Cla-76 Compressor Free Download ((TOP))
Adele Morss
Hey guys, i just purchased CLA 76 compressor but when i open it on the channel it gives no sound.
It feels like the signal is not going through the plugin.
But i own many Waves plugins and they all work fine.
I dont know what is problem with that.
I use all the compressors and the doubler you mentioned above on all my projects, but probably only because I got used to it. I guess I could achieve everything with the stock plugins, but just wondering how I would replace doubler. I like doubler on single drum sounds with the modulations a lot.
Waves collaborated with the renowned mix engineer Chris Lord-Alge (CLA) to emulate three classic compressors, which are modeled after some of his favorites from the past.
In this blog post, we will compare three popular compressor plugins developed by Waves Audio: CLA-2A, CLA-3A, and CLA-76.
Whether you're a seasoned pro or just starting out in the world of audio production, you won't want to miss this informative and highly engaging breakdown of the CLA compressor lineup.
The CLA-2A is a plugin emulation of the Teletronix LA-2A, a classic analog compressor that has been used on countless recordings since the 1960s.
Famous for its smooth, warm, and musical compression, and the CLA-2A replicates those characteristics beautifully.
It only has two knobs: Gain and Peak Reduction.
The Gain knob adjusts the output level, while the Peak Reduction controls the amount of compression.
Peak reduction is essentially a threshold control, but it also affects the release time of the compressor. The lower you set the peak reduction, the longer the release time, which can add sustain and warmth to a sound.
The CLA-2A is ideal for vocals, acoustic guitars, bass, and any instrument that needs gentle, musical compression.
It can also add a lovely sheen to your sounds.
But it's not the best choice for aggressive or fast transients.
The CLA-3A emulates the Universal Audio LA-3A, another classic analog compressor.
It is similar to the CLA-2A but has a faster attack time and a more transparent sound. The CLA-3A has the same two knobs as the CLA-2A: Gain and Peak Reduction.
However, the peak reduction controls the ratio of compression rather than the threshold.
The higher you set the peak reduction parameter, the higher the compression ratio, which can make the sound more aggressive.
This makes it an excellent choice for drums, electric guitars, and any instrument that needs a fast and transparent compressor.
It's not as warm and musical as the CLA-2A, but it can add punch and clarity.
The LA-2A compressor is generally considered a slow compressor due to its relatively slow attack time and release time.
It uses an optical gain reduction element to apply compression, which has a relatively slow response time compared to other types of compression.
This slower response time contributes to its warmth and smoothness, making it a popular choice for vocals, bass, and other instruments where gentle, musical compression is desired.
The LA-2A is a popular compressor for vocal processing because it has a warm, smooth sound that can help even out the performance and add a sense of depth and dimension to the vocals.
Here are some of the reasons why the LA-2A is particularly well-suited for vocal processing:
- Optical gain reduction: This gives it a relatively slow response time compared to other types of compression. A slower response time can give the vocals an organic feel.Gentle compression: The LA-2A can help control dynamics without sounding overly processed or squashed. This makes it well-suited for vocal processing, where a natural, dynamic sound is often desired.Smooth sound: A warm and smooth sound often adds depth and dimension to the vocals, making them sound more polished and professional. This can be particularly effective on lead vocals or other prominent vocal tracks.Easy to use: With just a few controls for adjusting the input gain, output gain, and compression level, this makes it a popular choice for producers and engineers who want a straightforward compressor that can deliver excellent results with minimal tweaking.
Which one is better largely depends on personal preference and the specific application.
Here are some differences between the CLA-3A and the CLA-2A:
Not sure if we have any users of the Waves CLA compressors (CLA76, CLA2A, CLA3A), but I'm curious how they fare in terms of CPU performance. I'm a big UAD user, but when I start running Lexicon reverbs, buss compressors, etc., it lowers my ability to run many instances of the venerable 1176 on individual channels. I don't have the updated/re-coded UAD compressors, but those would only be more chip hungry.
I do not have any experience with the UAD stuff but from what I`ve read online, most users have nothing bad to say. I really like the CLA stuff as well and having used the hardware (LA-2a and 1176s), the plugs are pretty darn close. I use them a lot. If you`re looking for compressor plugs, the CLA collection and the SSL collection are definitely worth it. (Waves has specials every month so you may want to wait for sales on those collections.)
A real 1176 is one of my all-time favorite compressor/limiters - they're about as speedy as they come, and super-common in LA-area studios. Glad to hear you got everything worked out and that it's all working for you now!
Waves CLA Classic Compressors is the result of partnership working between Waves and Chris Lord-Alge. Chris Lord-Alge is a legendary producer whose extensive career has seen him work alongside artists including U2, James Brown, Grandmaster Flash and Green day. This collection of four compressors is modelled on Chris's four personal favourite machines. Waves CLA Compressors bundle is considered a true classic by audio engineers the world over.Waves CLA Classic Compressors Bundle includes
This is a model of perhaps the most ubiquitous tube opto-compressor in the engineering world. First introduced in the early 60s, this compressor uses an opto cell as a peak detector and features a unique 2-stage release characteristic. The CLA-2A, modelled after a famous tube opto-compressor. This emulation offers all the same controls as the original, along with the Waves analog control options.
At the time of its introduction, this compressor was well-loved for its very transparent operation, with relatively little harmonic distortion. Of course today, in the digital world, any harmonic distortion is a coveted character flaw, and is far more conspicuous than it once was.
The CLA-3A obviously does not offer a variable attack and release time, and while being relatively quick with an attack time of 1.5ms, does not match the wickedly fast attack of the CLA-76. It offers extremely transparent operation, and is perfect for vocals and instruments like electric guitars. However, my favorite application for this style of compressor has always been drums. It seems to have the perfect inherent attack and release time for them, and when applied, instantly provides you with a nicely emphasized slap as well as a lower mid-range thud that sounds fantastic.
Ironically, after so many years working digitally, it seems I now miss the higher noise floor I used to spend so much time trying to diminish. As with their hardware counterparts, these compressors have very fast attack times (slowest setting is 1 ms, fastest up to 50 microseconds) and thus lend themselves well to material in which a more aggressive approach to controlling dynamic range is in order.
On the other hand, you can easily back the ratio and gain off and have a more subtle version of the same thing. Of course, this is what one expects from a compressor, but I was struck at how musical it was, and how many different colours were achievable in quite an overt way. I found Blacky a little more useful in situations where I wanted a lot of control over the sound, but with a little less colouration bass guitar being a good example, where often one wants to employ a healthy amount of compression without adding too much fuzz or loss of low end to the signal.
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