Regarding the LA2A Leveler

[wurliuchi]

I haven't tried Magic Dave's instructions yet. I'm looking forward to doing that. I've only had a problem with the Leveler when using it on a buss for parallel compression on a track that only came in on the choruses. As a direct insert on a track, Leveler has never given me any trouble, though I listened for it. Once I heard it on the buss it was obvious and I measured a 7dB increase on the peak for the first second or two when the cell wasn't warmed up, then it fell into place. I just printed that buss while the cell was warmed up and moved on. That's not always the best option but it works in a lot of cases.

Man, we have it so easy compared to what we used to have to do, I don't understand all the moaning and complaints. Toughen up.

[toodamnhip]

I think we need a "one time run through" function where the LA 2-a samples the warm up of a song on first play through, and sync that to time code which would allow any section to be handled consistently as if the LA 2 A passed through the whole tune warming up.

You can add to that "multiplies" such as, LA 2a times 2, 3, 4, 5 etc so that it's as if the machine has been on for hrs ...

I really understand the difficulty of a guy looping through a chorus to get a mix and then rewinding to the start and suddenly , everything sounds different...I don;t know how guys with with real LA 2a's worked before, maybe they went through this difficulty where they looped a section and then had the unit sound different at the beginning...or maybe they had that "one magic pass" where the unit treated a vocal perfect...but in today's technological world...I think we can have the best of both worlds...let the damn machine warm up, map that warm up, put the option of multipliers by numbers or time such as 2-3-4-5-6 or," LA 2a on for one hour"...and map all of that to time code so that it is replicatable...lets have our LA 2a cake and eat it too...

So, have you used it? Got any actual tips?

No, I am still on DP 5.13. I have been commenting in a theoretical way which, I think is valid in this case as I am taking other's reports as true and giving my ideas of the logic of it all so to speak. No real tips though I still really like my idea of some sort of run through with a memory of the "cell" results for consistency. For how he unit it now I'd say, set up a bounce track to monitor through and when you like what you're hearing on let's say a vocal...record it! and be done with it.

[EMRR]

I measured a 7dB increase on the peak for the first second or two when the cell wasn't warmed up, then it fell into place. I just printed that buss while the cell was warmed up and moved on. That's not always the best option but it works in a lot of cases.

Man, we have it so easy compared to what we used to have to do, I don't understand all the moaning and complaints. Toughen up.

Sissies.

7 dB just sounds like way too much overshoot to be correct. I don't have any vintage hardware limiter with that sort of overshoot. Though, the EMI modified Altec variable mu limiters added a 'hold' position so one could charge up the side chain detection and lock it in before starting the proper play-through. That's a bit different tangent, but similar in regards to the fact that only they were tweaky enough to feel the need to go there. 99.999999999% of the rest are used as is, and they sure keep going up in value steadily.

Sorry, Shooshie.....OT.

I think we need to press for as much official description of what is and isn't there already, and be patient. I don't feel we have all the info, and no third party presenting a comprehensive comparison. I still think there may be a bug, since I haven't seen a problem on my system, in my usage. It's so hard to tell definitively. A comprehensive description of the memory save options, in manual form with examples, would go a long way. Magic Dave got a good start the other day, and it's all we really know. It could be condensed and restated more clearly. MOTU manual PDF addendums for registered users? An idea in itself. We have the one in the help window, but this one's not in there. Until we have that official statement, we don't know what we're asking to be changed, or exactly why. We can imagine all sorts of various memory schemes, all of which could be said to be useful modifications....last word key.

[Shooshie]

Great. We're getting some valuable responses, and I'd say closer to a consensus on how to respond to people who come here all flustered with it.

Shooshie

[wurliuchi]

I measured a 7dB increase on the peak for the first second or two when the cell wasn't warmed up, then it fell into place.

7 dB just sounds like way too much overshoot to be correct.

You're right, that isn't correct. It was just a blunder on my part. The real number was +3dB. With the cell warmed up the first hit would measure -7 dB, when it wasn't warmed up it would measure -4 dB. Thanks for catching that. I got the same measurements each time (I think I measured it about four times), so there is some consistency going on.

[Eleventh Hour Sound]

.... or a hidden automation control. Of course it would need to be switchable with a toggled off/on. Shooshie

Bang! That's it!!!! Whoever came up with that idea is brilliant! Me thinks automation would be absolutely THE perfect idea. Since the Leveler's optical circuit is creating it's dynamic saturation (because it's organic and ALIVE like us) Then, allow it to write and record it's parameter(s) automation just like any other plug in!

The difference would be, that this is the first plug in that create it's own automation (Because IT"S ALIVE!!!) <Grin> Then you could keep, repeat and if need be, edit it's saturation levels so that when you hear the ultimate LA2A compression of love, you can keep and repeat!

If you wanted the automation to be hidden, (just use the view filter), and if you want it to run wild every time (for when we're feeling lucky or wild) we just turn of play automation for it and let it run as it currrently does.

Are we on to something here? <Grin>

[Shooshie]

You know? I've been using the Leveler today, and I think it's a hot little item. When you save the memory for all four types, you can switch between them without a big burst; just set it to automatic memory recall. It only takes a bar or two to warm up completely, anyway. I tried everything from just a little attenuation to pile-driving with a concrete pier, and it always sounded great. Letting it start cold actually brought a new dimension to compression: it started uncompressed and imperceptibly pushed it down, without any artifacts. The result is that it sounds natural. I'm going to have to experiment with this thing a lot more. But I can say this much, the LA2A is one interesting little plugin with "super powers" that belie it's simplicity.

Shooshie

[Saintmatthew]

I love this little bastard. I had some issues in the beginning with the warm up issue, but the new save t4 cell state thingy can compensate for that......if you want it to. I find myself more and more often exploiting its adaptability and how it morphs and molds it's source material into place almost organically. Even it's name seems appropriate to me. It's not a limiter or compressor - it's a leveler. It takes something choaotic an smoothes it out after the fact. This thing's great for letting something take off with a freaking explosion out of the gate and then bring into line slowly and subtly. To me it's one of the best tools for KEEPING dynamics in a mix, even to a degree adding a dimension to molding the dynamics that are there without simply cutting them in strict proportions. Some might not like it in the current landscape of super compressed and hyper precision fashionable vise-like strangled mixes and it's certainly not an all purpose compressor. However, it IS an excellent creative dynamics tool that keeps the bigger picture of the song or piece more relevant.

[philbrown]

There are plenty of songs that follow the natural dynamic of starting off lower, then building, especially modern radio rock and pop material. I could see plenty of times (not all of course) that the quirks of the LA2A are an advantage rather than a hindrance as it naturally warms up just like the song is building up.

I haven't tried this, but what about simply automating the gain reduction parameter at the beginning of the song to compensate for the warmup? Might take a little trial and error at first, but it's only one parameter, and once you've done it a few times and have a feel for it you'd kinda know where to start. I haven't tried this, just speaking theoretically and offering suggestions, as requested. Same thing could be done in longer sections where no signal is hitting it - just automate that one section coming back in until it "warms" back up. If someone finds some useful curves maybe they could post photos.

Thanks for your sanity Shooshie.
Maybe this board can get a little more on the positive end of the stick in the next year or 2.

Cheers
Phil

[TheHopiWay]

I've been watching all the LA2 talk with a little amusement.
As an old analog dinosaur I can reveal the secret to all of how to get a track to sit in the mix when using an opto compressor.

Step 1---- Listen
Step 2---- Mix in real time
Step 3---- Ride the fader at the points you don't like.



Seriously. It works.

[Shooshie]

I've been watching all the LA2 talk with a little amusement.
As an old analog dinosaur I can reveal the secret to all of how to get a track to sit in the mix when using an opto compressor.

Step 1---- Listen
Step 2---- Mix in real time
Step 3---- Ride the fader at the points you don't like.



Seriously. It works.

I have no doubt that it does! Stands to reason if you're going to model analog behavior, you're going to have to run it analog-style.

Shoosh

[Klaus]

If I understand correct, you guys are talking about software LA-2A, ?
The ones in the new mk3 interfaces, do they work the same way, warm up etc... ?
Best

Klaus

[busle]

I've been watching all the LA2 talk with a little amusement.
As an old analog dinosaur I can reveal the secret to all of how to get a track to sit in the mix when using an opto compressor.

Step 1---- Listen
Step 2---- Mix in real time
Step 3---- Ride the fader at the points you don't like.



Seriously. It works.

you had me at step 1, but then you just started speaking gibberish.

[EMRR]

the kidz theze dayz

[BKK-OZ]

I haven't tried Magic Dave's instructions yet. I'm looking forward to doing that.

Yeah, me too. I searched this post and Dave's other posts, but I can't find these "...instructions...".
Sorry to be a pain, but has anyone got a reference?