Free download cla 2a2/20/2024 ![]() The LA-2A would be replaced by a solid-state descendent in 1967 and only built in limited numbers until revived by Universal Audio in 2000. Peak Reduction and Gain knobs are used to dial in the amount of processing and signal level, and a switch is provided to select the role of the VU meter, while another toggles between compression and limiting. With only the merest of controls available, the LA-2A is a doddle to use and virtually incapable of producing a bad sound. This is the signature of the LA-2A and one prized by engineers the world over.Īdditionally, the LA-2A can provide up to 40dB of tube-amplified gain from input to output, meaning that it also acts as a preamp as well as a compressor. Longer, louder signals decay more slowly than weaker signals. Soon after, Lawrence sold Teletronix to Babcock Electronics who then sold the brand to Bill Putnam's Studio Electronics Corporation (now Universal Audio).īy design, the T4's attack time is fixed at 10ms however, while the initial release time is 60ms during the first half of the release, the rest of the release is gradual and varies from between 1-15 seconds, depending on the length and volume of the incoming signal. ![]() This new take, the LA-2A, would become the standard against which all opto compressors would be measured for decades. In 1962, the LA-2 was quickly superseded by a further improved model offering a new front panel, better wiring and lower noise. Next, the LA-2 found favour with entertainment luminaries, ending up in the racks of RCA's New York and Nashville studios. Around a hundred LA-1s were built before the design was improved with a bigger meter and the now-famous T4 opto-attenuator capsule. Released under the name Teletronix in 1958, Lawrence's first leveling amplifier, the LA-1, found its way into the hands of singing cowboy Gene Autry, who spread the word about this marvellous new tool. Having designed optical sensors at JPL, it wasn't beyond him to control the dynamics of an audio signal. Whilst working at a radio station in LA, Lawrence grew weary of riding the gain knobs and began contemplating a means by which the task could be automated. The LA-2A was born out of a practical need.
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