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I tried it on kick and snare and found the results less to my taste it's easy to push things too far and end up with a sound that is flat and lifeless. In practice, I found myself really liking this plug‑in on overheads - I've never usually had good results from using lots of reverb and compression in this context, but a couple of fader moves in CLA Drums produced a really punchy, hard‑hitting sound that barely needed the addition of close mics. You then get a choice of three compression and reverb styles, and hard or soft gating. The first two faders apply 'bass' and 'treble' EQ, with frequency ranges chosen using descriptive names such as 'roof' and 'top' rather than values in kHz. In CLA Drums, to pick a starting point more or less at random, the extra control I mentioned adapts the plug‑in to the source, so you can tell it whether it's dealing with a kick drum, snare, tom, overhead, room mic or, er, cowbell. In general, I liked the no‑nonsense interface a lot more than that of some of the other Artist‑series plug‑ins. An additional slider at the left adjusts input sensitivity - naturally, all the plug‑ins include a healthy amount of dynamics processing, so this is important - and in some cases there are extra controls above this. So, for example, several of the plug‑ins feature a delay: the slider controls the amount of delay added to the signal, while the associated button switches the delay time between slap, eighth and quarter notes. Five or six faders control different components of the overall effect, while illuminated buttons above them switch between different styles of that process.
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All share a similar user interface, which somewhat resembles the LARC fader controllers for Lexicon reverbs.
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The CLA Artist Signature Collection consists of six plug‑ins: CLA Drums, CLA Bass, CLA Guitars, CLA Effects, CLA Unplugged and CLA Vocals. (The equipment that goes to make up this chain is not always specified, but to learn more about his mix techniques and gear, take a look at Paul Tingen's Inside Track feature from May 2007: /sos/may07/articles/cla.htm.)
#Waves butch vig vocals review series
The new Artist Series collection, by contrast, models the entire signal chain that Chris Lord‑Alge favours for various named instruments. If there's one adjective that is widely associated with the Lord‑Alge sound, it's 'compressed', and Waves have already released a bundle called CLA Classic Compressors, containing faithful emulations of some of Chris Lord‑Alge's favoured spanking devices. The biggest of all these scalps is arguably Chris Lord‑Alge - the superstar mix engineer who, along with his brother Tom, has perhaps done more than anyone else to shape the sound of modern rock records. Over the last couple of years, Waves have persuaded a number of big‑name engineers and producers to have their favourite effects and processing chains turned into Artist series plug‑ins. But Waves' latest plug‑in bundle might just be the next best thing. Not all of us can afford to have our tracks mixed by Chris Lord‑Alge.