The fixed, non-linear attack doesn’t remove all the punch, and the release occurs in two stages, where the release time decelerates over time. The opto-isolator’s inherent response is a “happy accident” for audio-it’s almost as if it comes with a built-in auto-attack/release switch. Audio driving the panel changes the amount of light that shines on the photo-resistor, which alters the level and therefore, the gain. Both the LA-2A and LA-3A hardware units are based on the T4 opto-isolator, which combines a photo-resistor and electro-luminescent panel. I prefer no hum, but this option does give a more “vintage” sound for those who consider hardware imperfections essential to a unit’s character.Ī compressor’s primary, distinguishing characteristic is the technology used to compress the signal. Although some treat this as a primitive de-esser, it can also push a sound further back in a mix by reducing apparent brightness.īoth the CLA-2A and CLA-3A plugins include an “analog” option to emulate the noise floor and hum (50 or 60 Hz) from the original hardware units. The remaining user-adjustable control varies the response from flat compression over the entire frequency range, to more compression at higher frequencies. You can also choose compress (low ratio) or limit (high ratio) modes-and don’t ignore the limiting mode just because these units are best-known as compressors. Consider the gloriously simple user interface: peak reduction sets the amount of compression applied and gain determines the output level. Superficially, the two compressors have more similarities than differences. “Different” didn’t mean better or worse-it simply meant it was up to the engineer to use the right tool for the job. Regardless, those engineers who checked out the LA-3A in-depth appreciated its unique attributes. Its successor, the LA-3A ( CLA-3A), never achieved quite the same cachet perhaps this was because people were taken aback that the LA-3A didn’t sound quite like the LA-2A. The LA-2A ( CLA-2A) is one of the most well-known, coveted and popular hardware compressors ever made.
Cla 2a tracking how to#
See our comparison between the tube and solid-state models and learn how to best use them for your tracks. The LA-2A and LA-3A are two of the most famous compressors of all time and have long been favorites for vocals, bass and other instruments.