Volt Max audio interfaces make it easier than ever to add classic compression to your tracks.
Compression is the most important tool in audio production. But what exactly does it do to your mixes? And what makes classic compressors like the 1176 and LA-2A so famous?
In this article, you’ll learn the basics of audio compression, why the UA 1176 and Teletronix LA-2A became the standard, and how the new Volt Max USB audio interfaces put both of these studio legends at your fingertips.
Volt Max USB audio interfaces give you six push-button presets ranging from “Rap Vocals” to “Jangly Acoustic” so you can get radio-ready sounds based on our venerable 1176 and LA-2A studio compressors.
How Compression Works
Compressors reduce dynamic range in your recordings — the space between the softest and loudest sounds. Using compression can make your tracks sound more polished by controlling maximum levels and maintaining higher average loudness.
In practice, compression will ensure a subtle-to-scream vocal doesn’t disappear in the verse and blow out in the chorus, drums hit harder but not louder, a bass performance evens out, and a funky guitar part pops in a mix.
What Makes the 1176 and LA-2A Great
The 1176 was introduced in 1968 as a FET compressor, meaning it uses transistors instead of tubes to control gain. It was also faster than any compressor available — its attack time, 20 microseconds at the extreme setting, was unheard of. Even with compression bypassed, signal passing through the 1176’s amplifiers and transformers came out noticeably better, with grit and punch to spare, especially the harder it was pushed.
The LA-2A and 1176 arrived to market six years from one another. And they each use an entirely different circuit design. In the LA-2A, an optical cell reacts to light. In the 1176, a transistor reacting to voltage. This means the LA-2A is slower and more forgiving on sources, while the 1176 is fast and punchy.
“With some compressors, it just sounds like the life has been squeezed out… but the 1176 brings vocals to life.”
Spike Stent (Beyoncé)
Building an 1176 and LA-2A Vocal Chain
Raw vocal recordings can be uneven. Too quiet in the verse, too loud in the chorus, harsh on certain words, buried on others. Running the 1176 into the LA-2A is a classic recipe, and a standard practice by pro engineers for decades.
The 1176 goes first because its fast “grab” catches peaks before they get out of hand. Dialed to a 4:1 or 8:1 ratio takes care of the loudest moments, without squashing the rest of the performance, pushing back peaks with ease and speed.
The LA-2A goes second, smoothing over with tube warmth and texture while delivering a velvety-smooth, gentle limiting. The result is a vocal that sounds present and natural, and oh-so easy to slot in a mix. This same classic compressor combo works on bass, guitars, and drums too.
Using Compression While You Record
Committing to sounds while you record forces you to make decisions, build creative momentum, and capture the sound that actually inspired the performance. “Indecision is the death of good art,” says producer Jacquire King (Kings of Leon, Tom Waits), “Creatively, it’s always better to make firm decisions and carry them forward.”
However, the case against committing — and waiting to add vibe and color later — is just as real. Once it’s printed, you’re stuck with it.
The good news is, Volt Max doesn’t make you choose. Leave Max processing off and “Track Flat” to record clean, so your processing decisions can come later. Or, commit to one of six presets and get real 1176 and LA-2A character on the way in.
You can even get the best of both worlds, for that classic stacked 1176 into LA-2A vocal trick. All Volt models come with both the 1176 and LA-2A UAD plug-ins, so it’s quick and easy to use on-board Max processing on the way in, and then the UAD plug-in compressor in your DAW.
Volt Max lets you punch up your vocals, guitars, bass, and other sources as you track, thanks to Max dynamics processing.
Best Compression Settings for Volt Max Audio Interfaces
There is rarely one setting that can apply to all recording situations. As with anything musical, use your ears first. However, here are some starting points for a variety of sources.
| Preset | Compressor Emulation | Sound |
| Great Vocal | 1176 | Classic 8:1 vocal compression. |
| Rap Vocal | LA-2A | Smooth limiting, keeps a vocal locked. |
| Album Vocal | 1176 | Faster release with 4:1 ratio. |
| Electric Guitar | 1176 | Tames spiky peaks, keeps the tone. |
| Jangly Acoustic | LA-2A | Deep tube-opto compression and shimmer. |
| Tight Bass | Discrete VCA | Locks into track, clean and uncolored. |
— Darrin Fox
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Frequently Asked Questions
What does a compressor do?
A compressor automatically pulls down the volume of a signal once it crosses a set threshold, pulling loud and quiet parts into a tighter dynamic range.
What’s the difference between 1176 and LA-2A compression?
The 1176 offers fast, solid-state FET compression ready for the toughest transients. Conversely, the LA-2A is a slower, optical tube-based circuit best suited for gentle, smooth leveling.
What are good 1176 settings for vocals?
An 8:1 ratio with a moderate threshold is a classic starting point — fast enough to catch peaks without squashing the performance. Volt Max’s Great Vocal preset is built around this exact setting.
What are good LA-2A settings for vocals?
The LA-2A doesn’t use a ratio control the way the 1176 does, so the main decision is how much gain reduction to use, generally light-to-moderate for vocals. Volt Max’s Rap Vocal and Jangly Acoustic presets are both LA-2A-based starting points.
How do I start recording with compression if I’ve never used it before?
Start light. Pick a preset built for your source — a vocal, guitar, or bass preset rather than a generic setting. Listen for evenness, not squash. If you can’t tell it’s on, except that the track’s volume sounds more consistent, you’re heading in the right direction.
Can I still use plug-ins if I use Volt Max’s onboard compression?
Yes. Leave MAX processing off to “Track Flat” and record clean, or commit to a preset and layer plug-ins on top afterward.
