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June 17, 2023

CLA 3A vs CLA 2A: How to Use These Legendary Compressors in Your Mix

CLA 3A vs CLA 2A Crackl: Which One Is Better for Your Mix?

If you are looking for some classic compressors to add some warmth, punch, and glue to your mix, you might have come across the Waves CLA plugins. These are emulations of some of the most iconic analog compressors ever made, such as the LA-2A and the LA-3A. But which one should you choose, and what are the pros and cons of each? And what about the crackle issue that some users have reported with these plugins? In this article, we will answer these questions and more, and help you decide which plugin is better for your mix.

Cla 3a Vs Cla 2a Crackl

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Introduction

CLA stands for Chris Lord-Alge, a legendary Grammy-winning mixing engineer who has worked with artists like Green Day, Muse, Bruce Springsteen, and many more. He is known for his signature sound that is punchy, powerful, and polished. He is also a big fan of analog gear, especially compressors. He has partnered with Waves to create a series of plugins that emulate his favorite compressors, such as the LA-2A, LA-3A, LA-4, and 1176.

The LA-2A and LA-3A are both optical compressors that use a light-dependent resistor (LDR) to control the gain reduction. They are both very smooth and musical sounding compressors that can add warmth and character to any audio source. However, they also have some differences that make them suitable for different applications.

CLA 3A Overview

The CLA 3A is an emulation of the UREI LA-3A compressor/limiter, which was introduced in 1969 as an update to the LA-2A. The LA-3A was designed to be more compact, faster, and more versatile than its predecessor. It was widely used in studios for vocals, guitars, basses, drums, keyboards, and more.

The features and benefits of the CLA 3A plugin are - It has a simple and intuitive interface with only two knobs: Gain and Peak Reduction. The Gain knob controls the input level and the output level simultaneously, while the Peak Reduction knob controls the amount of compression. The plugin also has a switch to choose between Compress and Limit modes, and a bypass switch. - It has a fast attack and release time that can handle transients well and add some punch and clarity to the sound. It also has a soft-knee characteristic that makes the compression smooth and natural sounding. - It has a warm and rich sound that can add some color and harmonics to the audio. It can also smooth out the dynamics and level out the volume of the audio source. - It can be used on a variety of audio sources, such as vocals, guitars, basses, drums, keyboards, and more. It can also be used on buses and master tracks to glue the mix together. Some of the best uses and settings for the CLA 3A are: - Vocals: Use the Compress mode with a moderate Peak Reduction (around 3 to 6 dB) and adjust the Gain to match the output level. This will add some presence and consistency to the vocals without making them sound squashed or dull. - Guitars: Use the Limit mode with a high Peak Reduction (around 10 to 15 dB) and adjust the Gain to add some grit and distortion to the guitars. This will make them sound more aggressive and powerful, especially for rock or metal genres. - Basses: Use the Compress mode with a low to moderate Peak Reduction (around 2 to 4 dB) and adjust the Gain to add some warmth and thickness to the basses. This will make them sound more solid and balanced in the mix, without losing their low-end definition. - Drums: Use the Limit mode with a moderate to high Peak Reduction (around 6 to 12 dB) and adjust the Gain to add some punch and snap to the drums. This will make them sound more dynamic and lively, without making them sound too compressed or distorted. - Keyboards: Use the Compress mode with a low Peak Reduction (around 1 to 2 dB) and adjust the Gain to add some smoothness and polish to the keyboards. This will make them sound more musical and harmonious, without losing their clarity or detail. - It is very faithful to the original hardware LA-3A unit, which is considered a classic compressor by many engineers and producers. It captures the sonic characteristics and nuances of the analog circuitry, such as the tube warmth, the transformer saturation, and the optical compression. It also replicates some of the quirks and limitations of the hardware unit, such as the noise floor, the distortion, and the crackle issue. CLA 2A Overview

The CLA 2A is an emulation of the Teletronix LA-2A compressor/limiter, which was introduced in 1965 as an improvement to the LA-1A. The LA-2A was one of the first optical compressors ever made, and it became a staple in studios for vocals, basses, guitars, pianos, strings, horns, and more.

The features and benefits of the CLA 2A plugin are:

- It has a simple and intuitive interface with only two knobs: Gain and Peak Reduction. The Gain knob controls the input level and the output level simultaneously, while the Peak Reduction knob controls the amount of compression. The plugin also has a switch to choose between Compress and Limit modes, a switch to choose between R37 (HF emphasis) or Flat frequency response, an analog noise switch, a bypass switch, and a VU meter. - It has a slow attack and release time that can smooth out transients and add some warmth and glue to the sound. It also has a hard-knee characteristic that makes the compression more noticeable and pronounced. - It has a smooth and musical sound that can add some character and depth to the audio. It can also even out the dynamics and enhance the tone of the audio source. - It can be used on a variety of audio sources, such as vocals, basses, guitars, pianos, strings, horns, and more. It can also be used on buses and master tracks to add some cohesion and shine to the mix. Some of the best uses and settings for the CLA 2A are: - Vocals: Use the Compress mode with a moderate Peak Reduction (around 3 to 6 dB) and adjust the Gain to match the output level. This will add some smoothness and richness to the vocals without making them sound overcompressed or muddy. - Basses: Use the Compress mode with a high Peak Reduction (around 10 to 15 dB) and adjust the Gain to add some weight and presence to the basses. This will make them sound more solid and full in the mix, without losing their low-end definition. - Guitars: Use the Limit mode with a moderate Peak Reduction (around 6 to 9 dB) and adjust the Gain to add some brightness and edge to the guitars. This will make them sound more crisp and clear, especially for acoustic or clean guitars. - Pianos: Use the Compress mode with a low Peak Reduction (around 2 to 3 dB) and adjust the Gain to add some softness and warmth to the pianos. This will make them sound more natural and expressive, without losing their dynamics or detail. - Strings: Use the Compress mode with a low Peak Reduction (around 1 to 2 dB) and adjust the Gain to add some smoothness and shine to the strings. This will make them sound more lush and elegant, without losing their clarity or depth. - Horns: Use the Limit mode with a high Peak Reduction (around 12 to 18 dB) and adjust the Gain to add some punch and sparkle to the horns. This will make them sound more powerful and lively, without making them sound too harsh or distorted. - It is very faithful to the original hardware LA-2A unit, which is considered a classic compressor by many engineers and producers. It captures the sonic characteristics and nuances of the analog circuitry, such as the tube warmth, the transformer saturation, and the optical compression. It also replicates some of the quirks and limitations of the hardware unit, such as the noise floor, the distortion, and the crackle issue. CLA 3A vs CLA 2A Comparison

Now that we have seen the features and benefits of each plugin, let's compare them and see how they differ in sound, character, and performance. Here are some of the main differences between CLA 3A and CLA 2A:

- CLA 3A has a faster attack and release time than CLA 2A, which makes it more responsive and transparent. CLA 2A has a slower attack and release time than CLA 3A, which makes it more smooth and musical. - CLA 3A has a soft-knee characteristic than CLA 2A, which makes it more natural sounding and less noticeable. CLA 2A has a hard-knee characteristic than CLA 3A, which makes it more pronounced and obvious. - CLA 3A has a warmer and richer sound than CLA 2A, which makes it more colorful and harmonious. CLA 2A has a smoother and musical sound than CLA 3A, which makes it more characterful and deep. - CLA 3A can handle transients better than CLA 2A, which makes it more suitable for punchy and dynamic sources. CLA 2A can smooth out transients better than CLA 3A, which makes it more suitable for warm and gluey sources. - CLA 3A can add some grit and distortion to the sound when pushed hard, which makes it more aggressive and powerful. CLA 2A can add some shine and polish to the sound when pushed hard, which makes it more cohesive and shiny. As you can see, both plugins have their own strengths and weaknesses, and they can be used for different types of audio sources and genres. However, they can also work together in a mix, as they complement each other well. For example, you can use CLA 3A on drums or guitars to add some punch and clarity, while using CLA 2A on vocals or basses to add some smoothness and richness. Or you can use CLA 2A on pianos or strings to add some softness and warmth, while using CLA 3A on horns or keyboards to add some brightness and edge.

Crackle Issue Explained

The crackle noise is caused by two factors: the optical compression circuitry and the analog noise floor. The optical compression circuitry uses a light-dependent resistor (LDR) to control the gain reduction. The LDR is essentially a variable resistor that changes its resistance according to the amount of light it receives from an LED or a lamp. The LED or lamp is modulated by the audio signal, so the more the audio signal changes, the more the LED or lamp flickers, and the more the LDR changes its resistance. This creates a very smooth and musical compression, but it also creates some noise and distortion, especially when the audio signal is very dynamic or has a lot of high frequencies. This noise and distortion is what causes the crackle sound in some cases.

The analog noise floor is another factor that contributes to the crackle noise. The original hardware units had a certain amount of noise inherent in their analog circuitry, such as the tubes, the transformers, the resistors, and the capacitors. This noise was usually masked by the audio signal, but it could become audible when the audio signal was very low or silent. The CLA plugins model this noise floor accurately, and they also have a switch to turn it on or off. However, sometimes the noise floor can interact with the optical compression circuitry and create some crackle noise as well.

So how can you prevent or reduce the crackle noise in these plugins? Here are some tips:

- Use a high-pass filter before the plugin to remove any unwanted low frequencies that might trigger the optical compression circuitry unnecessarily. - Use a de-esser after the plugin to remove any unwanted high frequencies that might cause the LED or lamp to flicker too much. - Use a lower Peak Reduction setting to avoid overcompressing the audio signal and creating too much distortion. - Use a higher Gain setting to increase the output level and mask the noise floor. - Use a noise gate after the plugin to mute the output when the audio signal is below a certain threshold. - Turn off the analog noise switch if you don't want to hear any noise at all. If you already have some crackle noise in your audio, you can try to fix it by using some of these tools:

- Use a spectral repair tool to isolate and remove the crackle noise from the frequency spectrum. - Use a de-clicker tool to detect and remove any clicks or pops from the audio waveform. - Use a de-noiser tool to reduce any background noise or hiss from the audio signal. Conclusion

In conclusion, CLA 3A and CLA 2A are both great plugins that emulate some of the most iconic analog compressors ever made. They can add some warmth, punch, and glue to your mix, and they can handle a variety of audio sources and genres. However, they also have some differences that make them suitable for different applications. CLA 3A is faster, more transparent, and more aggressive than CLA 2A, while CLA 2A is slower, more musical, and more smooth than CLA 3A. They can also work together in a mix, as they complement each other well.

One of the issues that some users have encountered with these plugins is a crackle noise that occurs when the plugin is processing audio. This is not a bug or a fault in the plugin, but rather a result of modeling the analog behavior of the original hardware units. The crackle noise is caused by two factors: the optical compression circuitry and the analog noise floor. There are some ways to prevent or reduce this noise, such as using filters, de-essers, gates, or lower compression settings. There are also some ways to fix this noise if it occurs, such as using spectral repair tools, de-clickers, or de-noisers.

We hope this article has helped you understand more about these plugins and how to use them effectively in your mix. If you want to try them out for yourself, you can download them from Waves' website and get a free trial for 7 days. You can also find more information and tutorials on Waves' website or YouTube channel. And if you have any questions or feedback on these plugins, you can contact Waves' support team or join their online community.

FAQs

Q: Are CLA plugins worth it?

A: Yes, CLA plugins are worth it if you are looking for some classic compressors that can add some warmth, punch, and glue to your mix. They are very faithful emulations of some of the most iconic analog compressors ever made, such as the LA-2A and the LA-3A. They have a simple and intuitive interface, a smooth and musical sound, and a faithful emulation of the analog circuitry. They can be used on a variety of audio sources and genres, and they can work together in a mix. They are also very affordable compared to some other compressor plugins or the original hardware units.

Q: Do CLA plugins work with any DAW?

A: Yes, CLA plugins work with any DAW that supports VST, AU, or AAX formats. They are compatible with Windows and Mac operating systems, and they have low CPU usage and latency. You can use them as inserts or sends on individual tracks, buses, or master tracks. You can also use them in parallel or serial processing chains, or in combination with other plugins.

Q: How can I get the best results from CLA plugins?

A: There is no definitive answer to this question, as different audio sources and genres may require different settings and techniques. However, here are some general tips that can help you get the best results from CLA plugins:

- Experiment with different modes, settings, and levels until you find the sweet spot for your audio source. Don't be afraid to push the plugins hard and see how they react. - Use your ears and trust your taste. Don't rely on presets or meters too much, as they may not suit your specific needs or preferences. Listen to how the plugin affects the sound and the feel of the audio source, and adjust accordingly. - Compare the processed and unprocessed signals frequently, and use the bypass switch to toggle between them. This will help you avoid overprocessing or underprocessing the audio source, and find the right balance between compression and transparency. - Use reference tracks or mixes that have a similar sound or genre to yours, and try to match or improve their quality and vibe. This will help you achieve a professional and consistent sound for your mix. - Learn from the pros and watch some tutorials or videos on how to use CLA plugins effectively. You can find some useful resources on Waves' website or YouTube channel, or you can search online for other sources of information and inspiration. Q: Where can I find more information and tutorials on CLA plugins?

A: You can find more information and tutorials on CLA plugins on Waves' website or YouTube channel. Here are some links that you might find helpful:

- [CLA 3A Product Page](https://www.waves.com/plugins/cla-3a-compressor-limiter) - [CLA 2A Product Page](https://www.waves.com/plugins/cla-2a-compressor-limiter) - [CLA 3A Tutorial Video](https://www.youtube.com/watch?v=7yX0wZy9f6o) - [CLA 2A Tutorial Video](https://www.youtube.com/watch?v=8Yn8x4u7vLc) - [CLA Plugins User Guide](https://www.waves.com/1lib/pdf/plugins/cla-classic-compressors.pdf) Q: How can I get support or feedback on CLA plugins?

A: If you have any questions, issues, or feedback on CLA plugins, you can contact Waves' support team or join their online community. Here are some ways to get in touch with them:

- [Waves Support Page](https://www.waves.com/support) - [Waves Support Forum](https://forum.waves.com/) - [Waves Facebook Group](https://www.facebook.com/groups/WavesAudio/) - [Waves Twitter Account](https://twitter.com/WavesAudioLtd) dcd2dc6462

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