The CLA-2A excels at controlling dynamic range and adding warmth to your audio signals. The compressor responds quickly to transients, and the gain reduction is smooth and musical. The plugin's character is largely due to its unique gain structure and the use of a virtual VU meter to control the gain reduction.
Adjusts a high-frequency filter in the sidechain, leaving bass frequencies uncompressed.
Controls the output level of the plugin. It features plenty of clean makeup gain to restore volume lost during compression or to gently overdrive the internal tube modeling for extra saturation. cla-2a compressor limiter
Sometimes the CLA-2A sucks the life out of a transient. Use a transient shaper (like Smack Attack) before the CLA-2A to boost the attack, then let the CLA-2A compress it back down. This paradoxically increases perceived punch.
The result is a plugin that boasts the while also providing presets curated by the master himself for vocals, guitar, bass, and drums. This gives users immediate access to the same processing chain CLA uses to define the sound of hard-hitting rock and pop music. The CLA-2A excels at controlling dynamic range and
Synthesizer pads and orchestral strings benefit immensely from the slow, gentle release of an optical compressor. The CLA-2A glues these elements together, making them sound cohesive, expensive, and lush without sounding obviously processed. Tips for Getting the Most Out of the Plugin
What do you have available in your setup? Adjusts a high-frequency filter in the sidechain, leaving
: Perhaps its most famous feature, the release time is multi-stage and varies based on the input signal. It can take several seconds to fully recover after a heavy peak.
Vintage hardware didn't have a "Mix" knob, but the plugin does. By dialing the Mix knob back to 30-50%, you can blend the dry, transient-rich signal with the compressed, sustained signal. This is fantastic for drums where you want the weight of compression without losing the punch.