How To ACTUALLY Use LA2A and 1176 On Vocals [FREE LA2A Inside]

[@shayeasy]

that’s really interesting how higher ratios on the 1176 can actually compress less due to the shape of the knee. thanks for sharing!

[@BrockBarr]

Yes, amazing. Very surprising

[@stupendousmusic4190]

The 1176 is really a limiter. So in theory, the threshold would be higher than in a compressor. If anyone can post the exact threshold specs for the limit and compression settings, that would be interesting.

[@lalocura1828]

You notice it when the threshold is already set and you change the ratios and the needles dance or movement changes. Higher ratio less movement.

[@samsonlovesyou]

I noticed that you were knocking a lot of db off on each compressor. Up to 20db (just under 10db each on the word "nightfall"). I read somewhere that when using serial compression like this, you only want to take off 2-3db with each compressor. Was that bad advice?

[@rootshers]

@@samsonlovesyou with a stable signal 2-4 db is good, but with a crazy dynamic range like he was showing on purpose, that’s probably the way to go. Only to get rid of the high peaks.. but well, who am I to state. As long as it sounds good? 🎉

[@rishabhbose29]

The Higher Compression ratio trick on the 1176 is an eye opener. Never noticed this till now. Thanks David for sharing your knowledge and expertise with us. Really helps us Engineers a lot. Much love.

[@JMarT96Dx]

i’ve been using the 1176 and LA2A completely wrong for years before this video. thank you David!

[@paul_arntz_mixes]

I've heard this same explanation but this was the most in depth, to the point and had a few nuggets of knowledge I had not heard before. NICE!

[@lalocura1828]

Wow the movement on the 76 with 12 ratio was so beautiful the way it was just timed to perfection good job

[@DreamsongsProductions]

That's also my go-to combo for vocals. I love the AE1176 too. You can also use 1176 and Fairchild 660 on vocals and it sounds amazing as well.

[@vocalbooth_tonstudio]

​@taeknowsyes 😅

[@aholder4471]

David, you always have that key piece of info that fills in the blanks for guys like me that have been home schooler students of this black art for a long time, and even though I have learned way more then I needed to, there is always something new ans useful to learn to put more pieces of the puzzle together. The variable knee on the 1176 and the difference in release times between the units are true pro tips for sure, and I always appreciate that you have better demo audio then even the pro manufacturers do. They choose some crappy rapper that is basically talking and you give us people actually singing and singing well. You can do this because you are working and building great relationships with your artists (some more than others, for sure, I'm prerty sure your girl don't mind) Love it man, its always a pleasure watching you grow and growing with you. You truly love audio engineering and it shows man. Thanks for sharing the love

[@pedrovanzeler1185]

Amazing video David!! The release curve explanation was pure gold, I feel like this type of knowledge is what separates the amateur/semi-pro "mixers" to the real world class professional mixing engineers. Perfection is on the details. I know it would be a ton of work, but I'd love to see a series of in depth analogue classic pieces. Something like "what makes this song great" from Rick Beato but about gear "what makes this piece great" and talk about the general aspects and then some quirks unique to that piece that made it a staple in most professional studios.

[@AshboNZ86]

Dr Mix has in depth videos on analog synth gear.

[@ixxirecords26]

This is why you're the goat of YT mixing tutorials. All business, no bullshit.

[@sbanville4761]

Great tip. I've been banging my head on a Jazz record I'm working on where the vocals are so dynamic. Never thought about using the high ratio to slam the peaks really fast. Once I made the4 changes to my 1176, the vocals sound immediately natural and not squished. Thank you thank you!!!!

[@CH-en9rv]

Thanks for this, nobody ever seems to talk about the inner workings of these compressor types. Seems pretty critical to understand this stuff.

[@CreativeMindsAudio]

Best video you’ve released in a while! Great explanation of this trick and showing the a/b of it all. I often default to an LA2A. Though that’s because I often found when i put an 1176 in front of it i couldn’t for the life of me get the right setting it always felt too aggressive, and the LA2A often did it good enough. Sometimes I’ll do a distressor before the LA2A though. I had NO idea that the higher ratio made such a difference! I knew the knee changed, but didn’t realize it was so drastic. I usually had it on 8 ratio. I’ll try 12 now. It’ll add that little bit more control and transparent sound. Thanks!

[@michaeld.7520]

Great explanation. Never heard such a detailed explanation and demo of why these two are so favored in tandem. I'm sure, once again as with some of your other videos, I'll be using it as a reference. Thanks again!

[@mixbustv]

Thank you for the support! Much appreciated

[@marksinger5954]

An absolutely outstanding and clear explanation of the more nuanced aspects of both processors. I like the way you used r-comp to easily illustrate your point!

[@SoCalPatriot]

Loved the video! Thank you for lifting that veil.

[@ceed3d396]

Got the LA-2A yesterday. Hear a lot about it. Time to master it and put it to use.

[@realguitarstuff]

I saw many videos about the 1176, but I love about this video that you gave new insights about the knee behavior on higher ratios. Didn't know that. Also a great explanation about the release curves of the two units. With this background info I actually know what I do when I apply this technique!

[@future_Victoryofficial]

I never use 1176 like compressor cue I always put the attack knob off to get what I want. 😎😎😎 Cuz I always use 3 comps on my vocals chain.

[@edsohovocals]

Great video. So practical and useful. And short. No waffle. Thanks.

[@carltontriplett4947]

1st Example LA-2A only: 2:52 1176 & La-2A: 3:27 Second example: LA-2A only: 5:23 1176 & La-2A: 5:12

[@stupendousmusic4190]

I work with a grunge singer who I always put through an 1176 at 12:1 first in the signal chain after the pre; then, followed by a tube compressor. Never fails with him. 👊🏻

[@futurepromix7391]

Great video. A classic example of how people make their life so complicated without not even knowing the basics of the simplest compressors with 2-3 knobs.

[@jeremythomas2865]

Wow that ratio on the 1176 was so interesting. I need to comp “harder” on that thing to get “less” compression.

[@uriel-heavensguardian8949]

Awesome information!

[@bobpaker430]

the waves electro isn't like a 1176, it can be closer to a tube tech if for exemple your measure a tube tech softube or an elysia alpha. the reduction is closer to an exponential curve, than a 1176 or even LA2A more like logarithmic curve. and what you describe and we see in electro mode correspond to exponential like if itt "hold a little bit the compression" and after release

[@donnythompson9233]

Back in the days when I was still using HW compressors, my go-to compression for vocals was almost always serial compression, with a later 70’s model black face 1176(LN) first, then into an early 70’s LA-2A. It’s a great combination for vocals, but also very good for bass, and “some” electric guitars as well. But, there were also occasions when I would use compressors other than the 1176, such as the Focusrite Red, and a few different dbx models, too, and while these VCA compressors weren’t as fast as the 1176 FET (hell, what compressor is? The 1176 is blazingly fast even on its slowest setting) there were times when using various VCA’s in front of the LA2A did produce really nice results…one example that comes to mind was for a hard-strummed acoustic 6 or 12 string. While the 1176/LA2-A is certainly considered to be the “classic” combo for serial compression (and for good reason, it’s a great combo) serial compression doesn’t always HAVE to be that classic combination. FWIW 😊

[@BlugubriousMusic]

This is the best short video on how those two compressors work ever!

[@vadimmartynyuk]

That’s a Classic vocal chain , but I prefer to use 1176 on it’s own usually, that way it shows it’s character much more, instead of just acting as a peak reducer in 1176-LA2A chain

[@mixbustv]

But you don't use a 76 on its own (which means you'd squeeze a lot more) if what you need is the sound of the two combined. They're not swappable. Imagine hitting ballad vocals the same way you hit metal vocals

[@billesposito2112]

That cleared it up for me . Sounds way better with the higher ratio. Thanks man your advice is always rock solid.

[@thomasschlachter299]

Woah 🤯 the step with the high 12x ratio makes mega sense. You think it's so simple but then often overlook details like that. Thanks for sharing your knowledge. 🙏🏻 greets from south west germany near the City saarbrooklyn.

[@realraven2000]

Your 76 settings are world class - I will steal that. I made the mistake of always having the LA2 (CLA) first in the chain, definitely going to change that!

[@BlurredTrees]

I’ve had these plugins for so long. Great tips!

[@JohnGauge790]

Great combo for acoustic too.

[@delmixedit]

Ahhhhhhhh that detail about the 1176!!!!!!

[@Jacosr1]

Great to read/ see/ hear any info on this combo. Awesome! Thanks.

[@earlsfield]

Well done, that's why engineers' job is to know the specs and behaviour of the tools they use and not just slap stuff in chain blindly. Arguably, compression is the area where most mistakes are made (with eq to follow).

[@SvgeRose]

You just earned yourself a subscriber! i've been learning how to mix my own vocals and this helps me understand the process a bit more!

[@alexinfanti4252]

Great Mr.David!!!! Oh Captain , My Captain!!!!

[@mettaman7053]

my question is what was used for compression or tracking effects on the vocals you tracked as they sound pretty good before you even add any compression of the 1176 or LA2A. ???

[@mixbustv]

It's pretty obvious by looking at the waveform that there was absolutely nothing in tracking. Just a good singer and a good mic

[@przybylskibartek]

Love it, thanks for showing this combination. Greatly appreciated. I have them Three and I was not using too much, exactly because I could not find them working as I needed. I know now why. Thanks again. Will play around now.

[@sqwop]

I remember UAD explaining this technique many years ago but you know a lot more, thanks for sharing your knowledge.

[@MoveTrueRecords_]

GREAT VIDEOO

[@traezaX1]

In what sequence.... is it most effective....The 1176 before the LA2A or the other way around?

[@alexhulme6135]

DAMN I had no idea about the knee changing! I always struggled with the 1176 grabbing a little too much makes a lot of sense now! Thank you SO much for the vid, learnt so much from this channel 💪

[@josuastangl7140]

Same, seems counter intuitive, but the higher ratio kinda provides a cleaner, less messy form of compression that I never got from a 1176. Real eye opener

[@cbrooks0905]

As mentioned in other comments thanks for explaining the ratio differences. I never would’ve put that together. When I set ratio I really only think in terms of “do I want compression or limiting?” Side question: usually when I use the la2a for vocal smoothing I use it in unison with clip gain. So I’ll set the compressor to be reducing around 1-3 db on the regular, and I’ll clip gain the large peaks to come down to make the compressor hit between 3-5 db of gain reduction. This method is simple and works for my concrete thinking brain, but I’ve never heard anyone talk about it. I’m wondering if it’s something others do.

[@mixbustv]

Others do, I don't, and I don't like it. I only do if someone else recorded and comp'd the vocals and they did an absoltely horrible job (also the singer), because when you clip gain bits and pieces of vocals like that the noise floor is gonna change and the original intent and dynamic is gonna change and it's usually very audible and the performance as a whole doesn't flow. Again, the only scenario when this is acceptable is when the performance and comping is incredibly bad (at which point I wouldn't even mix it and send it back but that's just me)

[@cbrooks0905]

@@mixbustv makes sense. I actually don’t mind that noise floor change, depending on the genre/song. I just recently did some live acoustic recordings, and I clip gained the vocal on the loud parts. It just sounds like the singer pulled back from the microphone. It actually makes it sound more live to me. Interesting insight nonetheless. Thanks!

[@74goldenjet]

Thanks for the explanation of this nice method, David. I read that even Kate Bush recorded her vocals like this back in the day. And she has quite a dynamic range.

[@josuastangl7140]

wow I've never heard a lot of what you talked about actually, definately learned a few things, thank you!

[@JohnJeevasingham]

Super educational take on this classic combo!

[@jackstanton9955]

Great, as always. Thanks, David

[@IntheDAW]

So the way you explained how they work is just so spot on. It's exactly what I hear when using my hardware. The plugins sound good too you can't hit them as hard but very good

[@Fred.A.Dubeau]

thank you very much, i’ve seen many conflicting versions of how to use this combination, now it makes much more sense

[@MichaelLevine]

Wow, thank you! Very eye opening.

[@robertopistolesi2735]

I'm loving these new short videos, thanks a lot fot giving so many tips for free. E complimenti per il tuo canale.

[@tomguarente]

thanks for sharing your knowledge!

[@themagicbullet]

This was extremely helpful to watch, I understand using multiple compressors way better now

[@jacksmith4460]

Thanks for showing this precisely, I have known this was a thing for a long time, but I have never heard anyone actually explain why and how before and you did it very succinctly thanks.

[@michaelciccaglione3921]

Great lesson given here. Nicely done. Thanks.

[@codee-music]

Yup a classic combo.

[@OLLiGoldeaux]

Many says, the stock compressor sounds same. I'm not shure: my original UA LA2 plug in sounds good in almost every case - i think, some VST has better quality than others - especially Universal Audio Stuff sounds great ! Thank you ! and Greetz from Germany

[@yangjiyangji]

I used 1176 forever but didnt know about knee...wow...

[@MatveichAF]

Great explanation of release differences!

[@LeakBanga]

You technique’s help me so much, Might be too advance for beginners.. Your a level 5 teacher

[@AironExTv]

How interesting. I‘ve often tended to soften the knee with higher ratios. Guess I‘ll just give my 1176 and La2a plugins a good workout and see where it takes me. It costs next to nothing to keep a few tracks like this around. Thanks for sharing those details.

[@mystikrebel1089]

Ok David getting it...

[@jamescave7102]

David thank you, now it’s all make sense.

[@fredrway]

Amazing Tips, was beautiful see this combination in this particular voice

[@guycohenhanoch7721]

Brilliant! I will do the same only with a RETRO STA level.

[@aleksamrkela831]

Awesome. Bet it's even better when using hardware!

[@KevinMarquezRocks78]

Awesome tip, thank you!

[@hrorm]

Woo !! Free compressor !! Thanks man !!

[@alban6101]

Okayyyy ! ... I see ... Perfect tips.

[@1blues1box]

thanks for the ratio tip with the 1176

[@AVDRE]

DUUDDEE what a great explanation

[@andbe]

really good and informative tutorial

[@makeperceive]

Good explanation

[@miutpr]

Great video super useful info

[@bf4lvr]

I was just needing a video on this, let’s gooo

[@davidgardell]

Until October 31! 🤘

[@BrewerShettles]

@5:24 - LA2A (without 1176) - opens the vocal - makes it sound alive vs squashing the singer - unless that is what you want

[@mixbustv]

Please go thru all my videos and leave 3 comments or more each, more money for me lol

[@BrewerShettles]

@@mixbustv Glad to help you get rich - your videos are always great - Thanks!!!!

[@jason.martin]

Great description of how this combo works, side note, what brand/where did you get that shirt? classy but modern !

[@bobpaker430]

so do measurement with a tone generator , and the shape of the release of the opto mode is "classic" to where you find in LA2A or 1176 it's logaritmic. But in electro mode it linear, not exponential as it will be when they describe it in manual or you can find in tubetech softube or elysia alpha. After it's hard to match setting cos the detector aren't the same , but this is the difference electo and opto in this compressor and no need to match comp. Yes opto mode fast release et 70-80% of the release time and slower after, but electro it linear like the most basic compressor you can find tested on a compress signal 2s 1s 500ms 250ms and opto don't evaluate , same release for each, thing normally it's not normal cos cell don't get the same release if it's shinning 2s or 50ms

[@kshep39]

Fantastic demo and instructions David!

[@barrymagner713]

Totally forgot about the knee change. Great tip. 🤘

[@ArloTarr]

Awesome video David🤘

[@999GNG]

i love your work and your channel bro!!! hugs from Brazil

[@jacksp8de]

best explanation I've found. Thanks bro

[@tobiaskagstrom]

Ah, I knew the most of this but I did NOT know that higher ratios on the 1176 changes the knee!? Great video and thnx for charing this!

[@whereyourmusicsoundbetter]

So when using the 1176 alone I can use 4:1 ratio while in conjunctions with LA2A higher ratio is better. BTW as far as I know 1176 + LA2A (hardware units) is Måneskin live vocal chain!

[@davebrownentertainment7191]

I'm using the Distressor before the LA2A. Sounds nicer! :)

[@stamecec2003]

thanks man dope class about dynamics

[@zachary963]

Great tip, thank you!!

[@rainsound5811]

This was a great insight for me, thanks a lot! Honestly when I heard UAD giving away their plugin for free (and the LA-2A of all, also Polyverse before with loopcloud subs) kind of surprised me haha

[@ideez_]

Super interesting! Thanks

[@__AbA__]

I use those two compressors the way you've shown - for the same reason. However, I had no idea about the knee changing with the ratio on 1176. Seems that towards higher ratios it starts working more like a limiter.

[@TheConsideredMan]

How do you trigger each of these compressors in specific areas of the vocal track, rather than the whole track, anyone please?

[@DrSimonBignell]

You have to write in automation on the aux track.

[@dyob_official]

Thanks for the info

[@defmike617]

Thanks for the video and free plug-in bro.

[@goobstersroom]

Great video Mr Gnozzi

[@sleeptownProductions]

Beautiful explanation! I've been doing this combination for a minute, but this explanation really helps solidify the intention even better 😎 Thanks for posting this one!!

[@MatsDagerlind]

I've used this combination for a long time but not in this manner. Mostly I let the 1176 do the bulk of the work and the LA2A just to smooth things out afterwards. But I learned a few new things here about the release curves of these two compressors, and using them in the way demonstrated here is certainly something I will try. Also, it was just some time ago I learned that the Waves RComp is modelled after an 1176 and a LA2A. Since David says it's pretty accurate in mimicing these compressors, it would be nice to see him evaluate doing the same thing with two instances of RComp in series, the first set to electro and the second to opto. If it passes the test it can be a good enough alternative for the poor mixing engineer.