AudioScape Opto Comp Review
A Faithful Homage to a Vintage Legend
Introduction
AudioScape Engineering Co. has earned a reputation for crafting boutique, hand-built recreations of classic audio gear, blending vintage authenticity with modern enhancements. The AudioScape Opto Comp, inspired by the iconic Teletronix LA-2A optical tube compressor from the 1960s, is a standout in their lineup. Priced at approximately $1,299, this 3U rackmount unit promises the smooth, musical compression and rich “box-tone” of its legendary predecessor, with thoughtful updates like a front-panel high-frequency control. This review dives into its features, sound quality, usability, and how it stacks up against similar products, offering insights for producers, engineers, and home studio enthusiasts looking to add vintage warmth to their recordings.
Overview and Key Features
The AudioScape Opto Comp is a meticulously crafted optical tube compressor designed to replicate the LA-2A’s signature sound, using new-old-stock (NOS) tubes, custom-wound CineMag transformers, and a hand-built T4B opto-attenuator. Its 3U steel enclosure, complete with a vintage-inspired VU meter and period-correct Davies-style knobs, exudes retro charm while incorporating modern improvements for enhanced versatility.
Headline Features
Custom T4B Opto-Attenuator: Hand-built in-house with high-grade photocells and replica EL panels (Aviation Green, matching the original), ensuring authentic compression response.
NOS Tubes and Components: Features NOS tubes and carbon-composite resistors for period-correct tone, paired with Cornell Dubilier, Panasonic, and Nichicon capacitors for low noise.
CineMag Transformers: Custom-wound input and output transformers replicate the LA-2A’s hefty, warm sound.
High-Frequency Control: A front-panel R37 trim pot (originally a rear-panel factory setting) allows users to adjust the sidechain’s high-frequency sensitivity, enhancing versatility for vocals, guitars, and more.
Controls: Simple Peak Reduction and Gain knobs, a Compressor/Limiter switch, and a stereo link switch for paired operation.
Build Quality: Hand-assembled in small batches in the USA, with a 2-year warranty and a free PatchRat Pro subscription.
Connectivity: Balanced XLR and ¼-inch inputs/outputs, with a stereo link jack for dual-unit operation.
Metering: Vintage-style VU meter for gain reduction and output level, with period-correct thumb screws and updated meter bezel for 1965 authenticity.
The Opto Comp is designed for individual tracks, groups, or mix bus compression, offering a plug-and-play experience with the soul of a vintage classic.
Usability
The AudioScape Opto Comp is a dream for users who value simplicity and musicality. Its minimal control set—Peak Reduction, Gain, and a Compressor/Limiter switch—mirrors the LA-2A’s intuitive design, making it accessible for beginners and pros alike. The front-panel high-frequency control is a significant upgrade, allowing users to shift compression focus toward higher frequencies by turning it counterclockwise, reducing low-end pumping on bass-heavy sources like kick drums or bass guitars. This control, originally a rear-panel trim pot on the LA-2A, adds flexibility without compromising the unit’s vintage ethos.
The VU meter is clear and responsive, displaying gain reduction or output levels, and the stereo link switch simplifies paired operation for mix bus or stereo instrument processing. The unit’s 3U size, while larger than some modern clones, fits comfortably in standard racks, and its robust steel chassis feels built to last. However, the lack of a mix knob for parallel compression requires external routing, which may be a hassle for smaller setups. Additionally, the fixed attack and release times, inherent to optical designs, limit its ability to handle ultra-fast transients compared to VCA or FET compressors.
Sound Quality
The AudioScape Opto Comp delivers the smooth, warm, and musical compression that made the LA-2A a studio staple. Its T4B opto-attenuator, driven by NOS tubes and CineMag transformers, imparts a rich, thick “box-tone” even without compression, adding depth to any source. On vocals, moderate Peak Reduction (3–5 dB) smooths dynamics while preserving clarity, with a subtle sheen from the tubes. For bass, the compressor adds sustain and warmth, with the high-frequency control preventing low-end pumping when set counterclockwise. On acoustic guitar, it imparts a polished, glossy tone, enhancing strums and fingerpicking with a natural glow.
The unit excels on drum overheads or mix buses, providing glue-like cohesion without squashing transients. The Compressor mode offers gentle, program-dependent dynamics, while the Limiter mode clamps peaks more aggressively for punchy results. Compared to original LA-2As, the Opto Comp is remarkably close, with users noting only a 5–10% difference in warmth and depth, largely due to its high-quality components. However, when driven hard, it remains musical, avoiding the boxiness or smallness of lesser clones.
One limitation is the fixed attack and release, which can feel slow for aggressive sources like snare drums, and the lack of adjustable ratios may frustrate users needing surgical precision. Still, its warm, articulate response makes it a go-to for vocals, bass, guitars, and stereo mixes.
Comparisons to Similar Products
The AudioScape Opto Comp competes with a range of optical compressors across hardware and software formats. Here’s how it stacks up:
Teletronix LA-2A (Hardware, ~$4,699): The original optical tube compressor, renowned for its smooth, warm dynamics. The AudioScape is a near-faithful recreation, with comparable warmth and musicality but slightly less tube depth. Its front-panel high-frequency control and lower price ($1,299 vs. $4,699) make it a compelling alternative.
Warm Audio WA-2A (Hardware, ~$949): Another LA-2A clone, the WA-2A uses similar tubes and transformers but lacks the AudioScape’s custom T4B and front-panel high-frequency control. It’s more affordable but slightly less refined in build and sound quality.
Universal Audio LA-2A (Software, ~$199): UAD’s plugin emulates the LA-2A with a mix knob and modern features like adjustable attack. It’s cost-effective and DAW-friendly but can’t match the AudioScape’s analog warmth or zero-latency tracking.
JLM Audio Mac Opto Comp (Hardware, ~$600–$800): A compact optical compressor with fixed attack/release and sidechain filters (100/200 Hz). It’s great for guitars and vocals but less versatile than the AudioScape due to fewer controls and no stereo linking option.
Ampeg Opto Comp Pedal (Hardware, ~$129): A pedal-format optical compressor for bass and guitar, offering simple, transparent compression. It’s ideal for live use but lacks the AudioScape’s studio-grade depth, transformers, and mix bus capabilities.
Softube OPTO Compressor (Software, ~$149): A digital emulation of the LA-2A with added Dry/Wet and sidechain controls. It’s versatile for mixing but lacks the analog richness and hardware tactile feel of the AudioScape.
Empirical Labs Distressor EL8X-S (Hardware, ~$3,499): While not an optical compressor, its 10:1 Opto mode mimics the LA-2A. It offers more versatility with eight curves but is pricier and less focused on vintage warmth compared to the AudioScape.web:ab9daa66-8a95-46e5-a10d-e4aee35c6d10
Drum Overheads/Mix Bus: Glues stereo elements with subtle compression, maintaining transient clarity.
Mastering: The Limiter mode provides gentle peak control for final mixes, though dedicated limiters may be preferred for heavy tasks.
Pros and Cons
Pros
Faithful LA-2A recreation with warm, musical compression and rich box-tone.
Custom T4B opto-attenuator and NOS tubes ensure vintage authenticity.
Front-panel high-frequency control adds modern versatility.
Robust, hand-built construction with a 2-year warranty.
Excellent for vocals, bass, guitars, and mix bus processing.
Competitive price ($1,299) for boutique quality.
Cons
Fixed attack/release limits precision for fast transients.
No mix knob for parallel compression, requiring external routing.
3U size is larger than some modern LA-2A clones.
Slightly less tube depth compared to original LA-2As.
Verdict
The AudioScape Opto Comp is a triumph of craftsmanship and sonic fidelity, delivering the smooth, warm compression of the Teletronix LA-2A with modern enhancements like the front-panel high-frequency control. Its hand-built T4B opto-attenuator, NOS tubes, and CineMag transformers capture the vintage magic, making it a standout for vocals, bass, guitars, and mix bus duties. While it lacks the flexibility of multi-mode compressors like the Distressor or the surgical precision of software, its musicality and build quality make it a worthy investment for studios seeking authentic analog tone. Compared to competitors like the WA-2A or UAD’s plugin, it offers a near-perfect balance of price, performance, and vintage character.
Rating: 8.5/10
Discover the AudioScape Opto Comp at audio-scape.com and bring the soul of the 1960s to your studio today.