The original UREI 1176 was the first solid-state peak limiter, relying on a field-effect transistor (FET) for its gain control.
Cla 2a vs cla 76 series#
One lovely thing about well-done emulation plug-ins (and this is one) is that you can put these classic pieces of gear on more than just that one lead vocal or bass track!Īlso in the CLA Classic Compressors series is CLA-76.
Cla 2a vs cla 76 software#
You too can have this same classic sound in a snappy skeuomorphic display of software bliss for a mere fraction of that $3000. But let's be honest, that is a lot of bread, and for those just dipping their toe into the studio gear acquisition pond, $3000 buys a lot of toys. It was not my cup of tea for everything, but it was certainly usable across the board.Ī real-deal hardware unit goes for over $3000 for a single channel of this magic, and I wouldn't argue with the cost versus what it brings to a mix. On other sources, I ran through the presets and adjusted accordingly. Again, this compressor just sticks the bass right where you want it and keeps it there. In addition to vocals, I used the plug-in on bass and liked the grit it brought when driving it a bit. In some cases, I combined the plug-in with a hardware compressor and was able to push and pull the vocal around while still maintaining the signature sound of the LA-2A. (Use this effect to taste.) I liked 2-3 dB of reduction in the compression setting on a vocal, locking the vocal right into place. The vocal was originally tracked through a hardware LA-2A to catch peaks and capture the "sound" to tape (literally!), but I found the plug-in useful when inserted into different parts of the chain to take that sound a step further.Īs with the original hardware unit, you can get the plug-in's (virtual) tubes to sizzle a bit when you increase the gain. I was mixing Seattle band The Dip, an eight-piece retro-soul outfit, and I found myself using CLA-2A frequently as part of the vocal treatments to achieve a "classic" sound that fit the style and vibe of the music. The controls are bonehead simple - Gain and Peak Reduction knobs and a switch for compression or limiting. As more specific flavors of dynamics processors have emerged, I have seen the LA-2A used mostly on vocals and bass. The original units were made for broadcast but soon found use in studios on everything from vocals to drums to entire mixes. It's a vocal and bass sound you've heard on records for years - up front, and stuck there with its edges bleeding into the rest of the mix in the perfect way. Big, fat, and warm are common words used to describe the unit. When pushed hard, however, the tube will get crispier on the top. The unit is known for its low harmonic distortion. It has a fast 10 ms attack time, and a characteristic two-stage release that has a medium fast onset and then a very slow tail. Quick and dirty history: The LA-2A was (and still is under the Universal Audio brand) a tube electro-optical compressor that uses the T4 cell (an electro-luminescent panel and a light- dependent resistor) to achieve its gain reduction. It emulates one of the most famous compressor/limiters of all time, the Teletronix LA-2A, while adding Chris Lord-Alge's personal presets. I always know when a plug-in is a good fit for me when I return to it again and again, even when there is a long list of candidates available. I'd like to have a giant stack of LA-2A and 1176 units racked up to the ceiling, but do I have $30,000 to drop? Nope. Now it is a much more balanced argument with each having benefits and drawbacks. In the early days of digital emulations of classic pieces of hardware, the argument could easily be made that the digital side of things was simply not on par with the original hardware. "Hardware versus plug-in? Hardware versus plug-in?" Wring hands.
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