The Tube-Tech CL1B is a boutique opto compressor renowned for its smooth, musical compression, a favourite of mix engineers in hip-hop, pop, and R&B. Whether you're tracking vocals, tightening bass, or levelling synths, the CL1B adds warmth and analog depth that plugins can’t replicate. Trusted by artists like Drake, Alicia Keys, and Kendrick Lamar, it’s the go-to compressor for standout vocal mixes.

Tube-Tech CL1B in Action

Why Engineers Love the CL1B

• Incredibly smooth gain reduction without pumping
• Highly musical tube saturation
• Flexible attack and release controls for modern workflows

The Tube-Tech CL 1B compressor features a gain-reduction element, positioned immediately after the input transformer. It is controlled by the sidechain amplifier, which also contains the two-time control circuits one for fixed and one for variable Attack/Release. The two time-controllers can either be used separately or combined. This circuit contains semiconductor OP-amps for the entire control.

The gain-reduction element is followed by a tube-based push-pull amplifier with variable gain up to 30 dB. A dedicated Bus selector with three positions (Off, Bus 1, Bus 2) is used whenever you want to link several compressors together. Input and output transformers have a static screen between the primary and secondary wirings. Both Input and Output are balanced as well as fully floating.

Tube‑Tech CL1B – Frequently Asked Questions

1. How does the CL1B differ from a Teletronix LA‑2A?
   

   Both are optical valve compressors, but the LA‑2A adds more obvious colour, while the CL1B sounds cleaner and controls transients more transparently. The CL1B also provides fully variable attack and release, so it suits a wider range of sources and modern vocal styles.
   
   

2. Is the CL1B suitable for recording vocals, and what settings are common?
   

   Yes. Many engineers keep it in their vocal chain. Typical starting points are a ratio of 2:1 to 3:1, slow attack, medium‑fast release and only enough gain reduction to rein in peaks (often 2–5 dB). Increase release time until the compression breathes naturally with the singer.
   
   

3. How much gain reduction can I use before the sound becomes over‑compressed?

   Because the CL1B’s optical circuit recovers smoothly, engineers often apply just 1–3 dB on delicate vocals or bass, but will push 6–8 dB on harder‑hitting sources without harsh artefacts. Listen for dulling of the top end or pumping; if you do not hear these issues, you are still in the sweet spot.

4. Does the hardware sound noticeably better than CL1B plug‑ins?

   Many users who have compared both say the hardware softens transients and keeps the air in the recording in a way most plug‑ins still struggle to match, even though recent emulations come closer.

5. Does the CL1B make noise or need valve maintenance?

   A slight hiss while the valves warm up is normal. Persistent noise usually means a valve is ageing and needs replacing; periodic re‑valving is part of long‑term ownership.

6. Why do so many hip‑hop and R&B engineers use the CL1B?

   It keeps vocals punchy and forward without losing brightness and fits a wide range of voices. Because it stays relevant from project to project, many producers see it as a long‑term investment and choose it for countless rap and R&B sessions.