There is Peak Reduction, which increases the amount of compression by lowering the threshold. There are no attack, release, or compression ratio controls. 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. Aside from that, it is very much like most utility compressors. It doesn’t have a threshold control, but turning up the input gain has the effect of turning down the threshold. It has Input and Output gain, Attack and Release controls, and four compression Ratios. To review the two compressors, the 1176LN Classic Limiting Amplifier is a FET-based compressor. Some people use three or more compressors on a track! 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. So using a fast compressor right before the LA-2A does the trick. You'll hear the level slowly come back up: your basic “pumping and breathing” effect. 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. Sometimes you can’t reign in the dynamics the way you need to with one compressor without causing audible compression artifacts. Why, you may well ask? 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. ![]() 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. Each one is quite different from the other. ![]() This month we’re looking at two studio legends: the 1176LN Limiting Amplifier and Teletronix® LA-2A Leveling Amplifier compressors.
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