In this video at 34:41 minutes see Waves CLA Vocals

At 5:34 of this video, you can see this used on a vocal in his mixer

At 14:09 Hayden says he uses CLA Vocals to mix his voice.

Used on Cardi B's vocals for "Bodak Yellow", as mentioned by mix engineer Evan LaRay in this February 2018 Sound on Sound interview. The "VOX 1" settings can be found here.

In his mix of ‘Bodak Yellow’, Evan LaRay used almost identical vocal chains on two auxiliary busses. The ‘Vox 1’ chain includes FabFilter’s Pro-DS de-esser and Waves’ C4 multiband compressor, plus the Waves CLA Vocals plug-in and SoundToys’ Decapitator saturation processor.

The main ‘Hook’ and ‘Verse’ vocal tracks have similar plug-in chains, incorporating the EQ3 seven-band, Waves CLA-76 and Waves De-esser, though the ‘Hook’ also has FabFilter’s Timeless 2 delay. LaRay explains, “The EQ on the ‘Hook’ has a high-pass, around 100Hz, and I’m also cutting 3dB at 300Hz, because the vocal sounded a bit muddy, and again 3dB at 4kHz, because there was a piercing frequency there. The CLA keeps the peaks in check, and the de-esser again takes some higher frequencies out, at 4270Hz, and the Timeless is another favourite plug-in. I think in general the FabFilter plug-ins are extremely dope. I wanted the ‘Hook’ vocal to stand out from the ‘Verse’ vocal, so I used a stereo delay preset, and then tweaked that. The presets on the FabFilter plug-ins are pretty good: you just run through all of them and then choose the best one. In this case I lowered the width and the wet value of the stereo delay preset, and that sounded good and gave the hook its own space. The three plug-ins on the ‘Verse’ track do pretty much the same.

“The ‘Inout’ tracks that are below the ‘Hook’ and the ‘Verse’ are vocal doubles. They are words or lines we use for emphasis and additional power on these lines and words. They come from one of her original vocal takes, which I just cut and cleaned up. Both ‘Inout’ tracks have the Waves RCompressor, just containing these words and lines so they don’t overwhelm the ‘Hook’ or the ‘Verse’ vocal, and then the FabFilter Pro-Q2, taking out some high frequencies, again to make sure it doesn’t clash with the leads, and also cutting below 200Hz. And there’s a delay on these tracks to put them in a slightly different space from the lead vocal tracks.

“In addition to the two ‘Inout’ tracks, both the ‘Hook’ and the ‘Verse’ tracks are also accompanied by an ‘Ad Libs’ track, which were some ad libs Cardi had recorded with Mike over at Krematorium. Mike had also set up a separate aux track for these ad libs, which is ‘Vox2’, and I liked that and kept two of the plug-ins he had on that: the [Avid] Sansamp for some distortion and the SoundToys Panman. I then added the D-Verb and the [Waves] CLA Vocals. I adore the CLA Vocals. I use it on every track I work on. When I don’t use it, the vocals sound completely different. I’d love to know what exactly it does! Finally, the inserts have the Waves L1, just to control the peaks.

“The other tracks — ‘EXF1’, ‘EXF2’, ‘EXF3’ and ‘EXF4’, are because I prefer to create a new track if I want to have a specific effect on specific words or phrases. I prefer doing that to automating the effects on a track. Automation is great, but I tend to only do volume automation. So I copy audio to another track, and then put the effect on that, and in this case I created four different effects tracks with four different delays. ‘EFX1’ is the main one, and has the same three plug-ins as the Verse tracks — EQ3 three-band, CLA76 and Waves De-esser — just with the EQ3 cutting more of the high frequencies. Then there’s an eighth-note ping-pong delay from the Waves H-Delay, and then a D-Verb set to ‘hall’ with 7s decay and a 15ms pre-delay. ‘EFX2’ has another H-Delay delay, ‘EFX3’ the Timeless 2 delay, and ‘EFX4’ again has the H-Delay plus a D-Verb.”

All the main vocal audio tracks go to LaRay’s ‘Vox1’ aux group track. This, he explains, has “A FabFilter Pro-DS de-esser, then the Waves RCompressor controlling the peaks, the Waves C4 multiband compressor boosting the high end and containing the lows in her voice, so it doesn’t cut through too much, and Waves CLA Vocals. Again, it’s really making my vocals sound good. I push the Pitch fader to stereo, spank it on the compressor, also push up the treble to brighten it up, turn the reverb down to ‘tight’, and lower the delay by 9dB because my own quarter delay is my main vocal delay, and it sounds great. There’s also a SoundToys Decapitator, to add more harmonic distortion, and then there’s the Waves RVox. That was supposed to be the final plug-in on the insert, but then I realised the vocal was still peaking too much once she began rapping loudly, so I put on the L1 [limiter] to control that.”

The ‘special sauce’ in Evan LaRay’s mixes comes from a parallel aux channel containing a blend of compression, saturation, EQ and other processors. Key ingredients are Waves’ PuigChild compressor and PuigTech equaliser.

The ‘Vox1’ and ‘Vox2’ tracks also each have a Trim plug-in on an insert, and sends to the ‘Verb’ aux and to the ‘ELR’ (LaRay’s initials) track. “I put the Trim on all my tracks at the end of the vocals, and at the end of the beat, because the vocals actually began distorting in places. These two tracks were too hot, and I wanted to make sure they had a good level before going to the ‘Sub Print’ track. I have the ‘ELR’ aux track in every session. It’s most of all parallel compression, but I also always try out new things with distortion, exciters and things like that, and I label that ‘ELR’. In this case it really is the ‘ELR’ track that makes the vocals cut through the mix.

“The compression on the ‘ELR’ track comes from the Waves PuigChild 670, which is a great compressor, and it’s compressing a lot, so the vocal stays right there in the middle. The signal is then going to the PuigTech EQP-1A, which is boosting some low end to add some warmth to the vocals, and some 5kHz, and then the Waves Aphex Vintage Aural Exciter, set to AX Mix 6, for some added crispness and clarity, then the EQ3 seven-band to control the low mids, and another De-Esser cutting 4398Hz, to finalise the vocal sound. The L1 also helps keep the vocals in the same place. Finally, the ‘Verb’ send on the ‘Vox1’ and ‘Vox2’ tracks goes to the ‘Verb’ aux, which has the Waves RVerb, and that pretty much glues everything together.”

Used for vocals on Another Country, as stated by mix engineer Kevin Savigar in this February 2016 Sound on Sound interview. An image of the settings can be found here.

Kevin Savigar’s vocal chain for Rod Stewart began with the Universal Audio 610B Unison preamp plug-in, with brightness added by the same manufacturer’s Helios EQ, and dynamic control from the UAD 1176 emulation. Once again, the Waves CLA bundle came into effect, with a Waves De-Esser providing the final touches.

"I did very little to Rod’s lead vocals during the mix. I just had the CLA Vocals plug-in on him, with a bit of ‘spank’ compression and some reverb, and a Waves De-Esser, and that was it. I used the same plug-ins on his harmony vocal, where he sings a third above his lead vocal. I think it’s the first time he has ever done a harmony vocal with himself. It’s a great sound. The backing vocals also have the CLA Vocals plug-in, on the ‘Start Me Up’ preset, plus the Tape Delay on the ‘ohs’, and they’re all sent to an effect track with the Logic Stereo Delay and Space Designer. The latter had a ‘Vocal Delay’ preset, which adds some air and room to the backing vocals."

At 6:49 on the video you can see the CLA Vocal plugins.

Used on Minogue's vocals for "Dancing", as stated by producer Sky Adams in this July 2018 Sound on Sound interview.

"My vocal chain on the Kylie bus begins with a Logic Channel EQ, with a high?pass at 69Hz; I also boost 285Hz and 3100Hz. Next is the Waves CLA Vocals, with which I again boost some high end and add some compression, and a tiny bit of reverb; altogether it enhances the vocals a bit. The third plug?in is the Waves Butch Vig Vocals, with the de?esser and compressor both at 50 percent and adding some presence and air, all to give it some sharpness. For some reason Butch Vig gives a nice saturation and clarity on vocals, but I find that it only works on the Aston microphone. With every other mic I’ve used it tends to sound too distorted.

“The next plug?in is a Waves dbx 160 for some more compression, then the Waves SSL G?master bus compressor, set to a ratio of 2, attack 1 and release 3, and the Waves C4 multiband set to the Pensado preset, adding above 8kHz, the Waves API 560 EQ adding yet more high end, and the Waves RVox, with the compressor set to 4.2. I find that the RVox really helps to bring the vocal to the front.

“My main reverb in this session, which I used mostly on the vocals, and my favourite reverb in general, is the Toraverb. It’s really hard to find a good reverb, but I freaking love it, and I use it on almost everything. It has a wonderful tail off, and also a delay that works really well. ‘Crystal Cave’ is a favourite preset, which I use mainly on vocals. I don’t mind using the same reverb on everything, but in addition I sometimes use Logic’s Space Designer, which also has a great sound, and a wonderful tail that you can crank all the way up. The latest update, the Chronoverb, is amazing.”

at 16:22 he uses it for vocal mastering

7:18 - When talking about vocals, Flava D pulls up this plugin and says "I added something from waves which is really good thing to put of vocals... you can kinda hear it does bring it out slightly"

0:56 - During this tack playthrough, CLA-Vocals can be seen in an effects chain.

In this video at 10:21 see Waves CLA Vocals

At 0:31, he talks about the cla vocals plugin