using them as limiters trying emulate the real deal. Hardware saturation is a bitch to remove in the mix stage if used incorrectly, and I’d argue oversaturation in the recording stage is a relatively high-risk move similar to overcompressing signals since it cant ever be undone. https://www.puremix.net/blog/1176-settings-on-vocal-greg-wells.html In a typical scenario, one simply inserts an instance of the LA-2A into a channel strip with the channel fader at unity gain, sets the Gain Reduction to tame the peaks and transients sufficiently, and then adjusts Gain to bring the new, more consistent signal level back to the desired place in the mix. Need 1176 and la2a style compressor plugins REAPER General Discussion Forum The plugin delivers all the core features of the original hardware unit, along with some extras such as an … Ratio. The (almost) simultaneous launch of the 1176 and LA2A software versions by IK Multimedia and Native Instruments is a good opportunity to make a quick comparison. The mics I normally end up using are the Peluso 2247 LE, Peluso P-12 or TLM 103. On the mix bus chain: ... pumping out of my speakers and how the sounds grow and shrink as a result of the compression and the attack/release settings being used. At higher compression settings, the VC2A has the same characteristic artifacts; producing a thick transient bump at the attack and slightly over-esssed sibilance on vocals. The suggested Opto settings (Attack 10, Rel 0) were tailored after the UREI LA2A. The 1176 is also great for extreme distortion effects with extreme settings, but I doubt you want to do that here. 8. IK Multimedia T-RackS Black 76 & T-RackS White 2A and Native Instruments VC 76 & VC 2A Review : From 1176 to LA2A - Audiofanzine The tubes in the preamp section also allow for some saturation and allows for much fuller tones to be compressed in a more pleasing way than with the 1176. The two compressors used in this way, traditionally, are the Urei 1176 followed by the LA2A. There are no attack, release, or compression ratio controls. Just like all audio tools, there are no hard and fast rules. Or does it sound too compressed? Then around 3-5 dB on the LA-2A. One of my favourite compressors to use on any vocal is the Empirical Labs Distressor. The 1176’s input knob also behaves as the threshold control and can ... including the all-buttons-in setting, has a unique character and vocals typically work well with the attack towards the slowest setting ... on an aggressive vocal, it can be beneficial to start your vocal chain with a FET compressor. Speaking of rediscovery I remembered there is a quote from the LA-2A manual that reminds me of your current technique, just with a dbx as the peak controller: So what we’re going to do is apply the classic 1176 into an LA-2A technique. Slate VMR – I like to use the 1176 emulation included in this plugin for faster dynamic control when needed. That said, I am not sure if I can set up my sd studio bass (or lmb3) before the mxr and manage to make it sounding good live. While the settings of the 1176 are generally faster, the order depends on the musical content—one could imagine needing something faster up front for a quickly-spit rap vocal than a slowly-sung power ballad; thus, the rap track would get the faster compressor first in the chain, while you might switch for the ballad. The 176 was the predecessor to the iconic 1176, which also sounds great on rock vocals. I have messed around with the settings and continue to be a bit dissatisfied with how the vocals sound once I play back the recording on the DAW. I am just wondering if anyone could recommend settings that have given them success in recording male, pop vocals (or male vocals generally). There is Peak Reduction, which increases the amount of compression by lowering the threshold. There's a good chance you're not liking your results because you're overcompressing with both of those in series. Mix down chain would be LA2A (usually silver), 1073 eq, and usually a Lexicon 224 reverb to suite the vocal … It comes with a couple "go to" vocal comps - the 1176 and LA2A. Hardware units are tools, not a crutch. This compressor should not be doing a whole lot, just knocking 2 to 3 dB off of the loudest peaks. If something has the desired effect, go for it! Compression settings for the lead vocal, with the LA-2A Silver. Experiment by reversing the chain. Learn essential functions of popular tube and solid-state compressor varieties, and creative uses for your productions. Or does it sound too focused/not enough air? Whereas the 670's valves are smooth and warm, the 1176's equally fast FET‑based design brightens the tone and adds extra edge and excitement in a way that has made it a fixture on vocals for many top engineers for a half‑century. bvesco says: March 10, 2010 at 8:21 am . Imagine your average gay kid trying to sing well. Then I add what I think the vocal needs. If you dont feed enough to the preamp, the compressors have to work harder to bring the level up, and using too much output gain from either compressor is also going to cause significant noise issues. Aside from that, it is very much like most utility compressors. Using both compressors in series is all about how you use the information above to achieve your desired result. Thanks for all of this detailed explanation, this gives me a lot to think about! You can also reverse the order of the two, using the LA-2A in Limit mode to knock down the peaks, and the 1176 to smooth out the rest of the track. TLS 1295 LEA lets the user fine-tune the attack time and the time constant, making the compressor capable of processing a wide range of audio material. Derived from the 175 and 176 tube compressors, it marked the transition from vacuum tubes to solid-state technology.. With its distinctive tone and its wide range of sounds, deriving from the Class A amplifiers, its input and output transformers, the uncommonly fast … To illustrate - the sound of a Pultec -> 1176 -> LA2A chain will be decisively different if you put a buffering stage in-between every box. The EQ section of your 1073 can be used to help solve such issues. i have a uad 1 card which has the la2a and 1176 as plug ins on it. With a chain like that, if it doesn't sound good, there's either some kind of gain staging issue or you're either doing too much or something's wrong with the singing. I use this on 95% of my vocal chains. What aspects about the recording are not working with the rest of the music? Flea 47 NEXT > BAE 1073 > Retro 176 A good rock vocal is raw and in-your-face, a little rough around the edges with some saturation and rich harmonics. The final classic vocal‑processing contender is Urei's 1176 (and the same marque's near‑identical stereo 1178). I don't think I really slam it into the LA2A, and usually dial in between 30-40'ish in on the peak reduction knob and then whatever makeup gain is needed. The LA-2A Classic Leveling Amplifier, on the other hand, is an opto-based compressor, which means it uses a electro-optical device to perform gain reduction. To do this, disable the compressor and listen to the average level of your track, then enable it and adjust the output gain until you can’t really hear a difference in level. And also for the classic tip to combine a la2a- comp with a 1176- style comp (maybe the free 'antress 7th sign'). There are two useful ranges on the time constants on a dynamics box, one where the gain changes so fast you don't notice, and the other where it changes so slowly you don't notice, the bit in the middle is as much use as tits on a boar hog most of the time. The different compression styles will process the vocal differently so you might want more of one than the other. Does it serve the song? We have a little compression happening with the 1176 but this is kind of a classic combination that I love to try and love to use when it's available to me and that's using a LA2A a LA2A has a really slow compression speed at least with respect to the 1176 and so it's going to catch these longer peaks and things like that and just put a nice shell around this vocal and help to keep it … I'll say it very plainly: You cannot achieve a recording or a mix that matches what you hear on professional releases without a compressor. The 1176 Peak Limiter is a dynamic range compressor designed by Bill Putnam and introduced by UREI in 1967. It was said that this scenario sounds super sweet on vocals. Yes, I'm still looking forward to trying your 660 > 1176 tip (well, 660, 1176, LA2A and dbx in any order really, it seems :-)). Does the vocal elicit an emotional response to the listener? Are you tracking yourself and if so, are you simply being too critical or judgmental on your vocal skill? Again, it always changes, but this is a current starting point for me (in order). I love the LA2A and use it on everything from Kick Drum, Tom Toms, Drum Submixes, Vocals and even Mastering when I need to add a little "authority" to the sound. Some engineers use an 1176 to quickly react to high frequency peaks using fast attack and release settings and then the LA2A for gentle smoothing. I am just looking for a starting point recommendation that has worked well for tracking vocals for someone else with a similar setup. Then get SIR reverb with a 480 or 960 Medium hall impulse. Let’s activate the 1176. The (almost) simultaneous launch of the 1176 and LA2A software versions by IK Multimedia and Native Instruments is a good opportunity to make a quick comparison. The point in signal volume at which compression starts. The point in signal volume at which compression starts. I generally am using a UAD vocal chain approach, with some other plugins sprinkled in the mix. Waves Renaissance Vocals – This plugin just has one control and it’s AWESOME. 4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics. While the list is not in strict rank order and features a round-up of the very best compressors of all types, this time around we have condensed some of our very favourites into the top ten positions, providing something of a 10 Best Compressor Plugins list for those who asked. Check out the video to see both of these compressors being used together on a variety of audio tracks. I set this to just skim the tops for the LA-2A, so no more than maybe 4-6db of reduction on the peaks. The best vocal compressor for voice, bass, drums, and any other audio signal is the topmost studio-quality one you can afford. Look inside your manual for specific numbers, but it may not matter as usually measuring attk and rls times of the unit you have may be different from the manual settings. In series with another compressor (the 1176 is a popular choice), the LA-2A helps deliver silky-smooth vocals. In my opinion, it sounds better to have a signal hit two or more compressors a little bit than trying to get all the way in one go. However, those are part of different chains, so maybe a further post. The LA-2A should be set up just like you would if it were being used alone, with the Compress/Limit switch set to Compress, and Gain Reduction and Gain set to taste. I'll say it very plainly: You cannot achieve a recording or a mix that matches what you hear on professional releases without a compressor. I saw you mentioned it sounds boomy/muddy. I use the 1176 on bass all the time. Get the plate 140 as well. If you feed to much into the preamp, both compressors will bring up noise regardless of settngs. Then use the output gain to match the level. The input gain needs to be adjusted carefully to do this. Waves CLA2A – Any LA2A emulation is perfect for lighter tonal compression. I haven’t used the UAD-1 versions of those plugins but I would also first try 1176 into LA2A just as you have done. The compression should absolutely be musical and groove with the music. There are six main controls on a compressor: Threshold. To review the two compressors, the 1176LN Classic Limiting Amplifier is a FET-based compressor. Hey! I have messed around with the settings and continue to be a bit dissatisfied with how the vocals sound once I play back the recording on the DAW. I've pretty much always use an 1176 into an LA-2A (Waves) in my vocal chain, but I'm starting to think it doesn't work as well as it should. This is pretty close to my setup. With relaxed settings, TLS 1295 LEA is excellent for adding grit and presence to vocal recordings. Change your mic if that's the problem, compress less if that's the problem. The plugin handles drums and percussion really well, but you can slow it down, too. Some people use three or more compressors on a track! In a typical scenario, one simply inserts an instance of the LA-2A into a channel strip with the channel fader at unity gain, sets the Gain Reduction to tame the peaks and transients sufficiently, and then adjusts Gain to bring the new, more consistent signal level back to the desired place in the mix. Compression settings for the lead vocal, with the LA-2A Silver. The two compressors used in this way, traditionally, are the Urei 1176 followed by the LA2A. This article lists free compressor VST plugins.For more categories, return to Free VST Plugins.. A dynamic range compressor is an essential mixing tool and a core part of every digital audio workstation.Owning a high-quality compressor plugin is equally important as having a decent understanding of how compressors work. Is it the tone/brightness that you don’t like? Then blend the compressed vocals underneath to taste. I also like to do bass the same way. Other than that, my vocal bus hits a parallel compressor, and there are reverbs and delays that I use as well. Look up Ford Van's handy vocal trick in this BBS. Are you sure you cant just use one compressor than use another in the DAW? It almost sounds kind of boomy and/or muddy. The usual pair is LA2A and 1176 on vocals and (if remembering correctly) the LA2A goes first to flatten the curve (pun intended) then 1176 afterwards, restraining the remaining transients. I think what I’m noticing might relate to improper gain staging... do you have any recommendations for a resource where I could learn to do this properly? I am currently working with the following vocal chain: Neumann U87 into Warm Audio 1073 clone into Warm Audio 1176 clone into Warm Audio LA2A clone, into an Apollo Twin. We have a little compression happening with the 1176 but this is kind of a classic combination that I love to try and love to use when it's available to me and that's using a LA2A a LA2A has a really slow compression speed at least with respect to the 1176 and so it's going to catch these longer peaks and things like that and just put a nice shell around this vocal and help to keep it … Try playing with input and output gains to get the right amount of “color” and then make sure you’re happy with the input level. I want it warm and in you face-she's a powerful singer-very gutsy, but I want to make her less harsh and in your ear. Using a … #ssl #api #1176 #la2a #antelopeaudio #avidprotools #thermalstudios The best vocal compressor for voice, bass, drums, and any other audio signal is the topmost studio-quality one you can afford. You must have JavaScript enabled in your browser to utilize the functionality of this website. Running that much gear in series can drastically increase your noise floor even without any compression active. Joining us to discuss are veteran mixers Nadim Issa from Let Em In Music in Gowanus Brooklyn, Hip-Hop specialist Paul “Willie Green” Womack and the legendary Frank Filipetti , who mixes primarily … Fiddle from there. The LA2A is transparent in a completely different way from the 1176. That said, I am not sure if I can set up my sd studio bass (or lmb3) before the mxr and manage to make it sounding good live. It's brilliant as a permanent fixture in your vocal compression chain. I tried following a set of instructions I found on a gearslutz post but I don’t think that it worked. I’ve got a pretty fast attack and fast release time, and I’m going to set my input and output to a point where the loudest parts of the vocal performance are brought down, but the quietest parts are not affected. Yes, I'm still looking forward to trying your 660 > 1176 tip (well, 660, 1176, LA2A and dbx in any order really, it seems ). Analog Obsession has released LALA, a freeware emulation of the LA-2A tube compressor in VST, VST3, and AU plugin formats for digital audio workstations on PC and Mac.. LALA is Analog Obsession’s first emulation of the LA-2A Classic Leveling Amplifier. Side-chain Vocal Effects but i'm curious to see if any one would choose one of these if they had the real unit. The scope of dynamics the 1176 offers with exploding Bonham type drums and super dynamic vocal transients is not even in the vocabulary of an LA2A. Slate VMR – I like to use the 1176 emulation included in this plugin for faster dynamic control when needed. As many others have mentioned, I would make sure you’re happy with the level and tone of what’s going into your interface without any compression. This combination works also great with snares and it's interessting to experiment with the chain: Sometimes I favourite the 1176 in the first instance, sometimes the la2a. And it just wouldn’t be rock and roll without the loud, bombastic sound of a super fast compressor clamping down on your vocal. You should have very specific reasons for any outboard gear you use while you track because you obviously can't take them back after something is recorded. If you really like the sound through the chain you have set up, generic preamp->1176->LA2A settings may not work depending on how your gain is staged. From there I would match each compressor individually so the level or more or less the “same” when you bypass them. Compression settings for lead vocals should be as natural sounding as possible.. Because humans are expert listeners, any small unnatural-sounding volume jump or dip will be noticeable and detract from the power of the melody and lyrics. Id like to hear/read some non-marketing truths to your opinions on the mass of 1073's with gain and crunch and the 1176 clones, with and without ALL IN mode....and the more pricey LA2A clones. This compressor should not be doing a whole lot, just knocking 2 to 3 dB off of the loudest peaks. Hit the '2A hard to smooth out the largest peaks, then run the signal through the 1176 to tidy up. How: Send your vocal to two different compressors, an 1176 FET style compressor and LA2A Opto compressor for instance. If you’re struggling with settings try and identify what particularly doesnt sound right to you in your recording. JavaScript seems to be disabled in your browser. Waves Renaissance Vocals – This plugin just has one control and it’s AWESOME. By using our Services or clicking I agree, you agree to our use of cookies. Available as individual plug-ins or as part of the new 64-bit T-Racks suite, there's little doubt as to what IK Multimedia's Black 76 and White 2A are based on: the classic Universal Audio 1176 and Teletronix LA2A hardware compressors. The speed of the 1176 is great for compressing high frequencies, and the lack of a VCA or an Opto circuit allows relatively transparent results. The VU will not be slammed or anything, but will be constantly doing a little work, maybe maxing out at 5-7? 1176 or LA2A for lead vocal? Think of them like this - LA2A is fat and slow, pillowy. Use to taste! Press J to jump to the feed. I am currently working with the following vocal chain: Neumann U87 into Warm Audio 1073 clone into Warm Audio 1176 clone into Warm Audio LA2A clone, into an Apollo Twin. Rock and roll was born in the analog era, so we recommend a mic with some grit, like theFlea 47 NEXT. An 1176 had to be part of this, its the most versatile comp you will ever want, choice for everything but that rich LA2A vocal sound alone. Featuring an EF12 tube and F7 capsule, the Flea 47 Next delivers a soni… Now the dynamics, decide what your issue is (It is perfectly ok to not compress if you don't need to), and decide if your issue is better solved by technique, sometimes stepping back a bit for a loud part gives you more control then a compressor.... Now my general compression notes for newbies (Not specific to that chain), no more then about 3:1 ratio (probably more like 2:1), longish decay time and medium/short attack, dial threshold down to get maybe 6dB of reduction on the loud bits. There are six main controls on a compressor: Threshold. Got this question the other day: “What’s your go-to vocal chain” Obviously most mixes need different processing but I guess, if pressed, I do this: EQ – I usually filter and cut first. I end up trying to add air digitally so I think lacking air and sounding too focused is the best way to describe what I’m hearing. Often called ‘the Swiss Army compressor’, this versatile signal processor can be programmed to sound like an array of classic compressors. With a little practice, you can recreate the compression characteristics of 1176, LA-2A, dbx 160 and vari-mu designs. Sometimes you can’t reign in the dynamics the way you need to with one compressor without causing audible compression artifacts. But the 1176 knocked the big peaks down, which would have thrown the LA-2A into quite a bit of compression. You'll hear the level slowly come back up: your basic “pumping and breathing” effect. IF you have any setting or technique for finding the perfect vocal compression, add your comment and share that trick to other music producers. Know your gear: a U87 is pretty bright, an 1176 is an extremely fast compressor, LA2A is quite a bit slower.

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