The CLA-3A combines solid-state circuitry’s fast attack with the gentle release of optical-based compression. A favorite on guitar, bass, and drums, the CLA-3A models the tight, punchy compression effect that played an important role in high-end studios of the 1970s.
Without the coloration of tubes, and only a slight hint of harmonic distortion, the CLA-3A handles high-level transients and pushes out punch—especially with midrange instruments.
Compression with an Edge
Sometimes you don’t want smooth and warm compression—but tight, clean, and responsive dynamics control. Whether for drums or rock vocals, the CLA-3A gives the compression you need, for the attitude you want.
Super Speedy Setup
Save time: with two main controls and one switch, the minimalist—yet highly effective—user interface makes it easy to dial in the desired settings, and keep your creativity flowing.
Solid-State, and Rock-Solid
Rock wants a responsive, big sound, and the CLA-3A’s solid-state design is a perfect match for music that requires transparent compression—even when you’re slamming peak reduction hard.
Beyond the Basics
Keep the sound clean, or add subtle noise and hum. Use the sidechain input to lock the CLA-3A’s compression to other tracks, and tame harshness by choosing whether the compression favors high frequencies. The added Mix control allows easy parallel compression, and the added Trim lets you adjust levels quickly.
Chris Lord-Alge’s Personal Presets
The CLA-3A is an exact model of Chris Lord-Alge’s original hardware version, from his personal collection. It includes his favorite custom presets for the CLA-3A, based on what he’s used for mixing Foo Fighters, Green Day, and Bruce Springsteen.
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