Waves
| Product | CLA Classic Compressors |
| Developer | Waves |
| Price (MSRP) | $500 |
| Type / Tags |
| Effect(s) |
| Operating System |
Latest Version |
Download | Released |
| 10.0 |
Downloads |  |
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| 10.0 |
Downloads | |
| Copy Protection | Online Activation (Challenge / Response) |
CLA Classic Compressors is a collaboration between Waves and Chris Lord-Alge that brings you models of four compressors considered true classics by audio engineers the world over: CLA-2A, CLA-3A, CLA-76 Blacky and CLA-76 Bluey.
Over the course of a career spanning almost three decades, Chris Lord-Alge has worked alongside artists including Green Day, U2, Dave Matthews Band, Tim McGraw, Brian Setzer, Peter Frampton, Tina Turner, Rod Stewart, Steve Winwood, James Brown, Grandmaster Flash & the Furious Five and many others.
CLA-2A - Compressor / Limiter
Modeled on the legendary electro-optical tube compressor, the CLA-2A emulates the original's smooth, frequency-dependent behaviors that have made it a favorite of engineers everywhere. Like the mid-'60s classic, the CLA-2A sounds great on guitars and bass, and really shines on vocals, according to Waves. It's topped off with Chris Lord-Alge's personal presets.
Features:
- Compressor and Limiter modes.
- Zero latency.
- Sidechain frequency filter.
- Up to 24-bit 192kHz resolution.
- Mono and Stereo components.
Controls:
- Gain 0 to 100.
- Peak Reduction 0 to 100.
- Compressor Mode Comp, Limiter.
- HF Freq 0 to 100.
- Analog Off, 50Hz, 60Hz.
- VU Display Input, Gain Reduction, Output.
CLA-3A - Compressor / Limiter
Based on the early '70s solid-state unit known for its unique and highly transparent compression curve, the CLA-3A delivers the quick response and the subtle harmonic distortion for which the original is world-renowned. And just like the original, the CLA-3A is the bomb on bass, as well as on guitars and vocals, according to Waves.
Features:
- Compressor and Limiter modes.
- Zero latency.
- Sidechain frequency filter.
- Up to 24-bit 192kHz resolution.
- Mono and Stereo components.
Controls:
- Gain 0 to 10.
- Peak Reduction 0 to 10.
- Compressor Mode Comp, Limiter.
- HF Freq 0 to 100.
- Analog Off, 50Hz, 60Hz.
- VU Display Input, Gain Reduction, Output.
CLA-76 Blacky & Bluey - Compressors / Limiters
Inspired by two highly-desirable revisions of the famed mid-60s Class A line level limiting amplifier, both versions of the CLA-76 ("Blacky" and "Bluey") offer the superfast attack (as quick as 50 microseconds) that made the originals studio legends. With an exclusive "ALL" control that recreates the original's explosive "All-Ratio-Buttons-In" mode, plus modeled pre-amp distortion for that extra edge, the CLA-76 delivers some of the most powerful drum sounds imaginable (according to Waves, natch).
Features:
- Superfast attack.
- Exclusive ALL control.
- Pre-amp distortion modeling.
- Zero latency.
- Up to 24-bit 192kHz resolution.
- Mono and Stereo components.
Controls:
- Input Inf to 0.
- Output Inf to 0.
- Attack 1 to 7 (1 millisecond to 50 microseconds).
- Release 1 to 7 (1 second to 50 milliseconds).
- Ratio 4:1, 8:1, 12:1, 20:1, ALL.
- Comp Off Comp On, Comp Off.
- Analog Off, 50Hz, 60Hz.
- VU Display Input, Gain Reduction, Output.
{See video at top of page}
Reviewed By MadAnthony81
April 7, 2014
Real awesome. Sounds like most radio hits that have that big deep sound. I suggest you go demo them. It's easy to setup and install with Waves.com.
Add these on the master track. The La-2a and La-3a that is. ANd you have what the pro's have been using for decades.
These sound, probably better than the authentic analog versions people have. I heard it from the top producer Chris Lord and Nick Alge too. I saw it on an interview.
I hope you can enjoy the quality culmination of many authentic la-2a amp compressors la-2a being wrapped up into one single vst. The La2a is a tube model. And the la3a is a solid state model. They work well in conjunction with one another but they do not need to be.
The La2a gives your vocals that Frank Sinatra sound if your a man, and a woman would sound equally as amazing as that too. The la2a has a slightly rough presence in the mids and lows but is very rough in the highs. It rather goes from slightly rough in the lows, to increasingly girttier as the frequency increases to the higher ranges.
The La3a has a smooth sound; much less distorted. It can easily give a big and tall, wide sound payne but so can the La2a when done right.
Widely usable and totally accepted among professionals are these models. These Waves plugins La2a and La3a are certainly widely accepted by me. Anthony. ALso so certainly easily used. The knobs so afr I have found only moves at small to medium amounts. Perhaps those are the sweet spot zones. It certainly seems decently cooperative to find the right setting. CHeers! hahahahaha
Discussion
Have you ever tried McDSP 6030 Compressor LA2A emulation? It is much smoother. By the way LA2A on master bus is too slow for most of situations in rock, pop mixes.
No I haven't tried McDSP, but I have heard some of it. I don't like it's smoothness. Sounds more macintoshy. I like the Waves la2a, to me its everything I heard on the radio with the la3a prior to the mid 90's. Sounds radio and authenticly genuine. Chris Lord "LORD of the mix" uses them I believe. He the best! HE say's all the best of the best analog la2a's hes used have been combined to make one awesome VST. To me it was worth my 100 dollars to say the least. I feel I have a precious diamond. Like Jesus.
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