Allen Sides, Murray Allen | Inova LA-2A guide

currently mixing, I'm using both an 1176 and an LA2 on his voice, which is not unusual for me.

"The 1176 absolutely adds a bright character to a sound, and you can set the attack so it's got a nice bite to it. I usually use them on four to one, with quite a lot of gain reduction. I like how variable the attack and release is; there's a sound on the attack and release which I don't think you can get with any other compressor. I listen for how it affects the vocal, and depending on the song I set the attack or release--faster attack if I want a bit more bite. My preference is for the black face model, the 4000 series--I think the top end is especially clean.

"The LA-2A is not as versatile, but it also has a sound that I really like. On certain voices you can crank it heavily, to where you almost want to put a piece of tape over the meter because there's so much gain reduction that you don't want anyone else to see it! I'm not particularly into over-compression, but when you use it that way there's something about it that just sounds really great. It does depend how it's set on the back, where there's a flat control that can be set to roll off certain frequencies when you reduce more gain. If you have a singer with an intensely piercing voice I find that compressor a good one, incredibly useful. It makes things warmer, especially when you crank it, and for thinner voices that can be just the ticket."

Allen Sides

Allen Sides has always been known for having golden ears when it comes to the sound of equipment. The owner of Ocean Way Studios in Los Angeles and Nashville, he's also a speaker designer and engineer who is especially respected for his work with live musicians, including orchestra and string dates. Among his recent credits are work with the Goo Goo Dolls, Alanis Morissette and Green Day. Sides brings his different perspectives into play when he talks about using the 1176.

"The 1176 is standard equipment for my sessions. I just used them last night, as a matter of fact, on a project for singer Lisa Bonet that Rob Cavallo was producing at Ocean Way. We were recording drums and I used them on the left/right overheads as effects limiters. It's something I learned from (engineer) Don Landy, who worked with Randy Newman a lot. I mult the left and right overheads and bring them back on the console, then insert a pair of 1176s into a pair of the mults. Push in 20 to one and four to one simultaneously and it puts the unit into overdrive creating a very impressive sound."

Murray Allen

Murray Allen is a veteran engineer and Director of Post Production for the San Franciso Bay Area company Electronic Arts. He has a fascination for gear both old and new and he explains why he thinks the 1176 has been so popular for so long. "It has a unique sound to it that people like, it's very easy to operate, and it does a great job. You have just two controls relative to the ratio of compression. You have input and output and you have attack and release. That's all there is. It's still my favorite limiter for Fender basses and string basses, because you don't know it's working. It doesn't change the way the bass sounds, it just keeps the level at a more controllable place.

LA-2A specifications

The Inova LA-2A is a sophisticated optical compressor renowned for its classic design and exceptional sound quality. Hailing from the lineage of legendary optical compressors, the LA-2A combines vintage warmth with modern reliability, making it a staple in professional recording studios globally.

One of the main features of the LA-2A is its opto-electronic gain reduction circuit, which utilizes a light-dependent resistor (LDR) and a sealed optical element to achieve compression. This unique mechanism provides a smooth and transparent compression, allowing the audio signal to maintain its natural dynamics while controlling peaks effectively. The optical design contributes to a musical response, widely regarded as one of its defining characteristics.

The LA-2A also features a simple and intuitive interface. It includes essential controls such as Peak Reduction, which adjusts the level of gain reduction, and Make-Up Gain, which compensates for any lost level after compression. The device typically has two modes: the Compress mode for moderate compression and the Limit mode for more aggressive limiting. This flexibility makes it suitable for a variety of audio sources, from vocals to instruments.

Another noteworthy characteristic is its true tube circuitry. The LA-2A employs a vacuum tube in its audio path, contributing to its warm tonal character. This tube coloration enhances the richness of audio signals, making the device particularly popular for vocals and bass, where presence and depth are paramount.

Additionally, the build quality of the LA-2A is exceptional. The chassis is constructed from durable materials, ensuring longevity and reliability in demanding studio environments. Its vintage aesthetic features analog VU meters, adding to its charm while providing visual feedback of the gain reduction.

Inova has modernized the LA-2A with contemporary features while preserving its classic sound. Enhanced technologies such as improved signal-to-noise ratio and updated component designs ensure that the LA-2A remains competitive in today's digital landscape.

Ultimately, the Inova LA-2A is a beautifully crafted compressor that delivers a unique sonic signature. It combines vintage appeal with modern functionality, making it an essential tool for audio engineers and music producers seeking to achieve professional-grade mixes. Its smooth compression characteristics, intuitive controls, and durable design are testaments to its lasting legacy in the world of audio processing.