You can add as much bass as you need to anchor the bottom end, but at the same time use copious amounts of distortion to make the instrument punch through in the mid-range. Its various ingredients are all familiar effects I'm used to applying using individual processors, but somehow I've rarely managed to marshal them to sound anything like this good. I know not what amplifiers were modelled to create this, but I want them! In particular, the Crunch and Heavy settings really seem to nail that modern rock sound that somehow preserves note definition despite being ridiculously distorted. Still, the slap delay sounds like a slap delay should, and the stereo options do a nice job of thickening the vocal without making it sound too obviously chorused or warbly. We are, after all, talking about the most important and prominent element of the mix, and to my mind, you really need fuller control over reverb and delay times than can be provided by a single slider. CLA Vocals retains the Bass, Treble and Compress sliders of CLA Drums, and adds three more of its own, offering different flavours of reverb, delay and stereo effects. Running a separate instance on every channel of a multitrack drum recording would take serious computing power. 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. 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. Five or six faders control different components of the overall effect, while illuminated buttons above them switch between different styles of that process. All share a similar user interface, which somewhat resembles the LARC fader controllers for Lexicon reverbs. 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. It's been a long time since I felt the pinch of CPU resources so acutely when mixing.ġ0 Tips for Getting More From Waves CLA Signature Series I have taken the very best settings which I use in my everyday mixes and crafted them into this chain. It was designed in collaboration with mix engineer Chris Lord-Alge who has mixed numerous hit records for artists such as Green Day, My Chemical Romance, Nickelback and Bruce Springsteen.
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