Hardware rack gear no longer needed?

I'll ignore the hardware vs. software debate, and say this: I'd take that 3 grand and upgrade somewhere else long before I'd say to buy something like an LA-2A. What kinds of preamps and converters are you using? What mics do you presently have in your locker? If you are happy with literally all those things, then maybe look into some decent plugins. Or, look into buying a "better" instrument than what you are playing if you feel that sound is lacking.

I'm using some Naiant MSH-1s and a Rode K2 w/ an M-Audio DMP-3, a Nady 8-Preamp rack unit and a Firepod, and am very pleased with my sound... the problem is the acoustic guitar I am recording - it plays well as just a pick-up guitar, but has completely lifeless bottom end that is extremely boomy, so it is next to impossible to record. I know that I could stand to vastly upgrade my preamps, but before I spend a dime on anything else, I am going to go shopping for a new acoustic for recording when the time comes that I have the disposable cash :)
 
cusebassman,


All my instruments are good, and sound fine - so I'm okay there.

But, you right -- my pre's and mic's aren't that hot.

I've got several mic's, but nothing worth writing home about.

SM57's
SM58's
AT2020
Audix D6
Behringer B-1
Rode NT2 (NOT the NT2a or whatever... the actual NT2)

and Pre's

ART TPSII
Electro Harmonix 12AY7

So yeah, your right, spending $3000 on a compressor is not smart.

So here's my new plan..... $1200 to $1500 should get my a Universal Audio LA-610. That will give me a pro preamp and an LA-2A in the same piece of gear.

Some people say "yeah - but it's not a real LA-2A in the LA-610." Okay fine. But it's a modern, emulated re-issue, by the same company who originally manufactured the LA-2A, and uses 90% of the same parts. And it's based on the same T4 optical component, which is the whole heart of it, right ?
 
You have perhaps fallen into a trap that is so easy to become a victim of. That is, buy a lot of low end gear, all the while trying to upgrade or find a sound that pleases you. I've done that so much myself, and it wastes so much money.

Be careful that you don't repeat the same pattern again, but just with the next grade of gear up. No question that the LA-610 will be a step up from what you already have, although I have heard good things about that EH preamp. But don't kid yourself, it's really not an LA-2A.

If you really need a quality mic and preamp, which you do, then spend your bread on just that. Do you need one channel or two? It seems like one channel from what you are saying.

So with that, if you consider your budget $1,000-1,500 for the mic and $1,000-1,500 for the preamp, you can get yourself a really killer sound. Then purchase the compressor separately later. I personally prefer to have the compressor in a separate unit anyway. Or, if after getting a great mic and preamp you still have $500 left over, pick up a Summit TLA-50.

Don't assume that just because the LA2A was built by UA that UA has a lock on the best current version of it. The 610 wouldn't be their best version of it anyway. For that you'd need to get their current LA-2A or 2-LA-2 (I think that's what they call it).

I think that if you budget the $3,000 properly you can get a great mic, preamp, and probably very nice compressor as well. Make a mic list of $1,000-1,500 mics that interest you, then do the same with $1,000-1,500 single channel preamps, then the same with $500-1,500 compressors. For $3,000 you can put together an amazing single channel recording channel. Don't lock into the 610 yet, it's way too early to be doing that, and I think you can do a lot better.
 
SonicAlbert said:
You have perhaps fallen into a trap that is so easy to become a victim of. That is, buy a lot of low end gear, all the while trying to upgrade or find a sound that pleases you. I've done that so much myself, and it wastes so much money.

So with that, if you consider your budget $1,000-1,500 for the mic and $1,000-1,500 for the preamp, you can get yourself a really killer sound. Then purchase the compressor separately later. I personally prefer to have the compressor in a separate unit anyway. Or, if after getting a great mic and preamp you still have $500 left over, pick up a Summit TLA-50.

Don't assume that just because the LA2A was built by UA that UA has a lock on the best current version of it. The 610 wouldn't be their best version of it anyway. For that you'd need to get their current LA-2A or 2-LA-2 (I think that's what they call it).

I think that if you budget the $3,000 properly you can get a great mic, preamp, and probably very nice compressor as well. Make a mic list of $1,000-1,500 mics that interest you, then do the same with $1,000-1,500 single channel preamps, then the same with $500-1,500 compressors. For $3,000 you can put together an amazing single channel recording channel. Don't lock into the 610 yet, it's way too early to be doing that, and I think you can do a lot better.
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You are so right about the low end gear trap. I get excited and say, only $250? I'll order one next week. And then realize that piece of gear has only made a 5% difference, and now I already need an upgrade.

And again your right - it is very expensive to do that, and a hugh waste of money.

I did not know about the Summit TLA-50. Looks nice and easy to use , like the LA-2A. I wonder how close it would or would not sound.

Also, yeah - I only need 1 really good channel.
 
I think of the LA-2A as a "type" of compression. Good for leveling vocals, for example. Certainly, it has it's own sound, but it also has a purpose.

Purists will say that even UA's new LA-2A is not the same as a vintage LA-2A. And then there are the many other manufacturers making compressors that serve the same function as the LA-2A. None of them will sound alike, but the key is to have something that sounds great and also serves the same function of the LA-2A.

A few of those are:

ADL 1000 (Anthony Demaria Labs)
Summit: TLA-50, TLA-100A
Langevin Dual Vocal Combo (definitely take a look at this one)
Langevin ELOP
Manley ELOP
Pendulum OCL2

Of that list, the ADL 1000, TLA-50, and Langevin Dual Vocal Channel are good bets in the approximately $1,500 and under range. The Dual vocal channel obviously has the preamps in the same unit, so you'd kill two birds with one stone with it. But you might like combining a mic/preamp combination of your choice with the ADL or Summit.

Maybe a Langevin DVC with a TLM103?

Let's not forget the Avalon 737 either.
 
I'll look each one up, and do some research.

Thanks for taking the time to make me a list.

I've read alot of quotes where producer prefer the sound of the new LA-2A's over the old one's, because they are not a noisey.

I *think* I have a clear understanding of the LA-2A sounds, because I have heard 4 or 5 plug-ins, including the Universal Audio plug-ins that we're released for the Roland VS8F3 card - that goes in their VS DAW's.

So, that where my LA-2A obsession comes in.

Plus.... only 2 knobs? That's for me. I don't know how to set attack and release, and would rather skip it for now.

SO, looks like I've got a fair amount of research to get working on.

Thanks again.
 
I've got a DVC and it is an AWESOME unit. If you find one used itll be a screaming deal too.

Its got a rumble and hiss eq, a "dummy light" style limiter that works REALLY well for things like DI'd bass, and onboard DI's
 
The Langevin Dual Vocal Channel does look cool.

I didn't even know that existed - same for most of what Sonic Albert listed for me.

I guess the only PreAmp's I was familiar with, are the one's they sell at Musician's Friend - and by the looks of things, they don't sell all the brands.

I guess I just thought they would have everything, but turns out, there's many more options available to me now.
 
MF caters to the most common denominator kind of buyer. So once you start to develop a taste for "the good stuff" you have to branch out into other retailers.

A couple store's I'd recommend for price are http://www.soundpure.com and maybe http://www.frontendaudio.com. Although with Front End you need to do some negotiating.

However, when you do decide on what to get send me a PM and I'll give you the phone number of the guy I buy gear from. There's no way he'll be beat on price, he'll give you a great price right up front and you'll be surprised how little a new DVC (or whatever) will cost compared to what anybody else is selling it for.
 
Thanks alot.

I've bookmarked both sites. If they don't ship to Canada, I'll have to think of a creative way to get the orders here. (Think I can fit a 2U Rack mountable pre-amp down my pants when I cross the border?)

I'm looking up all these recommendations you listed. All I can do is read the specs, read the manuals, and make sure it's going to look cool in my rack. :D

I can't do a damn thing about selecting something based on how it sounds.

Is there anything else out there that is like the thelisteningsessions.com site ?
 
You could also order from a place like http://www.mercenary.com/. I believe they will let you return something if you really hate it. Their prices aren't as low as other places, but they are pros and if you tell them what you are looking for and you need to try it first, I'm sure they'll work with you on it.

Mercenary specializes in only "the good stuff".
 
mattkw80 said:
I can't do a damn thing about selecting something based on how it sounds.
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That's a tricky thing, but ANY of the really good stuff is going to contribute such a negligeable signature to the sound until you operate it in its nonlinear range.

Its the sonic signature of cheap crap that you gotta watch out for.

People always scream to the hills about the "character" of vintage gear and exotic stuff. To me most of that "character" is the fact that these devices stay the hell out of the way of the signal. Once you start distorting them they do sound quite a bit different though.
 
pipelineaudio said:
That's a tricky thing, but ANY of the really good stuff is going to contribute such a negligeable signature to the sound until you operate it in its nonlinear range.
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That's a little dangerous, as they all sound different. They also will all respond a little different, especially compressors. The very best also have their own signature.
 
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