Field Test: Universal Audio LA-3A Audio Leveler 08/09/2006 04:44 PM

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Recording
Audio Leveler
Products
Live Sound By Michael Cooper Browse Back Issues
Sound For Picture Select an Issue
Jan 1, 2006 12:00 PM
Recording
New Media
Products
Facility Design THE LA-2A'S SOLID-STATE SIBLING IS REBORN
Live Sound
Education
Sound For Picture Universal Audio has a wonderful
habit of reissuing some of the
New Media
most beloved vintage processors
Facility Design known to gear mavens
Education worldwide. Now, the company
has re-created the classic UREI
LA-3A Audio Leveler, which is
essentially a smaller, solid-state
version of the all-tube LA-2A. Both models use the T4 opto cell, which is
responsible for the unique and highly transparent compression curve for
which these vintage compressors are cherished.

Universal Audio maintains that, aside from three small exceptions, the
new LA-3A is an exact replica of the original model from the late 1960s.
XLR I/Os were added, while the vintage unit's barrier strip connections
were also retained in the reissue to maintain compatibility with existing
installations. An IEC power connector was added for UL compliance.
Universal Audio also implemented a popular gain mod — which many
engineers retrofitted on vintage units' PCBs — so that it can be
conveniently activated via a rear panel switch. The gain mod improves
the LA-3A's signal-to-noise ratio and lowers the threshold.

In addition to the all-important T4 opto cell, the new LA-3A uses virtually
the same input and output transformers, electronic components
(including NOS transistors), PCB layout, cable, chassis parts and front
panel as the original LA-3A.

OH, BABY!
The LA-3A's front panel control layout is simply laid out. Turning a
continuously variable rotary control labeled Peak Reduction clockwise
increases gain in the sidechain circuit, effectively lowering the threshold
and increasing compression. Another continuously variable rotary control

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Field Test: Universal Audio LA-3A Audio Leveler
AES New Products Guide
NAB Audio Products 2005
Education Directory
2005 Summer NAMM
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and increasing compression. Another continuously variable rotary control
adjusts makeup gain. The fairly large VU meter can be switched to show
either gain reduction or output level (the latter mode referencing 0 VU to
+4 dBm). A power switch is also on the front. However, a Bypass switch
is not provided. There are also no attack and release controls, as the LA-
3A's time constants are inherently program-dependent.
All I/Os are on the unit's rear panel and are served by both XLR and
barrier strip connections. Also on the rear panel are three switches: One
toggles the unit between compression and limiting modes (which sound
virtually indistinguishable unless very heavy compression is used);
another pads the input 20 dB to prevent high-output devices from
clipping the unit's input transformer; and the third switch kicks in the
previously mentioned gain mod.
A rear panel pot increases the sidechain's sensitivity to very high
frequencies and is intended for use in broadcasting applications. Another
pot balances the unit's gain-reduction amount when it is stereo-linked to
a second unit via the above-mentioned barrier strip. The 2U, half-rack —
sized LA-3A ships with a rackmount kit.
LIGHT ME UP
My first test of the LA-3A was an A/B comparison to my Universal Audio
LA-2A, recording male vocals with an AKG TLII mic and Millennia Twin
Direct Recording Channel. Compared to my LA-2A, the LA-3A produced
more extended highs and lows and exhibited greater depth. Despite the
LA-3A's higher fidelity, however, I didn't automatically favor it over the
LA-2A. Both units sound awesome in different ways. The LA-3A has a
very rich sound that belies its solid-state circuitry, but I also love the
creamy, slightly band-limited sound of my LA-2A.
The compression curves of the LA-3A and -2A sound virtually the same
and incredibly natural. You can squeeze vocals really hard so they don't
pop out of or dip below the music bed; still, the nuances and perceived
dynamics of the performance come shining through.
This transparency was also evident when recording electric guitar on a
country ballad using a Royer R-121 ribbon mic patched through a Neve
Page 2 of 6
Field Test: Universal Audio LA-3A Audio Leveler 08/09/2006 04:44 PM

country ballad using a Royer R-121 ribbon mic patched through a Neve
5012 Duo Mic Pre and the LA-3A. Dialing in 5 dB of gain reduction, the
track exhibited awesome depth and a golden, analog tone to die for. The
Dare to Dream Contest guitar solo sat perfectly in the mix, yet I could hear no obvious
Barbershop Studio Blog compression artifacts.
eClassifieds
TEC Awards Next up was a Taylor XXX-MS acoustic guitar playing arpeggios and
TEC20 miked with a pair of B&K 4011 condensers patched through my Millennia
Studio Showcase HV-3D preamp. With the LA-3A's meter showing 5 to 6 dB of gain
Seminars on Demand reduction, loud bottom-string peaks were leveled without pumping. There
NAPRS was a noticeable decrease in depth and high-frequency sparkle with this
AES much compression, but no more than what I've heard using other high-
NAMM end, wide-band analog compressors on acoustic guitar with as much
NAB processing.

The LA-3A enhanced the attack of both electric bass and kick drum
tracks. It also tightened up the kick drum's decay to the point where it
Headline News sounded like an extra blanket had been stuffed in the shell.
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BACK TO THE BEAUTIFUL
About Mix
The LA-3A is $1,499 for a single unit or $2,899 for two (including a
Contact Us
rackmount kit). Though that's not inexpensive, it's a small price to pay
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for the incomparable sound of a vintage, T4-based opto compressor.
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That's the sound heard on countless hit records. Long live the LA-3A!
Customer Service
Universal Audio, 866/UAD-1176, www.uaudio.com.

Broadcast Engineering Michael Cooper is the owner of Michael Cooper Recording, located in
Broadway Sound Master Sisters, Ore.
Class
Electronic Musician
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