The CLA-2A is modeled on a hand-wired, tube-based compressor originally produced by Teletronix in the early 1960s. The overview from the user guide is helpful: The Waves CLA-2A Classic Compressor plugin was modeled from a legendary unit in the enviable collection owned by Chris Lord-Alge. To that end, I chose a compressor that exerts very subtle dynamic control and also enhances the closed lid piano sound by its inclusion in the signal path. Larry Goldings, our pianist on the James Taylor tour, is an incredibly gifted and expressive musician, and it is never my intention to impose needless dynamic restrictions on his playing. High-pass filters, low-pass filters and parametric EQ must all work in concert to massage the sound back to a more natural, even distribution across its 88 keys. It’s simply a necessary evil dictated by the closed-lid condition. Wherever the mics end up being placed, proper application of equalization will be necessary to smooth out the hot spots created by proximity to the strings. Placement choices become myriad, and the only right way is the one that sounds best right out of the box. One can choose to orient the capsules toward the hammer or toward the nose of the piano. The two PM40 transducers are mounted on a telescoping carbon graphite tube allowing variable horizontal placement, both mounted on 6-inch goosenecks for vertical adjustment. The engineers at Earthworks have created a flexible system that produces astounding results within that less-than-optimum environment.Īs noted, mic placement is critical and varies with each piano. These remarkable small diaphragm omni mics have revolutionized closed-lid miking techniques. One invaluable tool has been the Earthworks PM40 piano mic system. Several tools can be used to attack this audio conundrum. The magic is to then reintegrate the whole and somehow create the auditory illusion of listening to a raised lid piano in a normal performance environment. The instrument’s inputs become harsher and less connected. Furthermore, reflections are coming from everywhere in a closed box. Mics must be placed close to the strings, and this predictably results in hot spots. However, closing the lid creates a very different sound and produces a radically different audio environment for the transducers inside the piano. For obvious isolation reasons, the lid is closed during performances. On the James Taylor tour, we carry a beautiful Yamaha C7 MIDI grand piano that is expertly maintained and tuned by Mark Konrad, our keyboard tech.
REMOVE NOISE FROM CLA 2A COMPRESSOR TRIAL
I have yet to encounter a “one size fits all” compressor, so I always go through a trial and error process for each input until I find the plugin that properly marries itself to the timbre and dynamics of an instrument. I also choose plugins that enhance the differing musical properties of each instrument. That’s the minimum asked of a compressor plugin. However, it’s never enough to just “sit” on the dynamics of an instrument. It becomes necessary to employ electronic hands to exert that control.īy definition, correct application of compression makes softer parts louder and louder parts softer, with the goal of making it easier to hear and appreciate the characteristics of that particular instrument or vocal in the mix. An engineer simply doesn’t have enough hands, fingers or the multitasking mentality to exercise constant vigilance over the all the instruments in a 60-plus input show. The task of live mixing has many recurring challenges, and one of the most difficult to accomplish successfully is maintaining control over the dynamics of each instrument without sacrificing the natural energy and expression of the musicians. This current entry will focus on my compressor of choice for the acoustic grand piano: the Waves CLA-2A Classic Compressor. By now it should be apparent that I like to use a lot of compressors. In previous columns, various Waves plugins that I use on vocals, horns, violins, electric guitars, bass guitars and drums have been discussed.
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