1.3ABOUT THE MODELING ........................................................................................................................................4
Loading Presets and Setups..............................................................................................................................................
A/B Comparison and Copying ...........................................................................................................................................
ons ...................................................................................................................................................... 14
12
13
13
APPENDIX A – CLA-2A CONTROLS.....................................................................................................................15
Waves CLA-2A User Guide
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Chapter 1 – Introduction
1.1 Welcome
Thank you for choosing Waves! In order to get the most out of your Waves processor, please take the
time to read through this manual.
In conjunct
an extensive Answer Base, the latest Tech Specs, detailed Installation guides, new Software Updates, and current information on Authorization and Registration.
By signing up at www.wavesupport.net
products, reminders when updates are available, and information on your authorization status.
1.2 Product Overview
About the CLA-2A
The CLA-2A is modeled on a hand-wired, tube-based compressor originally produced by Teletronix in
the early 1960s. Initially intended for
optical attenuator called “T4” for gain reduction. Unlike many other designs, electro-luminescent
circuitry doesn't add dist
model that distortion.) Additionally, the inspiration for the CLA-2A’s frequency-dependent attack and
response speed made it an instant favorite of audio engineers. However, many consider its most
unique feature to be its program dependent, multi-stage release, which was achieved using a 2-stage
photo-electric cell. With a Frequency Response of 30Hz to 15kHz (+/- 1dB) and < 0.5% THD, the
original provided up to 40dB of gain limiting.
About Chris Lord-Alge
Grammy®-winner Chris Lord-Alge is the mixing engineer of choice for pop and rock royalty.
Green Day | U2 | Dave Matthews Band | Daughtry | Pink | Leona Lewis | Avril Lavigne |
My Chemical Romance | All American Rejects | Nickelback | Rob Thomas | Snow Patrol |
Ray LaMontagne | Miley Cyrus | Jonas Bros. | Tim McGraw | Faith Hill | Tina Turner | Rod Stewart |
Celine Dion | Santana |
For almost thirty years, Chris has energized the sound of popular music. His hard-hitting mixes have
transformed the radio so
massive hardware arsenal includes racks and racks of the most coveted compression units in music
history.
ion, we also suggest that you become familiar with www.wavesupport.net
, you will receive personalized information on your registered
use in broadcast, the original used an electro-luminescent
ortion when it modulates the sound. (Tubes, however, do, and we made sure to
Steve Winwood | James Brown
undscape, a
nd introduced a new sonic vocabulary along the way. CLA’s
. There you will find
Waves CLA-2A User Guide
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Widely known among audio pros and listeners alike for his punchy sound and extreme compression
techniques, Chris gave us exclusive access to model his most prized processors, and worked closely
with Waves through every phase of development. Together with many of his personal presets, these
precision models deliver the distinctive sound of CLA’s favorite classic compressors.
1.3 About the Modeling
Many different elements contribute to the unique sonic behavior of analog gear. Waves painstakingly
modeled and incorporated the characteristics of the hardware into the CLA-2A, in order to fully capture
and replicate the sound and performance of the original equipment. The hardware was modeled at
reference levels of -18 dBFS = +4 dBu, meaning that a signal of -18 dBFS from the DAW to the
hardware unit will display a meter reading of 0 VU (+4 dBu).
These are some of the most important elements of analog behavior:
•
Total Harmonic Distortion
Perhaps the most important analog behavior is Total Harmonic Distortion or THD, which is defined
as the ratio of the sum of the powers of all harmonic compon
frequency. THD is usually caused by amplification, and changes signal shape and content by
adding odd and even harmonics of the fundamental frequencies, which can change the overall tonal
balance. THD can also change peak output gain, usually by no more than +/- 0.2-0.3 dB.
•
Variable Release Times
In the original modeled hardware, a T4 optical device determines compression behavior. When
strong signals are introd
seconds may result. In certain cases, this may cause the same passage to sound different during
successive playbacks, as the Release does not return to the unity position. This behavior is
identical to that of the original hardware, and should not be a cause for concern.
•
Hum
Waves modeled both 50Hz power current and 60Hz power current. If you listen closely, you will
hear that there is a diffe
region and dependent upon local electrical conditions, you may find that the modeled hum is
different than the hum already present in your studio, and may not be suitable for your particular
use.
uced to the compressor input, release time constants lasting several
rence in hum level between 50Hz and 60Hz. Since hum is unique to each
ents to the power of the fundamental
Waves CLA-2A User Guide
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•T4
In the original hardware units, the T4 optical device is responsible for the amount of overall
compression and compression characteristics. These components are quite vulnerable to wear and
tear, and need to be replaced, ideally, every 2 to 3 years. Depleted T4 devices result in up to 80%
less compression as compared to newer components. In the course of our research, we discovered
that up to 90% of T4 components in use today have never been replaced. This means that the
majority of users are working with devices that compress far below the original manufacturer
specifications.
If you are used to the performance and behavior of an original unit, and find that the modeled plugin provides more aggressive compression than
accustomed to a worn-out T4 component.
you are used to, it may be that you have grown
1.4 Components
WaveShell technology enables us to split Waves processors into smaller plug-ins, which we call
components. Having a choice of co
choose the configuration best suited to your material.
The CLA-2A has two component processors:
CLA-2A Stereo — Two-channel co
CLA-2A Mono — One-channel compressor
mponents for a particular processor gives you the flexibility to
mpressor, with one dete
ctor for both channel paths
Waves CLA-2A User Guide
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