The passive EQ is excellent the Bass, Mid and Treble controls interact smoothly and predictably, with no troublesome peaks or dips. For occasions when even three watts is too much, engaging the Brake attenuator drops the output down to a miniscule 0.1 watts – quiet enough to talk over, even with the controls on maximum. There’s no master volume, but with a maximum output of three watts it can be turned all the way up without being unsociably loud. There’s just the right amount of bite from our Strat’s bridge pickup and a satisfying crunch from the Les Paul, with smooth vocal soloing from the 335. Used into a 1x12 Creamback-loaded cabinet, the LA-Studio has a warm and very dynamic tone with a sweet treble, which sounds spot on for late-’60s and early ’70s classic rock. We tried out the LA-Studio with a selection of electric guitars, including our Strat and Les Paul, together with a borrowed ’63 reissue Gibson ES-335. Overall, Laney’s LA-Studio is a serious professional tool, with build quality and good looks to match. There’s a pair of eight- and 16-ohm speaker jacks as well, so you can connect to any cabinet with a matching impedance. The built-in high-quality reactive load means the LA-Studio can be used without a speaker cabinet, sending audio to the DI and headphones without any loss of tone or dynamics. Outputs include a 3.5mm headphone jack and a mono balanced XLR for connection to consoles or your favourite audio interface.Ī USB ‘B’ socket lets you access the Two Notes tech with the Torpedo Remote desktop app, from where you can edit, save, store and load your favourite settings into the LA-Studio’s six onboard slots. There’s a six-position cabinet selector and a Level control, with a Peak level indicator, MIDI In/Out/Thru sockets and a ground lift switch. The rear panel is where you’ll find the ins and outs for the LA-Studio’s Two Notes Torpedo cabinet emulation – it’s a full install with a few more features than we’ve seen on other similarly equipped amps.
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