Anyone using this LA2A clone? How does it compare to the UA model?

I got my ADL at a GC blowout for $400. Had it for a couple years before I got a repro LA2A.

I have trouble believing they are related. Other than the control simplicity, they don't sound anything alike to me.

I mostly use the ADL as a mic pre. Tranformer input, class A, tubes,..... it's a common trick in LA. Sounds pretty rock and roll to me as a mic pre. I like the ADL 1000 far more as a mic pre than a compressor. I use it about 15/1 as a pre than a compressor.

Unless you're getting a stupid cheap deal on an ADL 1000, I'd say save up 'til you can get an LA2A.

ymmv

wurly

Although they do share the same basic design philosophy, they do not sound the same. But don't be afraid to try one out. No, it is not an LA2A, but to me it is more like a 'tube LA-3A'. The compression response (attack and release) is much faster than a 2A. I've had great luck with them on vocals and bass.

Cheers,
John

Disagree with me and...............













I'll pay the price.
















Paterno likes the ADL 1000 on bass and vox. I thought it sucked on them.












I don't want to start a flame war, but now I've got to re-examine the ADL1000 on bass and vox to see if I was wrong before.














Me and my big mouth. We agree on one thing, they don't sound anything like an LA2A.

ymmv

wurly

1000 is good on snare.

I've gotten good results with them on vox, bass, and acoustic guitars. Hadn't heard of the mic pre trick, I'll have to try that. Tomorrow, in fact.

HAHAHAHAHAHAHA !!!!

No flame war intended on my part, wurly. If you don't like it, I'm not going to try and change your mind. It's funny how different people's reactions can be to a piece of gear. I just thought that my experience might provide a nice counter balance to yours. I'm honored that you'd consider giving it another listen based on my comments. Let me know what you discover. I've had better luck with going no more than 7 dB of compression on the loudest peaks. Also, I have the 0.4 opto which contributes to the LA-3a comparison with the attack and release characteristics.

the biggest drag about all of this gear that has a similar design philosophy and packaging is that we expect it to sound a certain way because of how it looks. My biggest issue is when a company claims it sounds 'just like the original' when it fact it doesn't, even though they've gone to great lengths to get the cosmetics right. This extends to plug ins for me as well.

Cheers,
john

Last night- Danelectro Baritone guitar-mid 60's Fender Deluxe-sm7-ADL1000 (no mic pre) made for a GREAT guitar tone. Of course it didn't hurt that the guy playing doesn't suck.

I've had very good luck with ADL products. Anthony is a nice guy and will usually work with you as far as modifying gear slightly to your preference.

The Manley ElOp smokes the ADL in pretty much every category I can think of... vocals, bass, overall "niceness" of tone, use as mic pre, pumping up room mics, etc. I would recommend checking out the Manley before you buy an ADL, it was a no-brainer for me.

The ADL1000 stock tends to depress the low end when gain reduction is applied the ADL1500 doesn't do this.

Have any of you used a grace m101?

now let's get back on topic.

does summing really makes a difference?

niceness of the tone is key the ADL 1000. I find it odd that anyone would use this as a pre, on the positive side I've heard of people getting different transformers for the 1000 and that improving the tone. I used to own 2 of them, my complaint was about the tone, the attack /release characteristics
were fine for guitar, vocals, bass.

The iron is pretty mucky in those. A couple of Jensens fix that. Then fix the power supply, then redo the 12BH7 output section for more current (shown in the Jensen apps) use some decent coupling caps and resistors and you get there.

If it were for gearslutz, they would mod a EMI mastering compressor too.

I really like the ADL1000.

I do a lot of hiphop and soul.

For hiphop I like the ADL1000 in front of a distressor. Just knocking off 1,2 dbs before I flatten the vocal. Do a little kush audio clariphonic before the distressor and it is wonderful.

For bass or even double-bass I really like the ADL. Sometimes together with a DBX160a. Take a little of the bass. Create a little tone with the ADL. Get the rest of the control with the DBX.

For slow female vocals I like the ADL too. Fatten them up. Get some tone going on. Eq a little. Slap a creamy comp on top. Add some high-end after.

If I take away all those ADL1000 inserts. (I've got 3) and do more compression with one comp... my mixes wouldn't be the same.

I cannot live without my ADL1000's. All stock btw.

I assume Jim's recommendations would follow for the LA-2A as well.

I heard way back when these started, the ADL had great transformers, and people complained about them sounding too clear and good. They wanted vintage sound! So the transformers were purposefully downgraded to appease customer demand. Hey, I'm not the horses' mouth......call it a rumor....

VERY useful post! Thanks!

'priest

Aight so I just witnessed first hand a shootout between these.

I like the ADL but it does NOT sound like the LA2A.

The LA2A seems to contour around the signal in such a strange way, where the ADL sounds great but does not have this effect to the signal.

Listening to shootout on vocals, then piano, then acoustic guitar.

There's definitely a variable of "magic" that you only get with the LA2A, as 'spensive as it is, and with all of the problems you may have maintaining an older unit.