Yet, now that almost every sequencer offers multiple effects insert slots in its virtual mixer channel, the time has never been riper to use this tactic — and I'd encourage you to try it out if you've avoided it until now. Win! Sony C800G > Neve 1073 > Tube-Tech CL1B… For years, such debate remained the preserve of those few lucky souls in professional studios who had the opportunity to compare a range of such rare and expensive hardware, but recent advances in the DSP emulation of those same units has brought the topic slap-bang into the mainstream. Like the Fairchild 670, this compressor is often used as much for it's sound as it's ability to achieve the desired gain reduction. In 1987, Tube-Tech founder John G. Petersen unveiled the CL-1B compressor, his take on the classic optical compression method pioneered by the Teletronix LA-2A – but with an additional level of control (unlike the LA-2A, the CL1B’s ratio, threshold, attack and release settings can all be changed manually). What I've discovered in the process of my research, though, is that compressor choices for other common instruments, such as guitars and keyboards, are much less commonly discussed in interview and, furthermore, that there also seems to be very little agreement between different producers as to what processors to use on them. In the days when people routinely tracked through compressors to tape, there were often several different stages of compression going on, including some from the tape itself — so simply using a compressor emulation and replicating someone's 'golden settings' won't necessarily give you the same result. How should I split my guitar signal for recording? The CL1B as everyone has pointed out has versatility i.e. Michael Brauer, for example, used a Gates Sta‑Level and a Federal AM864U alongside the EAR 660 for his mix of Coldplay's recent hit 'Violet Hill'. When we were setting things up to run the Summit line through the Clipalator here, I used tones to make sure these two were absolutely set up the same with threshold etc in advance of each clip. Now that we have digital models and dynamic convolution technology, we're spoilt for choice when it comes to classic compressor flavours. Check the manual and the designer's web site. ive been blown away with an LA2 and disappointed with the same unit on different sounds, but the cl-1b always impresses me and sounds great (very consistent and reliable sonically). Re: Tube-Tech CL-1B: Alternative to LA-2A?? As you do multiple takes, you actually learn the moves… and I'm following where he's going as far as how much he's projecting it. LA2A reissue or Tube Tech CL1B, what You think? "[The C2's Crush mode] adds field‑effect transistor distortion,” explains Jason Goldstein. But the CL1-B brings a modern jazz tenor sax I'm recording right now just a bit more to the front. The combination of VCA gain‑control and audio transformers can also be found in Focusrite's Red 3 and Red 7 units, which also exhibit this kind of subtle warmth and are used for vocals by producers such as Steve Power and Stephen Hague. Like the Fairchild 670, this compressor is often used as much for it's sound as it's ability to achieve the desired gain reduction. I have the 1176 which is great on males vocals, not so much female vocals. Pepper's Lonely Hearts Club Band (The Beatles); Mark Endert Music (Madonna), Makes Me Wonder (Maroon 5); Jon Gass, mixes for Whitney Houston, Toni Braxton, Madonna; Humberto Gatica Call Me Irresponsible (Michael Bublé), Bad (Michael Jackson), Falling Into You (Celine Dion); Jason Goldstein B'Day (Beyoncé); Stephen Hague True Faith (New Order), The Innocents (Erasure), 'Freedom' (Robbie Williams); Eddie Kramer Are You Experienced?, Axis: Bold As Love, Electric Ladyland, Band Of Gypsys, The Cry Of Love (Jimi Hendrix), Led Zeppelin II (Led Zeppelin); Nick Launay Neon Bible (Arcade Fire), Diamond Hoo Ha (Supergrass), The Dreaming (Kate Bush); Chris Lord-Alge Living In America (James Brown), Batman soundtrack (Prince), Unchain My Heart (Joe Cocker), American Idiot (Green Day), The Black Parade (My Chemical Romance); Tom Lord‑Alge Pink Box, Funhouse (Pink), Best Damned Thing (Avril Lavigne), Blink 182 (Blink 182); Fabian Marasciullo 'Low' (Flo Rida & T-Pain); Tony Maserati 'Save Room' (John Legend), Elephunk (Black Eyed Peas), J.Lo (Jennifer Lopez), Diary Of Alicia Keys (Alicia Keys); Manny Marroquin 808s and Heartbreaks (Kanye West), 'Mercy' (Duffy), 'Umbrella' (Rihanna), Unplugged (Alicia Keys), 'Heartbreak Hotel' (Whitney Houston); Sylvia Massey‑Shivy Unchained (Johnny Cash), 'Love Rollercoaster' (Red Hot Chili Peppers), System Of A Down (System Of A Down); Mark Nevers Nixon (Lambchop); Steve Power Life Thru A Lens (Robbie Williams), 'Sit Down' (James), Reload (Tom Jones); Jack Joseph Puig Eyes Open (Snow Patrol), Let Love In (Goo Goo Dolls), Monkey Business (Black Eyed Peas); Robert Orton The Fame (Lady Gaga); Jim Scott American Recordings (Johnny Cash), Bridges To Babylon (The Rolling Stones), Californication (Red Hot Chili Peppers), Renegades (Rage Against The Machine); Elliott Scheiner In Your Honour (Foo Fighters), Gaucho (Steely Dan), The Way It Is (Bruce Hornsby & The Range); Al Schmitt Genius Loves Company (Ray Charles), Unforgettable (Natalie Cole), The Look Of Love (Diana Krall); Serge Tsai 'Hips Don't Lie' (Shakira & Wyclef Jean); Butch Vig Gish, Siamese Dream (Smashing Pumpkins), Nevermind (Nirvana), Bricks Are Heavy, 21st Century Breakdown (Green Day). 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