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Arrow Manual Universal Audio History 262
Pros Talk UA
Both the 1176 and the LA-2A remain in daily use. Busy
engineers and producers’ comments about both the
1176 and the LA-2A demonstrate their impact on the
industry:
Mike Shipley
Mike Shipley (Def Leppard, Shania Twain, Blondie):
“I grew up using 1176s - in England they were the
compressor of choice. They’re especially good for vocals,
which is also what I primarily use the LA-2 for. Most
anything else I can do without, but I can’t be without at
least a pair of 1176s and an LA-2A. For example, on the
Enrique Iglesias project I’m 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 overcompression, 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.”