Waves
Waves CLA MixDown is the latest signature
series plugin developed in collaboration with
top mixer Chris Lord-Alge (Muse, Green Day,
Deftones, etc). Much like his other Waves CLA
plugins (Drums, Guitars, Unplugged and
bestseller Vocals) it’s based on his own
processing chains, providing a simple ‘set and
forget’ design with just a handful of key controls.
This time around, the target is the mix bus, and
the three processes at hand are EQ (Bass and
Treble), compression (Glue) and desk saturation
(Drive). With the controls arranged over just four
key faders, and a choice of two styles for Glue,
it’s not meant to be an in-depth mastering plugin.
Each fader ofers more/less style scaling
(
+
/- 10), and each processor can be bypassed to
A/B its efect. Inter-processing gain is handled
automatically by the plugin, and ideal operating
levels are set using the handy multicolour
sensitivity LED above the Input fader (yellow
indicates a suitable level). Input and output
levels can be further viewed using multipart
peak- and VU-style needle meters, with the latter
also switchable to gain reduction.
Starting point
MixDown’s four faders are calibrated to add
some processing at the default zero position,
and ours tests conirmed a gentle and broad
2dB boost centred around 100Hz and 3.5kHz.
What’s more, a test tone at -14dBFS achieves
1dB of gain reduction for both compressor
settings and some low-level odd and even
harmonic distortions from the Drive
process. While analysing the frequency
response, we also noticed that all four
processors introduced some high-frequency
tail-of above 15kHz.
Sonically, this starting point – with faders at
zero and the level turning the input LED yellow
(as suggested in the manual) – adds gentle
sweetening, presence and that desirable ‘glue’.
Further testing revealed that at maximum
settings, EQ boost is no more than 6dB, with cut
no more than 3dB. Meanwhile, the Drive process
remains dominated by the irst three harmonics
as its fader is raised to the max. This reveals
MixDown to be a subtle rather than radical
processor, a fact further relected by the handful
of presets, the majority of which do not use
maximum settings.
In practice, we found the biggest decision to
make when using MixDown was which – if any
– of its Glue settings to use. The two lavours are
snappy (setting 1) and more laid back (setting 2),
both of which add glue and enhance presence,
even with minimal gain reduction. With no detailed
settings to adjust, we found picking one simply
boiled down to whichever works best in the given
situation. We noticed that EQ settings don’t
inluence compression, indicating that either the
EQ is placed after the compressor or two are run
in parallel. The Drive is inluenced by both, so is
clearly placed post EQ and compression.
Ultimately, CLA MixDown successfully
achieves its aim of providing point-and-shoot
mix bus processing, with a sonic signature that
matches its famous endorsee. You can achieve
near identical results with separate plugins, of
course, but as a time-saving tool for quick DIY
masters, this comes highly recommended.
Web www.waves.com
W a v e s
CLA MixDown $99
Want a ready-made master bus chain to push you a little further over
the clif? How about a box full of Chris Lord-Alge’s mixing wisdom?
Verdict
For Set and forget simplicity
Great for subtle to moderate
mix enhancement
LED indicator to help set operating level
Signature CLA presets
Bypass of each processing slider
Against No limiter or width adjustment
High frequency tail-of won’t appeal
to everyone
Waves’ ludicrously simple master bus
processor is great for that inal sheen and
mix glue, and adds another quick-ire
option to their successful CLA range
9 / 1 0
Alternatively
Klanghelm SDRR
199 » 9/10 » €23
Four modes of drive, compression
and EQ to add to a stereo source
iZotope Neutron
238 » 9/10 » £155
Dynamics, EQ, transients and
exciter modules make up this
intelligent mixing assistant
Waves haven’t disclosed what actual
outboard has been emulated to create
CLA MixDown, but Monsieur Lord-Alge’s
hardware preferences have been reasonably
well documented in interviews. He’s known
to be a fan of SSL’s classic 4000 series
console, not only for the powerful channel EQ
and dynamics but also for the sprightly
behaviour of the bus compressor, and he’s
also been known to favour its saturation.
On his mix buss, our man Lord-Alge is a fan of
Focusrite’s Red 3 Compressor/Limiter and
Pultec’s EQP1A, apparently preferring to set
the latter around 60Hz or 100Hz for natural
low-end roundness, and in the midrange for
presence. Putting these pieces together, we
can see where CLA MixDown’s processing is
coming from. Nevertheless, the details of
which parameters change as you move the
sliders remain a bit of a mystery.
Under the hood
Autumn 2017 / COMPUTER MUSIC / 99
waves cla mixdown / reviews <
CMU248.rev_mixdown.indd 99 21/08/2017 15:32