Uploaded August 2019 | Updated September 2026, 6 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
An Investigation into the Sonic Signature of the Teletronix LA2A Compressor
Dr Austin Moore - University of Huddersfield, School of Computing and Engineering
Email: a.p.moore@hud.ac.uk
/// ABSTRACT
Previous research by the author established the LA2A was a popular compressor when processing vocals and bass guitars in music productions. However, there is a distinct lack of academic research into this classic studio compressor and no study into its sonic signature. Thus, this investigation fills a gap in knowledge by quantifying the LA2A’s sound quality at an objective and subjective level by conducting a series of objective and subjective measurements. A number of LA2A compressors were sourced from several recording studios in the UK and included both vintage and modern reissues. Collecting audio from a range of units allowed the author to compare and contrast their sonic signatures. Objective measurements were made using test tones to assess the total harmonic distortion (THD) over a range of frequencies and gain reduction amounts, and noise burst measurements were made to observe compression behaviour. Vocal and bass tracks were processed through the compressors at a number of gain reduction amounts, and the results were analysed using FFT, amplitude plots, audio feature extraction and subjective listening tests using the AB/X method. This study builds upon previous work by the author who investigated the sonic signature of the 1176 and will be of interest to music producers and academics who want objective data on these much-used pieces of equipment.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
An Investigation into the Sonic Signature of the Teletronix LA2A Compressor
Dr Austin Moore - University of Huddersfield, School of Computing and Engineering
Email: a.p.moore@hud.ac.uk
/// ABSTRACT
Previous research by the author established the LA2A was a popular compressor when processing vocals and bass guitars in music productions. However, there is a distinct lack of academic research into this classic studio compressor and no study into its sonic signature. Thus, this investigation fills a gap in knowledge by quantifying the LA2A’s sound quality at an objective and subjective level by conducting a series of objective and subjective measurements. A number of LA2A compressors were sourced from several recording studios in the UK and included both vintage and modern reissues. Collecting audio from a range of units allowed the author to compare and contrast their sonic signatures. Objective measurements were made using test tones to assess the total harmonic distortion (THD) over a range of frequencies and gain reduction amounts, and noise burst measurements were made to observe compression behaviour. Vocal and bass tracks were processed through the compressors at a number of gain reduction amounts, and the results were analysed using FFT, amplitude plots, audio feature extraction and subjective listening tests using the AB/X method. This study builds upon previous work by the author who investigated the sonic signature of the 1176 and will be of interest to music producers and academics who want objective data on these much-used pieces of equipment.
