ericn
Temp
Balance Engineer
Posts: 16,086 
|
Post by ericn on Feb 4, 2020 9:46:31 GMT -6
I’m recalling they used to advertise a 990 output stage. Yep that’s the difference between the 100 and 50 |
|
|
|
Post by plinker on Feb 4, 2020 14:39:37 GMT -6
Had one several years ago. Really great for running most tracks through with a low level of compression -- just kissing it.
Got rid of it because I heard the plug-in and it sounded close enough for me.
|
|
|
|
Post by plinker on Feb 4, 2020 14:42:44 GMT -6
I’m recalling they used to advertise a 990 output stage. Yep that’s the difference between the 100 and 50 I A/B compared the 50 to the 100. REALLY CLOSE! The 50 clips sooner. I think there are two 990 opamps in the 100, but I can't remember. |
|
|
|
Post by Vincent R. on Feb 5, 2020 8:04:47 GMT -6
Remember the TLA 100 may look like an LA 2 clone but it isn’t an option and only has 1 tube. On the right voice it’s the sound like a record comp, very useable on bass and in pairs drum bus. Yeah. My current debate is between two setups I like in the UAD plugin world. One is a Neve based setup with a 1073 EQ into a 609 comp into the summit. The other is an SSL EQ and comp into an LA2A. |
|
|
|
Post by Blackdawg on Feb 5, 2020 9:51:51 GMT -6
These look sweet.
But good deal used? I disagree, they are 1800 a channel used it looks like. Could get two audioscape optos for that.
|
|
|
|
Post by jcoutu1 on Feb 5, 2020 9:56:41 GMT -6
These look sweet. But good deal used? I disagree, they are 1800 a channel used it looks like. Could get two audioscape optos for that. They can be had for $1000-$1200 fairly regularly. |
|
|
|
Post by mcirish on Feb 5, 2020 10:17:26 GMT -6
Mostly the variable attack and release times. I will say that it does “dull” the sound a little bit but I often don’t mind that. I don’t need to emphasis the clacks of an upright or the sibilance of a vocal. I have a CL1B I really like for vocals but if you hit it too hard the sibilance can come back to bite you. I have the same feelings on this. The TLA 100 is great on vocals that might be a little edgy or sibilant. I have gone between that and the CL1B a lot. On the last few projects, it has been the compination of an 1176 into a TLA100 that has given me the sound I want. |
|
proxy
Full Member
Posts: 39
|
Post by proxy on Feb 7, 2020 17:16:27 GMT -6
Have the AS opto, and have owned several Summits. Both great and I turn to them for similar instruments (vocal and bass), and for similar roles. I love the adjustable attack and release on the 100s, and overall, they’re a great value. I find them to be very smooth. I like the AS opto to crank into distortion for snares though. If you do get a TLA, I recommend getting a nice new tube for it, to really judge what it’s capable of. I hate reviving such an old thread, but I'm curious if anyone here currently uses a TLA-100A. I've owned the UAD/Softube TLA-100A since I bought my Apollo. It is a plugin I use on most of my mixes; bass, piano, and classical voice are the big ones. I use the UAD LA2A collection a lot as well; pop, jazz, rock vocals. I keep going back to the TLA-100A whenever the mix starts to get a bit too goey and needs more clarity. That said, a little EQ and the right signal chain can give me the sound I'm looking for with the TLA-100A in those genres. I've been planning a dive into hybrid mixing with a few specific pieces of gear and the TLA-100A is a piece I've debated picking up, and maybe even picking up a pair. I've also looked into a few of the more affordable LA2A clones like Audio-scape's Opto, but I'm curious about the TLA-100A and thought I'd ask. I recorded my first album through Summit's MPA-100A. So I know the build quality is really nice. I also know it's a favorite of Al Schmitt's. |
|
|
|
Post by Vincent R. on Dec 29, 2022 7:20:03 GMT -6
Man, I've been really itching to pull the trigger on one of these, but all the used ones seem to have disappeared from the Market of late.
|
|
ericn
Temp
Balance Engineer
Posts: 16,086
|
Post by ericn on Dec 29, 2022 7:57:18 GMT -6
Man, I've been really itching to pull the trigger on one of these, but all the used ones seem to have disappeared from the Market of late. It’s one of those pieces that comes and goes in and out of fashion, when you see them at reasonable prices you have to bite. |
|
|
|
Post by EmRR on Dec 29, 2022 10:20:07 GMT -6
I wouldn't call it a "feature" myself though I guess you could call it that, depending on your interpretation of the word. Just pointing it out... many have done the mod and dig it, as have I. Same ‘feature’ as the orig dbx 160’s I’ve used. |
|
|
|
Post by drbill on Dec 29, 2022 10:32:04 GMT -6
I had the opportunity to buy a few TLA 100's a couple of years ago, but opted instead for a pair of 2055's. Completely different of course, but that was my outboard budget at that point. Since buying, the 2055's have tripled in price. Looks like the TLA's are headed the same direction. Wish I had had enough $$$ to buy all of them from my buddy who was cashing out and retiring.....
|
|
|
|
Post by Vincent R. on Dec 29, 2022 11:27:13 GMT -6
Man, I've been really itching to pull the trigger on one of these, but all the used ones seem to have disappeared from the Market of late. It’s one of those pieces that comes and goes in and out of fashion, when you see them at reasonable prices you have to bite. I have found that for the classical stuff the TLA-100 plugin wins against my outboard stuff. So I really want a real piece. I'll have to keep looking. |
|
|
|
Post by subspace on Dec 29, 2022 12:16:20 GMT -6
It’s one of those pieces that comes and goes in and out of fashion, when you see them at reasonable prices you have to bite. I have found that for the classical stuff the TLA-100 plugin wins against my outboard stuff. So I really want a real piece. I'll have to keep looking. I keep coming back to that plug when doing cast recordings, usually use the Grand Channel to have some tone shaping available in the same window. I've started to gravitate to Softube's Summit, Tube-Tech and Chandler strips in general.. |
|
|
|
Post by Vincent R. on Dec 29, 2022 12:38:12 GMT -6
I have found that for the classical stuff the TLA-100 plugin wins against my outboard stuff. So I really want a real piece. I'll have to keep looking. I keep coming back to that plug when doing cast recordings, usually use the Grand Channel to have some tone shaping available in the same window. I've started to gravitate to Softube's Summit, Tube-Tech and Chandler strips in general.. When I work on the theater tracks I'm usually using either the LA2A plug (or my AS Opto) or the softube. I tend to like the Softube on the stuff that gets big. I also use it on bass and piano. I love my VComp for Jazz. I have a tendency when doing musical cast recordings to mimic how I know they do recordings at PowerStation, which is where most of the big Broadway recordings are made these days. So usually grab my 67 style mic, 47, or 49 for me, record through a Neve style preamp, use SSL plugins or my actual channel strips, use a Pultec plug for some vocal air, and hit an LA2A plug or my opto. |
|
|
|
Post by skav on Oct 29, 2023 9:12:09 GMT -6
It’s one of those pieces that comes and goes in and out of fashion, when you see them at reasonable prices you have to bite. I have found that for the classical stuff the TLA-100 plugin wins against my outboard stuff. So I really want a real piece. I'll have to keep looking. Did you ever get one? |
|
|
|
Post by Vincent R. on Oct 29, 2023 18:23:26 GMT -6
I have found that for the classical stuff the TLA-100 plugin wins against my outboard stuff. So I really want a real piece. I'll have to keep looking. Did you ever get one? Not yet. It’s basically my next big gear purchase. I made an offer in one a few weeks ago, but the seller and I couldn’t come to an agreement. There quite a few of them up for sale, but the asking prices are above what they usually sell for. So, I’ve held off. |
|
|
|
Post by Vincent R. on May 4, 2024 21:36:37 GMT -6
Found one for a good price and couldn’t pass it up. I’m looking forward to hearing it next to my Audio-Scape Opto and VComp. I’ve wanted one for a very long time, so I’m excited.
|
|
|
|
Post by knucklehead89 on May 5, 2024 5:56:42 GMT -6
Found one for a good price and couldn’t pass it up. I’m looking forward to hearing it next to my Audio-Scape Opto and VComp. I’ve wanted one for a very long time, so I’m excited. Keep us posted! I’ve also been looking at getting one used |
|
|
|
Post by Vincent R. on May 8, 2024 20:49:02 GMT -6
Ok. Here are some clips in context. I'm curious which everyone prefers. I don't think anyone would have an issue with any of them. The contenders are the TLA-100, Audio Scape Opto, and Audio Scape V-Comp. Vocals were recorded using my FleA 49 into my AMS Neve 1073DPX.
All have some basic EQ added through my Link Audio SLQ51X and all have a little compression from an SSL E-DYN module; no more than 3db. This is generally how I compress my operatic vocals; in stages with a cleaner comp evening things out, and the big boys catching all the big peaks. This mix itself is also hitting an Audio Scape G-Comp, with no more than 3db of reduction. All of the big comps; TLA-100, Opto, and V-Comp are giving me no more than 5db on compression at the largest peaks. TLA-100 is set to slow attack, slow release, as that's the closest I can get it to work like the Opto. V-Comp was set to Single Mode, Slow attack. So, which do you like; Comp 1, Comp 2, or Comp 3?
|
|
|
|
Post by yotonic on May 8, 2024 20:54:24 GMT -6
I like number 2. But it’s also the most forward which I like. Opera was the original pop music.
|
|
|
|
Post by knucklehead89 on May 9, 2024 5:32:09 GMT -6
Let’s see if I butcher this
1. TLA100
2. VComp
3. Opto
I liked 1 and 2 in this case.
|
|
|
|
Post by subspace on May 9, 2024 10:34:49 GMT -6
2, rides the track nicely, with good articulation. 1 is out front but muted sounding, 3 is more buried but somehow separate sounding from the track, so yeah, 2.
|
|
|
|
Post by Vincent R. on May 9, 2024 10:42:09 GMT -6
I may try to post some crooner style vocals later before doing a reveal. See if that effects what people are thinking.
|
|
|
|
Post by Vincent R. on May 9, 2024 13:24:19 GMT -6
Here are some crooning clips. FleA 49 directly into my Apollo's preamp. Recorded this a while ago. Same info as above. All have some basic EQ added through my Link Audio SLQ51X and all have a little compression from an SSL E-DYN module; no more than 3db. This mix itself is also hitting an Audio Scape G-Comp, with no more than 3db of reduction. All of the big comps; TLA-100, Opto, and V-Comp are giving me no more than 4db of compression at the largest peaks. TLA-100 is set to slow attack, slow release, as that's the closest I can get it to work like the Opto. V-Comp was set to Single Mode, Slow attack. Comps 1, 2, and 3 here are the same as in the operatic takes. I'm not trying to trick anyone. www.dropbox.com/scl/fo/06b2qtlohiwhumctmz7xr/AN5iYOJ9lRdIHZWk7Xzo1WA?rlkey=iioop9lvqzncxhmybqqi5zjhg&st=khjz6rta&dl=0 |
|
