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

TVPostSound wrote: If you want a Urei, get the LA-2A.

A little over my budget.

Budget?

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

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.

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.

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

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

Are there other optical comps I should consider?

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

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.

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.

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

distressor is also a great choice

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

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?

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.

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.

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.

AudioGaff wrote: ... It's the LA2A that is an industry standard for vocals ...
... it's use on vocals is it's best or strongest point compared to ...

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