It keeps the highend intact and probably adds a touch of highend also which is super cool because most compressors rob the highend a little too much. I just got a real one the other day and still messing around with it. Vocals, bass, guitar, drums can all be done with these. It makes things just sound better hence some using it with no compression just for the sound. I think it kind of softens the sound a touch.ġ176 - It's good on everything. Easy to use and easy to get to sound good. LA2A - vocals and decent on just about everything else, hence it's in almost all major studios. (* except for majortom and the rocket which are unrestricted evaluation copies *) Here is a short list of the better vst emulations of these compressors I have found that are all free. The overall basic info I have found is that la2a are great on vocals and bass, dbx160 is good for kick/snare/guitar, and fairchild works well on the master bus? 1176 and dbx160 good for taming fast peaks and parallel compression duties? Any info, tips or knowledge in general you people could share would be great. using a la2a on the masterbus is probalbly not gonna sound good, but on vocals it can work great, etc.). I've found some basic info about what these compressors are known for, but can anyone explain what they personally find each one to work best at? I've been experimenting on my own but I am interested to get an idea of what these are generally being used for and when probably not to use them (i.e.
^ "TOM LORD-ALGE: From Manson To Hanson".^ "Dark at the End of the Tunnel | Credits |".^ "Secrets of the Mix Engineers: Chris Lord-Alge".List of Grammy Awards YearĪmerican Idiot: The Original Broadway Cast Recording
#Cla 2a 3a or 76 for acoustic license
It is assumed that Waves were unable to get a license to produce authorised versions of the 1176, LA-2A and LA-3A as their current manufacturer and owner, Universal Audio, already produced their own range of audio plug-ins modelling these units so they branded them under CLA's name instead. These are among Chris' favorite dynamics units. Slightly before that, Waves had also released a bundle of CLA-branded compressors, featuring the CLA-76 ( UREI 1176LN), CLA-2A ( Teletronix LA-2A) and CLA-3A (UREI LA-3A). In early 2010, Waves Audio released the "CLA Artist Signature Collection", a collection of six application-specific audio plug-ins for vocals, drums, bass, guitar and the last two of them called "unplugged" (designed for acoustic elements) and "effects" (a collection of six different effects). Ĭhris and his brother Tom are known inside the music industry for crafting their mix with an abundant use of dynamic compression for molding mixes that play well on small speakers and FM radio.
In 1989-1990, brothers Chris and Jeff Lord-Alge collaborated on the Oingo Boingo album Dark at the End of the Tunnel, with Jeff-Lord Alge and Bill Jackson recording and Chris Lord-Alge mixing. While working at Unique Recording Studios in New York City in the 1980s, Lord-Alge earned recognition for mixing James Brown's Gravity album (which included the hit song " Living in America"), the Rocky IV soundtrack, Prince's Batman soundtrack, Joe Cocker's Unchain My Heart album, Chaka Khan's Destiny album, Carly Simon's Coming Around Again album, Tina Turner's Foreign Affair album and 12" remixes of Madonna's " La Isla Bonita", the Rolling Stones' " Too Much Blood", and Bruce Springsteen's " Dancing in the Dark", " Cover Me", and " Born in the U.S.A.".
He is also known for collaborating with Howard Benson, who has produced the plurality of the albums Lord-Alge has mixed. Chris Lord-Alge is known for his use of dynamic range compression. He is the brother of both Tom Lord-Alge and Jeff Lord-Alge, both of whom are also audio engineers. Chris Lord-Alge is an American mix engineer.
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