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Urei Comp?

Discussion in 'Pro Audio Equipment' started by eddies880, Jul 5, 2007.

  1. eddies880

    eddies880 Guest

    Im looking into an optical comp for vocals,Im seriuosly looking into a Urei La-4 or LA-3.
    Ill be running a Sebatron 2000e through it
    Any Urei users out there?
     
  2. TVPostSound

    TVPostSound Guest

    If you want a Urei, get the LA-2A.
     
  3. eddies880

    eddies880 Guest

    A little over my budget.
     
  4. StevenColbert

    StevenColbert Member

  5. tifftunes

    tifftunes Active Member

    How about a JoeMeek SC2, if you can even find one?
     
  6. Dosser

    Dosser Active Member

    Try the LA-3A. While the LA-2A is truly an icon with a great sound, the LA-3A holds its own very well. Even though it is somewhat the solid-state brother of the LA-2A, it is its own animal. I particularly like it on vocals and electric guitars, although it isn't for every singer or guitar player's sound.

    I don't really dig the LA4 that much. Compared to the other compressors mentioned here (and the 1176), its a bit on the dark and slow side of things. I understand there are some mods for LA4's out there that can make it more useful.
     
  7. Kev

    Kev Well-Known Member

    even with the mods
    (which are based around IC replacements)
    the LA4 will never be quite like the 2 and the 3

    Both the LA2 and the LA3 have the T4B module, which is an electroluminesant panel with a pair of Light Dependant Resistors (LDR)

    It is the way these parts interact that gives these units their attack and release nature.
    The LA4 is chip based and uses an LED as the light source.

    Also be aware that T4Bs do change and ware out over time.
     
  8. eddies880

    eddies880 Guest

    So with that said,I showed look into anA2--orA3?
     
  9. Kev

    Kev Well-Known Member

    tube amp for gain make-up verses transistor gain

    it's your choice
    both probably need some love and care

    a true collector would get both
     
  10. eddies880

    eddies880 Guest

    Are there other optical comps I should consider?
     
  11. Kev

    Kev Well-Known Member

    the newer comps tend to be stereo or two channel and so they can't be directly compared
    but
    as for the boutique compressors ... they are expensive
    Pendulum
    Joe Meek SC1
    Tubetech
    ADL ... perhaps
    Manley (it would be wrong for me not to mention)
    perhaps an old Altec 436 tube

    BUT
    your original post was aimed at vocals and I assume it is to be used while track laying
    so this suggests mono

    there is a reason the LA2 is still popular today. It works and works well on vocals ... and dead easy to use.

    I guess my only real alternative suggestion is for you to look at a Empirical Labs Distressor.
    It isn't a tube device or a real opto BUT it is a do it all compressor and track laying toy that has become some-what of a producers standard piece of kit.

    edit
    I'm back
    can't leave this thread without mentioning an ISA430 from Focusrite.
    it's expensive and more than just a comp
    a true do it all producer strip
    mic-pre, comp, eq, de-esser, gate ... even soft limit
    the MK2 now has a true opto section as well as the ClassA-VCA
    there is an optional AD card
    big VU meter ... blah blah

    yes expensive but it would be a yard stick to judge all other gear by

    stereo and mastering is a completely different situation
     
  12. AudioGaff

    AudioGaff Well-Known Member

    If you want tube, optical for vocals, the LA2A is a great and logical choice. While it may not always be the best for specific vocal use, it is more often than not, great in that application and can also be used on many other source applications. IMO everyone serious about professional audio production should own at least one. For a similar vibe and having two channels for about the same price, the Manley EL-OP is also great and hard to beat.
     
  13. eddies880

    eddies880 Guest

    So,,,it sounds like its either the LA2A or the LA3.
    Ive also been reading on the distressor which sound very interesting,not only could I use it for vocals but possibly give me a different flavor as opposed to my Manely Vari Mu.
     
  14. peat

    peat Guest

    looked at the 1178?
    two channels of great compression
    dont be stuck on urei but

    distressor is also a great choice
     
  15. Kev

    Kev Well-Known Member

    1178 is not an opto

    it's an FET comp and built with IC's ... and stereo

    the 1176 is also an FET but is built with discrete components ... one of the very old ones is ClassA output
    most are probably AB
     
  16. eddies880

    eddies880 Guest

    Empirical Labs??
    Ive been reading a hole lot about the Distressor,,looks very intersesting,,,,although,,,,the LA3A sounds like a piece of gear that every studio should have,I already have a Manely Vari-Mu and have become very fond of the unit.
    I have to remind everyone here,including myself,,that I need it for vocals.
    Has anybody here by chance used the Distressor primarily on vocals?
     
  17. AudioGaff

    AudioGaff Well-Known Member

    Don;t get the model numbers confused. It's the LA2A that is an industry standard for vocals.

    The Disressor has also become an industry standard for being very flexible and versatle. But even with that said, it like anything else, and is not always perfect. I think it's use on vocals is not it's best or strongest point compared to using it on other sources.

    I've mentioned it before, the Manley EL-OP is also a great choice and would complement the Vari-Mu quite well including using both at the same time in the signal chain.
     
  18. eddies880

    eddies880 Guest

    Ive been looking into the Manely ELOP but its a little over my price range at this point.
    Ive found a couple of LA3A for right about 1200-1500.
    From my pocket books perspective,it has to be in that range.
     
  19. Dosser

    Dosser Active Member

    I own Distressors, and although they are probably my favorite compressor, they are not my first choice for vocal compression. The distressor is very versatile, though.

    If I were choosing between a Distressor and an LA3A for vocal compression, it would be close, but I personally would likely go for the LA3A.


    Also I would want to factor in what vocal mic I'm using with it, and what type of music I'm mainly doing. Both of those factors could push me into choosing one of these over the other.
     
  20. Kev

    Kev Well-Known Member

    please do try to get an oppotunity to audition one of these things
    ... on a vocal record
    you need to know what we are all talking about

    there is a reason that it is the industry standard
    8)
    ... then audition the other opto comps
     
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