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Universal Audio’s 1176LN Limiting Amplifier and Teletronix LA-2A Leveling Amplifier are two widely used compressors with different utilities. I wish I owned the actual hardware, but for now I enjoy their plug-in emulations.
The 1176 compressor is a FET-based compressor. Turning up the input lowers the compression threshold. Producers love how it responds to fast transients. It can take a smacking.
The LA-2A compressor is an opto-based compressor. It has no attack or release or even ratio, just gain reduction and gain control. Its compression ratio is around 3:1 and its limiter ratio is around 10:1. The electro-optical device is actually converting a signal into light, and then back into electricity again. Its release curve is slow and gentle because of the photocell in the device. In this way, it can actually soften the top end of a signal as it compresses. So, if you have a shrilly vocal, this compressor can be used to help soften. Some remark that they use the LA-2A for its roundness, especially in vocals and bass.
The LA-3A is another opto-compressor that can be used in the same way as the LA-2A. Many producers like them on guitars.
The LA-2A and the LA-3A both react to and compress a signal slower than the 1176, so more of the initial transients come through.
Used In Tandem: Chicken Flavor
Use the 1176 to limit levels and knock off just the peaks. Using a fast attack and release, try aiming for a reduction of around 1dB-3dB of the loudest peaks.
Next in the chain, use the LA-2A to smooth.
Using this method, the compression of the 1176 only kicks in to catch and grab the louder transients. This can be of benefit for grabbing the peaks of drums, guitars, aggressive vocalists, etc.
Some producers use more than two compressors in a chain. They may use the 1176 for fast transients, the LA-2A for more work, and a second 1176 to steamroll.
You could also try using the LA-3A for the slower compressor in these kinds of chains.
Maybe the 1176 feeding into the LA-2A is your go-to for vocalists with a lot of dynamic range.
Used In Tandem: Eggs Flavor
If you reverse roles, consider using the LA2A in limit mode, and then smoothing with the 1176 set to a slower attack and faster release. The character will be different. With this approach, you get the rich and fullness of the LA-2A followed by the muscle of the 1176.
If you’re using the LA-2A first, just kiss the compressor, otherwise the signal may hit the compressor harder than it needs to be hit. Also try using volume automation for some manual compression before the signal hits the compressor. This will help the compressor's workload, especially in spots where dynamics jump out suddenly.
Consider using the LA-2A before the 1176 on a parallel drum bus for slow and mid-tempo songs.
Maybe you find that the LA2A feeding into the 1176 is your go-to for soft vocals.
Sometimes less is more. If you’re dealing with lush vocals you may only need the LA2A followed by nothing. Depends.
Lastly
One basic rule is that each successive compressor has a lower compression ratio than the one before it, and that the first one is typically just catching the peaks.
Split the workload between compressors. Compressors will perform better if they don’t have to work so hard. Rather than relying on one compressor for multiple tasks, assign specific tasks to multiple compressors.
Thanks for reading. If you have additional tips and thoughts on compressors used in tandem, please share below.
Image attribution: By John Tuggle from Decatur, Ga, USA (1176) CC BY 2.0, via Wikimedia Commons
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Introduction: A good mix is a good arrangement | Gain Staging | Setting Up A Room For Mixing | Using Delay Compensation