Teletronix La 2a Vst Download Free

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  1. Universal Audio Teletronix La 2a

UAD Teletronix LA-2A Silver. The new releases of the LA-2A and 1176 from UAD are truly in another league as far as in-the-box compression is concerned. With these models, you don’t get an over-compressed feel from the software. It retains the compressor characteristics but also retains the feel and depth of the original vocal. Teletronix UAD.LA2A.LA-2A.Compressor Vst DOWNLOAD 78d1bf325e Far From Dead is a gaming community that has recently started and will become more controversial than Barack Obama's fixed election.

​So, you're at the stage where stock plugins just don't cut it anymore.

The Teletronix LA-2A is prized for its electro-luminescent optical attenuator. The Waves CLA-2A emulates this frequency-dependent action for smooth gain reduction. Producers love the multi-stage release and the CLA-2A’s quick response, both of which add character to the mix. Universal Audio’s Teletronix LA-2A Classic Leveling Amplifier reissue provides the performance characteristics of the iconic original. With painstaking care, every new LA-2A unit is point-to-point handwired at Universal Audio's Custom Shop in Santa Cruz, California, with every component carefully evaluated for authenticity. As a result, today. UAD Teletronix LA-2A. Universal Audio offers one of the most accurate LA-2A emulations available. LALA is available for free download from Analog Obsession’s recently-launched Patreon page. The software is compatible with VST, VST3, and AU plugin hosts. Keep in mind that only 64-bit digital audio workstations are supported. For more LA-2A style compression, check out the excellent AdHd Leveling Tool plugin by AudioTools.

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Looking for more free plug-ins? Our archive is the place! Analog Obsession LALA. Analog Obsession is one of the most productive developers of free plug-ins out there, and here’s one of his newest creations. LALA is of course an emulation of the famed Teletronix LA-2A Leveling Amplifier, something the developer says many people have asked him.

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One of the best EQ's in the business used by professionals and doesn't color your tracks.

Simple and easy to use dual tube input and gives color, grit, and hardware noise to your tracks.

This musical EQ is heard on the vocals of many famous artists such as Madonna, Celine Dion, and Snoop Dog.

Excellent recreation of the Neve 1073 and great for any track looking for that sweetness.

​Highly detailed and remarkably flexible for all applications.

Extremely accurate digital EQ while keeping the audio passing through as optimized as possible.

​Great for specific frequencies, easy to use and also looks great.

​Softube - Abbey Road Studios Brilliance Pack: ($199)

Used in Abbey Road Studios and gives great highs without any harshness.

Unique EQ that gives you sonic sculpting and EQ matching whilst allowing you complete control over your spatial environment.

Simple and easy to use and gives energy to your tracks bringing them to life.

This is a powerful, sonically neutral analog EQ that is used in many of the world's leading mixing and mastering studios.

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​Used on many records since the 70's and is one of the most musical EQ's ever invented.

​Developed in corporation with the incredibly famous mixing engineer Andrew Scheps.

Captures the sonic characters of classic consoles while adding unique modern features making your life easier.

​​Recreates the sound of a vintage British equalizer that is smooth and silky, great for sweetening drums and bass.

Has the ability to cut and boost the same frequencies simultaneously creating a resonant shelf.

​Versatile and precise while maintaining tone analog warmth in the signal path.

Great EQ to give some punch in your tracks especially drums.

Speeds up your workflow by enhancing detail, clarity, and transparency with the use of AI.

This EQ is all about the color, the more you push the dials the more color this plugin gives you in the form of rich harmonic variation.

Combines analog circuitry with powerful digital plugin precision, also allowing you to choose how much 'analog' sound you want.

Simple and easy to use with an embedded attack and release time making your life easier.

​Created in collaboration with Chris Lord-Alge. These compressors will stand the test of time and every engineer should have them in their toolbox.

This is a modern compressor with vintage qualities giving character and warmth to your tracks while sounding transparent whenever needed.

As the name suggests it is used as a mix buss compressor to glue your tracks together with a super fast attack time down to 0.0.1ms.

​With no attack, release or ratio knobs and five completely unique compression curves, it has a dark and squishy sound that's welcome to the digital world.

Features a combination of the best features in other hardware compressors giving you great sonic qualities.

Perfect for a wide variety of applications and the most demanding engineers.

This plugin blends the warmth of classic hardware with developments that are only possible in the digital domain making it a powerful compressor.

Huge amounts of flexibility and precision with fine tweaking controls.

​Slate Digital - Virtual Buss Compressors: ($14.99 Monthly)

​Perfect for adding a professional final touch to your mixes thanks to the recreation of the unique aspects of the circuit paths that give each compressor its distinct tone.

High-end compressor made to emulate vintage and modern compressors, while also allowing complete control of dynamic compression.

Modeled after some of the classics and creates some unique timbre for every track that goes through it.

Used on the vocals on artists such as asking Alexandra, Of Mice & Men, and Attack! Attack! This compressor will instantly give you mix-ready sounding vocals with little to no effort.

Emulates the master buss compressor of the SSL 4000 G console and does an incredible job of gluing your tracks together.

​Multiband compressor works perfectly on punchy, loud yet dynamic mixes.

Extremely versatile and can go from soft and gentle to snappy and punchy with just a few simple tweaks.

This compressor provides the precision, advanced features and legendary tonal characteristics of SSL audio products in a simple plugin.

Wideband ultraclean mastering compressor suitable for delicate material.

Used in hundreds of hit records over the last 4o years and had the ability to dynamically reverse a sound’s envelope, making loud sounds quiet and quiet sounds loud.

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Amazing reverb plates used on recordings by the Beatles, Pink Floyd, and Radiohead.

With over 220 versatile and great sounding studio presets there will surely be something for everyone.

Designed for BIG sounds, from concert halls to the Taj Mahal to the Halls of Valhalla all without straining your CPU.

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This is a stunning, musical reverb that brings unmatched dimension and fullness to your mixes.

With a pleasant reverb sound and easy functionality, it's simple to create any type of reverb.

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Industry standard convolution reverb plug-in with a huge range of samples of real reverb spaces.

This reverb is used daily in the worlds largest music, film, television, and game productions and It remains one of the industry's undisputed champions of traditional reverb design

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Easy to use, nice on the eyes and sounds great.

Universal Audio - EMT 140 Classic Plate Reverberator: ($119)

This reverb gives you lushness, warmth, and beauty only a plate can provide.

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Experience lush reverbs of up to thirty seconds and for the first time ever in a convolution reverb modify the early reflection patterns.

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This plugin is so close to the real thing In blind comparisons, users could not differentiate between the real hardware reverb patch and the VerbSuite capture.

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This recreates the echo chamber used by Abbey Road’s pop engineers to create exciting reverbs, delays and other unique spatial effects.

A tasty echo effect that can go from clean to rude by overdriving its three modeled tube stages giving a great sense of space and size to a mix without really drawing attention to itself.

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An easy to use interface and represents a new benchmark for digital delay effects.

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Sandman’s namesake is its unique SLEEP button. With SLEEP, you can ‘freeze’ audio at a point in time to create a loop based on the Delay value, allowing you to adjust the sample Start and Endpoints.

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Really nice on guitar and vocals and helps the tracks to sit in the mix giving its own 3D perspective.

RP-Delay is a unique delay which is heavily focused on some very special features, including brand new FX routing.

With endless possibilities and 60 different presets there's not a lot you can't use this on.

An Analog Echo Box plug-in designed to give you the warmth and richness of classic vintage delay effects.

Unique multitap delay and modulation plugin. With up to 32 modulated delay taps, extensive diffusion and overdrive sections sound great with a wide range of instruments.

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The synth that defined bass music. Create just about anything with this as it's the go-to choice for bass music and electro producers.

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Sylenth1 is not just another synth. It was built from a producer's point of view. It was built to produce superior quality sound and music.

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Emulating the warmth and fatness of classic analog synthesizers giving you a range of rich inspiring sounds.

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High-quality sound, great user interface, and the ability to go as deep as you desire.

This plugin brings back the sound of the SEM V and special characteristics in an accurate plugin.

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Kush Audio’s Gregory Scott uses new LA-2A compressor emulations from Universal Audio and Cakewalk as the starting point for a discussion of modelling, emulation and the use of vintage studio hardware for dance music production.

Universal Audio’s Teletronix LA-2A hardware compressor

Editor’s note:

One of the key growth areas in music software over the last decade has been the market for emulations of classic hardware. And by emulations, we really mean painstakingly accurate modelling of the behaviour of those classic units – a huge step up from some of the lacklustre imitations passed off as emulations over the years.

It’s not so long since most of us were happy if a plugin compressor, synth or drum machine emulation looked like the original hardware and sounded, well, vaguely similar.

There are, of course, still countless plugins which take that approach, but over the last decade a much more authentic type of emulation has emerged. Companies such as Softube, Universal Audio and D16 go to extreme lengths to model the characteristics of analogue circuits then recreate them as software. The net result is that we can all now get our hands on incredibly realistic emulations of units as diverse as the Roland TR-909, Tube-Tech CL-1B and Studer A800.

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When Universal Audio announced three new emulations of the classic Teletronix LA-2A compressor, it raised a few questions. How many emulations of subtly different versions of the same unit are necessary? Is emulation now so accurate that it really warrants this kind of approach? Then, to compound matters further, software development veterans Cakewalk released another new LA-2A emulation in the form of their CA-2A plugin. And still an old nagging doubt played on our minds: are emulations of 40-year-old analogue units really the best tools for dance music production?

We realised it was time to call in a self-confessed LA-2A fan whose all-round knowledge of production and engineering, compression, analogue hardware and audio software development is second to none: Gregory Scott of Kush Audio. The brief? Not a traditional review as such, but an invitation to go into some serious detail about the various LA-2A models, teach us a few things about compression and discuss some of the strengths and weaknesses of modelled compressors in general.

are emulations of 40-year-old analogue units really the best tools for dance music production?

Gregory Scott writes:

When I was asked by Attack to write about the latest LA-2A plugin suite from Universal Audio, my eyebrows went up in surprise, because I’m not a professional reviewer; what I am is a designer and manufacturer of boutique analogue hardware. But I also create the kinds of spendy plugins that get reviewed, and while my company is one tenth the size of Universal Audio, I’m nevertheless a direct competitor.

A feature written by a competitor of the product being tested? I was intrigued! But I love a challenge so I said yes to writing the feature as long as I could be honest about the fact that I’m a competitor and share the full truth of whatever I discovered as I explored the possible uses and applications of these plugins in dance music production. Attack said yes, so I bought an Apollo (short review: love it) and Universal Audio gave me one-year licences for the LA-2A suite.

So I invite you now to join me as I recount my journey of rediscovering an old familiar friend and learning that, while many of my doubts about using this tool for dance music were justified, many were not, and depending on the kind of music you make and sounds and textures you favour, these plugins could be an indispensable and inspiring part of your toolkit.

What’s an LA-2A anyway?

The simplest answer to that question is: a compressor – a signal processor that reduces the dynamic range of a signal. That’s great, but for those of us who’d rather make music that has sounds than process signals that have dynamic range, perhaps the better question is: how does a compressor help me with my art? Now there’s a question I can sink my teeth into.

A compressor, viewed from a more artistic perspective, is a tool we can use to change, among other things, the movement, energy, intensity, focus, size, density, depth, and tone of a sound. It can also be used to ‘glue’ multiple sounds into a more coherent whole by unifying their different tones, and coordinating their disparate movements into a more collective, singular motion.

The LA-2A falls into the category of hardware compressors known as ‘optos’, short for ‘optical’. Optos got their name because there is a contraption inside them which literally has a light bulb next to a light-detecting material; the more you turn up the compression knob, the louder the sound that’s fed to the compressor’s brain (aka the ‘detector’). The louder that sound, the brighter the bulb gets and, in response, the more intense the effect of the compressor becomes, the more it ‘clamps down’ and reduces the difference between the softest and loudest parts of a sound. This optical mechanism was simultaneously crude and ingenious, and to this day it produces some of the most natural, pleasing, easy-to-use compression anywhere.

And of all the opto compressors past and present – I can count at least 20 different brands and models off the top of my head – the LA-2A is undeniably one of the most famous, most ubiquitous and (for some of the vintage units that are older than I am) most coveted pieces of high-end analogue gear in existence.

The LA-2A is undeniably one of the most famous, most ubiquitous and most coveted pieces of analogue gear in existence.

Why? If you’ve ever used the hardware, you already know the answer to that. There’s a magic to its sound: a thick, quintessentially warm, slightly hazy cloud of analogue goodness that makes things sound better just by passing through the tubes and transformers; the compression is just a bonus, and for many sounds it’s quite a bonus indeed. Not every sound works or is served by the magic of LA-2As, but when it works there’s nothing that does quite the same thing.

SMOOTH AND WARM

The Teletronix LA-2A Leveler Collection puts three of the most coveted incarnations of the iconic Teletronix processor at your fingertips. Like the hardware, the LA-2A Silver, LA-2A Gray, and LA-2 models offer distinct variations in time constants, compression knee, headroom, distortion, program and frequency dependence, and more. Teletronix UAD.LA2A.LA-2A.Compressor Vst - DOWNLOAD. Jan 29, 2017 - CA-2A T-Type Leveling Amplifier: Faithfully modeled after one of the most sought after studio compressors in history, the Teletronix LA-2A), it puts the silky, smooth sound of this highly. The Teletronix LA-2A Leveling Amplifier rivals only the Universal Audio 1176 as one of the most revered compressors ever created. With its gentle, program dependent optical compression and meticulously designed tube amplifier, the LA-2A is the go-to compressor for professional mixers around the world — especially for vocals. The Teletronix LA-2A Leveling Amplifier rivals only the Universal Audio 1176 as one of the most revered compressors ever created. With its gentle, program dependent optical compression and meticulously designed tube amplifier, the LA-2A is the go-to compressor for professional mixers around the world — especially for vocals.

  • Easy to use, automatic attack and release
  • Medium to slow response for natural sound
  • Sidechain input and Low-Cut Detector

THE VC 2A — SMOOTH AND WARM

Smooth electro-optical compressor with a silky, natural sound. Great on vocals, bass, pads and guitar.

ELECTRO-OPTICAL COMPRESSOR

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A member of the VINTAGE COMPRESSORS Series, the VC 2A is an instantly useable software emulation of a legendary precision studio tool — an electro-optical tube compressor/limiter with a smooth, silky sound. Attack and release are determined automatically in response to the input signal. It’s also easy to dial in the sweet spot, because the VC 2A has only two main controls – Gain and Peak Reduction – which control threshold and the amount of compression.
This effect is also available as part of the specially-priced VINTAGE COMPRESSORS bundle.

IMPROVING ON THE ORIGINAL

Produced in cooperation with Softube, the VC 2A also offers a host of additional features not available on the original. An added sidechain input not only allows for characteristic ducking and pumping effects, but also provides possibilities for a wide range of creative compression techniques.
A dry control makes parallel compression with the VC 2A a reality and a Low-Cut dial effectively tells the compressor to ignore (i.e. not compress) anything below the set frequency. This essential enhancement helps to avoid over-compression caused by unruly bass frequencies.

GETTING STARTED

Use the VC 2A for leveling vocals — it leaves the peaks more or less intact but pushes the quieter parts in a natural, musical way. Turn up the gain to get the smooth, subtle coloration and drive this classic compressor is famous for.
The VC 2A also delivers highly satisfying results on bass. The slow release means that the compression remains smooth, avoiding distortion caused by overly fast release settings on other compressors.
DOWNLOAD FREE DEMO

Universal Audio Teletronix La 2a

ABOUT SOFTUBE

VINTAGE COMPRESSORS is produced in collaboration with Softube. These 'Swedish rock 'n' roll scientists' specialize in incredibly accurate software emulations of professional audio hardware.
As well as working with NATIVE INSTRUMENTS, they make a wide range of their own products. Their reputation in the industry is exceptional.

ELECTRO-OPTICAL TECHNOLOGY

An electro-optical compressor contains a light bulb or LED. This responds to the input signal — a strong signal makes the bulb glow, peaks make the bulb glow brighter. A photocell tracks the bulb and regulates the gain level accordingly. The relatively slow response of the photocell results in an intentional time lag, affecting both the attack and release times.
Unless cruelly mistreated, electro-optical compressors sound smooth and natural.

AT A GLANCE

Product type High-quality vintage electro-optical tube compressor emulation
For use with All popular host sequencers as a native plug-in
Effect category Studio Compressors
Size (Mac / PC) Mac: 133 MB, PC: 109 MB
User manual Download Manual

SYSTEM REQUIREMENTS

macOS 10.12, 10.13, 10.14 or 10.15 (latest update), i5, 4 GB RAM
Windows 7, Windows 8, or Windows 10 (latest Service Pack), Intel Core i5 or equivalent CPU, 2 GB RAM
An Internet connection and a graphics card that supports OpenGL 2.1 or higher are required to download and activate this product. Once installed and activated, the product can be used offline.
Supported interfaces:
Windows (64-bit only): VST, AAX
Mac OS X (64-bit only): VST, AU, AAX

THE VINTAGE COMPRESSORS SERIES

Check out the other effects in this series:
  • VC 160: Classic compressor for added attack and a subtle drive. Especially good on kick drum, snare, bass or guitar.
    Find out more

  • VC 76: FET compressor/peak limiter renowned for its super-fast attack and unique 'All Button Mode'.
    Find out more

  • VINTAGE COMPRESSORS SERIES BUNDLE: All three effects at a special price.
    Find out more

LA-2A and 1176 LN are registered trademarks of Universal Audio, Inc. Vintage Compressors is manufactured and developed by Native Instruments and Softube based on its own modeling techniques. Universal Audio has not endorsed nor sponsored the Vintage Compressors in any manner, nor licensed any intellectual property for use in this product.

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Channel Strips(9)

It has API Vision Channel Strip

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Special Processing (14)
  • It include Ampex ATR-102 Mastering Tape Recorder
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  • It has FATSO Sr. Tape Sim. & Compressor
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  • It include Moog Multimode Filter SE
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  • It include Precision Enhancer kHz
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Specifications

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Teletronix La 2a Manual

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  • This application include Supports VST, RTAS, and Audio Units plug-in formats
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