tube tech cl1b vs la2a

« Reply #4 on: February 27, 2007, 09:06:01 am » i love the cl-1b. side chain, speed and it has a lot of features for adjustment. First Look: Pro Tools | Carbon. The views expressed are those of the contributors and not necessarily those of the publishers. What is worth a special mention, though, is that the Distressor has a number of built‑in, side‑chain EQ options, one of which emphasises the upper-mid frequencies in the detector circuit and thereby reduces sibilance problems that can often accompany heavy compression. Although the original is now prohibitively expensive for all but the most maniacal of collectors, there are some excellent software emulations, such as this one from Universal Audio. Geoff Emerick always put the Beatles' vocals through it for precisely this reason: "Just the sound of the amplifier, even if you didn't do any limiting, just added a certain presence.” Steve Churchyard also talks about using the 670 "more for the sound than for the compression,” a sentiment echoed by Tom Elmhirst in SOS August 2007. As well as mimicking some longer‑established designs, it brings some of its own special tricks to the table.It's to be expected that Empirical Labs' Distressor also turns up frequently when drum processing is discussed, but that's not just because of its emulative power: it has also earned a reputation of its own, particularly for its 'Nuke' brickwall‑limiting mode, which has a logarithmic release time originally optimised for pulverising room‑mic recordings. For example, many top engineers grew up working on tape, where moderately compressing sounds on the way to the recorder, to maximise signal‑to‑noise ratio while tracking, made a lot of sense. The tube amplifier circuit is basically the same, with the main difference being that the input transformer and the tube amps in the CL2A delivers a more “normal” amount of gain compared to the CL1B Der må være nogle her der både har en LA2A og CL1B som kort kan forklare forskellen og deres forcer. Even where the visual stylings are different, similar control legends or layouts can also give the game away. Not far behind the 1176 in popularity is the Teletronix LA2A, numbering people like Mike Clink, Mark Endert, Tony Maserati and Jim Scott amongst its friends: the slower‑moving, electro‑optical design is clearly better suited to clean level management of low‑frequency sounds. In 1987, Tube-Tech founder John G. Petersen unveiled the CL-1B compressor, his take on the classic optical compression method pioneered by the Teletronix LA-2A – but with an additional level of control (unlike the LA-2A, the CL1B’s ratio, threshold, attack and release settings can all be changed manually). Q. Both of these feature fairly clean, VCA‑based gain reduction and are good at increasing average levels without trampling on the punch of transients or robbing too much low end. PreSonus StudioLive 32SC Series III Mixing Console. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. The lowest ratio (4:1) is the most common choice, as evidenced by independent recommendations from Steve Churchyard, Chris Lord‑Alge and Ralph Sutton, although Tom Elmhirst likes the result you get when you push in the 4:1 and 8:1 buttons together. The tube Tech also has a bit more sheen to it in a way that just sounds "classy". I like to set the LA-2a so that the vocal is barely touching compression on moderate peak loud passages. Perhaps some tube saturation...forgiving and spongey. Also depends on how hard you compress on the tracking side. "Sometimes the LA2A works really well [on vocals],” says Joe Barresi. I will have one drum just raw, exactly as it was given to me, with just a bit of EQ on it. Compression can be a pretty technical topic, which means that there's a lot of terminology to take on board if you're coming to it for the first time. So by the time I get to the mix, I've done a lot of the fader riding.”. This meant that I was getting the distortion from the last tube stage of the compressor, which creates a really beautiful distortion.”. "I found I could use it on vocals that I needed to squish a fair amount but didn't want to lose all the nice top I got off the microphone,” explains Joe Chicarelli in an interview on www.summitaudio.com. Slightly faster than the 2A. Rich Costey's preference for a parallel processing setup with this compressor also suggests that the tonality of the Urei, especially when driven hard, was of more importance than its ability to catch transients. "I like the EMI compressor for its fast attack,” remarks Joe Barresi, and this is a recurrent theme in other producers' descriptions, but the tone of the TG12413's unique diode‑based gain‑reduction circuit is also an important factor. For faster, cleaner, more VCA‑style control, and a slightly crisper transformer‑free sound, Summit's TLA100A and DCL200 are also popular with audiophile engineers such as Al Schmitt, Jon Gass and Tony Maserati. According to Tom Elmhirst, it "completely annihilates all the transients and brings up the air.” Small wonder, then, that Goldstein, Elmhirst and Rich Costey all take a parallel processing approach with the C2, for greater control. Tonally however, it can work. The Urei 1176 is famous for adding a sense of edge and excitement to vocals. "I'm feeling the emotions in my fingers, so to speak. Many engineers use the Fairchild 670 for the subtle sonic enhancement of its circuitry as much as they do for gain‑reduction. Win! This all-tube channel strip offers everything you need to get your vocal sounding radio-ready, including a world-class mic preamp, a passive Pultec-style EQ, a versatile compressor, and built-in de-esser for taming harsh vocal takes. The LA2A seems warmer to my ears. Tubes distort more harmonically, whereas transistors and Class‑A stuff are more aggressive, which is why I think many guys still like to mix on the SSL 4000 — those consoles are always just shy of distorting.

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