Cla2a Compressor - Crack Hot [upd]

Understanding the CLA-2A Compressor and Its Popularity

The CLA-2A compressor is a highly sought-after audio processing tool, renowned for its unique sound-shaping capabilities and user-friendly interface. Developed by Universal Audio, the CLA-2A is a software emulation of the legendary LA-2A hardware compressor, which has been a staple in the music production industry for decades.

What Makes the CLA-2A Compressor So Special?

• Program-dependent release: The CLA-2A features a program-dependent release, which automatically adjusts the release time based on the input signal. This allows for a more natural and dynamic sound.
• Gain reduction metering: The compressor includes a gain reduction meter, providing visual feedback on the amount of compression being applied.
• Simple yet effective controls: The CLA-2A has a straightforward interface with only a few controls, making it easy to use and get great results.

The Appeal of "Crack" and "Hot" in Audio Processing

In the context of audio processing, "crack" and "hot" refer to specific sonic characteristics that engineers and producers often strive to achieve:

• Crack: In audio processing, "crack" typically refers to a desirable transient attack or "snap" in the sound. The CLA-2A compressor can help enhance this aspect of a sound.
• Hot: A "hot" sound usually means a strong, present, and often slightly overdriven signal. Engineers may use compressors like the CLA-2A to add warmth and character to a sound, making it sound "hotter."

Tips for Using the CLA-2A Compressor

• Start with gentle settings: Begin with moderate compression ratios (around 3-4) and adjust to taste.
• Use the gain reduction meter: Monitor the gain reduction meter to ensure you're not over-compressing.
• Experiment with different release times: The program-dependent release can be a powerful tool for shaping your sound.

By understanding the capabilities and characteristics of the CLA-2A compressor, you can unlock its full potential and achieve the desired sound for your music productions.

The Waves CLA-2A is an analog-modeled compressor based on the legendary Teletronix LA-2A electro-optical tube compressor. Achieving a "hot" sound with this plugin involves balancing the saturation of its modeled tubes with its smooth, program-dependent compression. Core Controls for "Hot" Signals

Peak Reduction: This acts as the threshold. For a "hotter," more aggressive sound, increase this until you see 3dB to 7dB of gain reduction. Because it is an opto-compressor, it has a slow attack (approx. 10ms) and a multi-stage release, making it sound "musical" even when pushed hard.

Gain: This is your make-up gain. Once you’ve compressed the signal, use this to drive the output level. Pushing the Gain can introduce the "warmth" associated with modeled tube circuitry.

Compressor/Limiter Switch: For a "crackier" or more "squashed" sound, flip this to Limiter. This changes the compression ratio from roughly 3:1 to a much steeper ratio (infinity:1), which can make drums or vocals sound more "in your face". Advanced "Hot" Tweaking

Hi-Freq (Sidechain) Knob: This is a "hidden" gem for shaping the response.

Flat (Clockwise): The compressor reacts equally to all frequencies.

Hi-Freq (Counter-Clockwise): The compressor becomes less sensitive to low frequencies and more sensitive to highs. Use this to let the "crack" of a snare or the "thump" of a kick pass through without triggering as much compression, keeping the low-end "hot" and punchy.

Analog Switch: This introduces modeled 50Hz/60Hz hum and noise to emulate vintage hardware. While some find it distracting, it can add a subtle layer of "analog glue" and grit to a sterile digital track. Use Cases for a "Crack/Hot" Sound

Vocals: Use it in "Limiter" mode with the Hi-Freq dial turned slightly counter-clockwise to keep the high-end presence while pinning the vocal level firmly in place.

Bass: Pushing the Peak Reduction and then cranking the Gain can add a pleasant harmonic saturation (distortion) that helps the bass cut through small speakers.

Drums: To get more "crack," try using the CLA-76 (FET style) first for fast peak taming, followed by the CLA-2A for leveling and warmth.

For more hands-on guides, you can view tutorials on YouTube or explore the official Waves product page.

While "CLA-2A compressor crack hot" isn't a single industry-standard term, it likely refers to three distinct operational characteristics of the Waves CLA-2A (or similar LA-2A emulations): the "crack" or "snap" of the transients, driving the signal "hot" to achieve tube saturation, and troubleshooting "crackling" distortion. 1. Achieving "Crack" and Punch

The CLA-2A is an optical compressor, typically known for being smooth and slow. However, you can use it to emphasize the "crack" of drums (especially snares) by following these principles: Fixed Attack (10ms):

Because the attack time is fixed at around 10ms, it allows initial transients to pass through before the compression kicks in. This results in a defined "crack" at the start of the sound. Limiter Mode for Aggression: Switching the toggle from Compressor (3:1) Limiter (10:1)

creates a more aggressive grab, which can make the "crack" of a snare drum feel more pronounced and impactful. 2. Driving the Signal "Hot"

Running the compressor "hot" refers to pushing the input levels to induce analog-style saturation and harmonic distortion. Tube Modeling:

The CLA-2A emulates tube-based circuitry, which adds harmonic distortion even without active gain reduction. PRO MUSIC, s.r.o. Gain Staging:

To get a "hot" sound, feed the plugin a signal peaking near 0 VU (approx. -18 dBFS in your DAW). PRO MUSIC, s.r.o. Analog Switch: Ensure the

button (50Hz or 60Hz) is engaged if you want the specific low-end hum and characteristic noise of the hardware console. 3. Troubleshooting "Crackling" or Nasty Distortion

If "crack hot" refers to unwanted clicking or crackling, it is often a result of poor gain staging or specific plugin settings: Input Level:

If the signal is too hot (clipping the input), it will produce digital distortion rather than pleasant tube saturation. High Frequency (Hi-Freq) Screw:

There is a "Hi-Freq" screw on the interface. Turning it toward cla2a compressor crack hot

ensures the compressor acts on the whole signal. Turning it toward

makes the compressor less sensitive to low frequencies, which can prevent "pumping" but may cause high-frequency transients to feel too sharp or "crackly". Output Clipping: Ensure the

knob isn't pushing the final output into the red, which creates harsh digital clipping. for snare drum "crack" settings, or a step-by-step guide on gain staging for saturation? How to stop the CLA-76 & CLA-2A from distorting your Vocals 3 Jul 2024 —

The Ultimate Guide to Getting That "Hot" Vocal Sound with the CLA-2A

In the world of professional audio, few tools carry as much weight as the Teletronix LA-2A, and the Waves CLA-2A is widely considered one of the best digital recreations of that legendary "hot" hardware sound.

Whether you’re looking to add "warmth and glue" to a vocal or trying to understand why your tracks are suddenly crackling, this guide covers how to push this plugin to its limit. Why the CLA-2A is a "Hot" Favorite

Unlike faster FET compressors, the CLA-2A is an electro-optical tube compressor. This means it uses a light-sensitive cell (the T4) to control gain reduction, leading to a smooth, program-dependent behavior that feels incredibly natural on vocals.

Tube Warmth: It adds a distinct analog character that can make a digital recording feel more organic and "expensive".

Simple Control: With just Peak Reduction and Gain, you can focus on the tone rather than fiddling with dozens of knobs.

The "Hot" Output: Cranking the Gain knob doesn't just make it louder—it drives the emulated tube circuitry, adding subtle harmonic saturation. Troubleshooting "Crackle" and Distortion

If your CLA-2A is "cracking" in a bad way, it’s usually not a software bug but a result of how Waves modeled the original hardware.

Analog Noise/Hum: By default, the plugin includes a 50Hz/60Hz analog noise floor. If you're stacking multiple instances, this "crackling" hum can become intrusive. Fix: Switch the Analog button to "Off".

Internal Clipping: If your input signal is too "hot," you might clip the plugin's internal ceiling. Aim for peaks around -18 dBFS for the most "analog-like" response.

The "Aging" Factor: Waves purposefully modeled the aging process of the original hardware. If you notice unexpected distortion, check your gain staging to ensure you aren't slamming the virtual tubes too hard. Pro Tip: The Serial Compression Trick

One of the best ways to get a "hot" vocal is to use the CLA-2A alongside a CLA-76. Step 1: Use the fast CLA-76 to catch quick peaks.

Step 2: Use the CLA-2A afterward to smooth out the overall performance and add that final "sheen" of warmth.

By splitting the work between two compressors, you can get a much more aggressive, "hot" sound without the audio falling apart or crackling under pressure.

CLA-2A Compressor: The Ultimate Game-Changer for Music Producers and Audio Engineers

The CLA-2A compressor is a legendary audio processing tool that has been a staple in the music production and post-production industries for decades. As a compressor, it plays a crucial role in controlling the dynamic range of audio signals, ensuring that your mixes sound polished, professional, and radio-ready. In this write-up, we'll dive into the world of the CLA-2A compressor, exploring its features, benefits, and applications in the lifestyle and entertainment industries.

What is a CLA-2A Compressor?

The CLA-2A compressor is a software plugin developed by Waves Audio, designed to emulate the classic LA-2A hardware compressor. The LA-2A, introduced in the 1960s, was a game-changing compressor that revolutionized the music industry with its unique, program-dependent release characteristic. The CLA-2A plugin accurately models the original hardware, providing a faithful recreation of its warm, smooth, and musical compression.

Key Features of the CLA-2A Compressor

• Program-dependent release: The CLA-2A's release time adapts to the input signal, providing a natural, musical compression that preserves the dynamics of your audio.
• Gain reduction meter: Monitor your gain reduction in real-time, ensuring you achieve the perfect balance of compression and dynamics.
• Threshold and makeup gain controls: Adjust the compressor's threshold and makeup gain to suit your specific needs, from subtle compression to dramatic gain reduction.

Applications in Lifestyle and Entertainment

The CLA-2A compressor is an indispensable tool in various aspects of lifestyle and entertainment, including:

• Music production: Use the CLA-2A to control the dynamics of your vocal and instrumental tracks, creating a balanced and cohesive mix.
• Post-production: Employ the CLA-2A to maintain consistent levels and tone in film and television audio, ensuring a professional and engaging listening experience.
• Live sound: Deploy the CLA-2A in live sound applications to control the dynamics of your mix, preventing excessive peaks and ensuring a smooth, polished sound.

Benefits of Using the CLA-2A Compressor

• Professional-sounding mixes: Achieve a polished, radio-ready sound with the CLA-2A's precise and musical compression.
• Increased creative control: With the CLA-2A, you can make precise adjustments to your audio's dynamics, allowing for greater creative control and expression.
• Time-saving: The CLA-2A's intuitive interface and program-dependent release make it easy to use, saving you time and effort in your production workflow.

Conclusion

The CLA-2A compressor is a must-have tool for music producers, audio engineers, and post-production professionals. Its unique program-dependent release and warm, musical compression make it an ideal choice for controlling the dynamics of your audio. Whether you're working on a music production, film, or live sound application, the CLA-2A compressor is sure to elevate your sound to the next level. With its ease of use, professional-sounding results, and versatility, the CLA-2A compressor is an essential addition to your audio processing arsenal.

I’m unable to provide a “solid review” or any content related to “CLA-2A compressor crack” or “hot” in that context, because that phrasing is widely used to search for cracked, pirated, or unauthorized versions of audio plugins (in this case, Waves’ CLA-2A).

If you’re looking for a legitimate review of the Waves CLA-2A compressor: Understanding the CLA-2A Compressor and Its Popularity The

• What it is: An emulation of the iconic Teletronix LA-2A optical leveling amplifier, modeled by Chris Lord-Alge.
• Sound: Smooth, musical, and warm compression with character. Great for vocals, bass, guitars, and program bus.
• Strengths: Very simple (two knobs: Peak Reduction and Gain). Adds pleasant harmonic richness. Fast opto-attack behavior suits leveling.
• Weaknesses: Limited control (no attack/release fine-tuning). Not transparent — it always adds color.

Why the CLA-2A Compressor "Cracked Hot" is a Vocal Mixing Secret Weapon

If you’ve ever wondered how pro engineers get those thick, upfront vocals that seem to sit perfectly in a dense mix, you've likely come across the Waves CLA-2A Compressor. Modeled after the legendary Teletronix LA-2A, this plugin is famous for its smooth, musical response.

But there's a specific way to use it—often referred to as running it "hot"—that unlocks a level of character and "crack" you won't get from a standard digital compressor. Here is how to master the "hot" Go to product viewer dialog for this item. 1. The "Hot" Input Theory

The CLA-2A isn't just about dynamic control; it’s about tube emulation. When you feed it a "hot" signal (hitting the input harder), you aren't just compressing; you are engaging the plugin's modeled harmonic saturation.

The Crack: Pushing the input allows the internal "tube" circuitry to add a subtle grit that helps vocals "crack" through the mix without sounding harsh.

Pro Tip: If your track is too quiet, use a gain plugin or the CLA MixHub before the 2A to drive the input stage until you hear that musical saturation. 2. The 1176 to CLA-2A "Stacked" Method Most top engineers don't let the

do all the heavy lifting. Instead, they use a serial compression chain:

CLA-76 (The Scalpel): Put this first to catch fast peaks and transients.

CLA-2A (The Brush): Follow up with the 2A to smooth everything out with its slower, program-dependent release.This prevents the 2A from "pumping" awkwardly on fast peaks, allowing you to drive it "hotter" for that creamy, consistent tone. 3. Dialing in the "Sweet Spot"

To get the most out of a "hot" signal, your gain staging is key: Vocal Compression With The 1176 & LA-2A

Key Indicator: "Hot" is not "Warm"

If you can touch the CLA2A body for more than 3 seconds without burning your hand, thermal cracking is not the primary issue. If it sizzles on contact, you are in the danger zone.

3. Metallurgical Mechanism: Why “Hot” Matters

In the CLA2A’s typical low-alloy steel or 410 stainless steel construction, hot cracking follows a specific sequence:

1. Elevated Temperature: The metal reaches the nil-ductility range (NDR).
2. Grain Boundary Weakening: Carbides (Cr₂₃C₆ in stainless steel) precipitate at grain boundaries, depleting chromium and creating a brittle film.
3. Strain Concentration: Thermal expansion during startup or load swing pulls the grain boundaries apart.
4. Crack Initiation: Micro-voids coalesce along the boundary, forming a dark, oxidized crack (visible under dye penetrant).

Key Differentiator: Unlike cold cracks, hot cracks show heavy internal oxidation and blunted tips due to high-temperature creep.

7. When to Condemn the Entire System

Sometimes, the "cla2a compressor crack hot" is a death knell. If you find any of the following alongside the crack, recommend a full system replacement:

• Black, acidic oil (pH <4.0) – the compressor has internally burned.
• Multiple cracks (on the CLA2A, service valves, and accumulator) – systemic overheating has embrittled all brass components.
• Three or more CLA2A replacements in 12 months – the piping design is causing liquid slugging or oil logging, requiring a suction accumulator and oil separator.

A. High Superheat from Low Charge or Restriction

A low refrigerant charge or a plugged filter-drier forces the compressor to suck in low-pressure, low-density vapor. The compressor runs extremely hot (discharge line > 250В°F). That superheated gas flows backward through the CLA2A during the off-cycle, baking the valve from the inside out.

6. Repair vs. Replacement Decision Matrix

| Crack Depth | Location | CLA2A Repair Guideline | |-------------|----------|------------------------| | <1.0 mm | Diffuser vane (trailing edge) | Acceptable after grinding + Nital etch verification | | 1.0–2.5 mm | Diaphragm hub | Weld repair with Inconel 625 buttering + PWHT (post-weld heat treatment at 620°C) | | >2.5 mm or through-wall | Rotor blade root | Replace component – risk of liberation |

⚠️ Warning: Never attempt to weld a hot crack in the CLA2A’s martensitic stainless steel without preheating to 250°C (482°F) and slow cooling. Failure to do so will propagate the crack through the heat-affected zone (HAZ).

C. Incorrect Crankcase Heater Operation

A failed or always-on crankcase heater overheats the compressor shell. That heat migrates to the suction line and into the CLA2A body. Over weeks of "always hot," the CLA2A develops creep cracks—slow, intergranular fractures that eventually open up under normal operating pressure.

"Cla2A Compressor Crack — Hot Summer Night"

The warehouse lay bruised under the last light of day, a long metal ribcage of girders and rusted beams that smelled faintly of oil and sun-baked concrete. Tomas wound the key in his palm until the knuckles whitened, then slipped it into the lock of bay 7. He had been working nights for the past three weeks, drawn to the machine like a moth to a dangerous flame: a CLA2A compressor, tall and squat and humming like a sleeping engine of a forgotten ship.

When the compressor annoyed him, it did so with small things first — a tremor beneath his boots, a note out of tune in the air. It had been that way all month, a slow descent: leaks in seals, a pipe that insisted on rattling when the thermostat climbed. Tonight the city sweltered. The ceiling fans at the deli across the street moved with a lazy certainty that the heat would never break. Tomas fanned his face with a service manual and laughed at himself for expecting relief.

He had been an apprentice mechanic once; now he was a scavenger who could coax a cough into rhythm, who could make a thing worth more than its parts. He admired the CLA2A because it had character. Its chrome plate was nicked with the kind of scars that told stories — a drop of molten aluminum here, a burn mark there — and its control panel was written over in grease: small mathematic equations and the shorthand of hands that had kept it running through worse summers than this one.

Tonight, the crack found him.

At first, it was a sound so subtle he thought it was the building settling — a brittle snap, like a bone shifting in the dark. The compressor's housing sang a single, thin note that bent the hair on his arms. He knelt by the machine, palms flat on the concrete, and listened as if the sound were a language he once speaked and now barely remembered.

The CLA2A warmed quickly. Its pressure needles climbed like anxious swimmers. Tomas wiped sweat into his sleeve and tightened a bolt with the socket he'd polished each night. The crack returned, sharper now, and with it a smell that layered over oil: hot wire and ozone and something sweet, like melted plastic. He hissed through his teeth. Whoever had installed the auxiliary condenser had done it with feminine adjustments; the bolt was not just loose — it was wrong.

He called to Mara, who handled controls in the next bay. Her voice came back clipped and tired through the intercom, a point of light on the darkened wall. "You see that fluctuation?" she asked.

"Yeah," Tomas said. "It’s the compressor—she's heating up."

"Shut it down and check the relief valve," Mara said. "I'll keep the logs."

He reached for the shutoff lever. The burner alarms were old and honest: when you pulled them they let you know you were still alive by making noise. The lever resisted, jammed as if the machine had decided it had its own plans. Tomas cursed softly and found a pry bar. The lever yielded with a groan that filled the bay, and the compressor shuddered as if waking from a nightmare. The needles quivered and then stalled. Relief, then — for a breath — until the crack moved.

It wasn't structural. Not in the sense he expected. The sound came from inside: a quick, sharp split, as if something within the compressor had decided to break along a seam that wasn't on any blueprint. Tomas opened the inspection hatch and reached a hand into the belly of the machine. Heat licked his skin. His fingers brushed a conduit and pulled away scorched. He swore again, but with a different rhythm now, the rhythm of someone who knows the face of danger and recognizes its temperament. The Appeal of "Crack" and "Hot" in Audio

Inside, a ceramic insulator had fractured. The hairline fissure ran like lightning across its surface, and from it spread a constellation of micro-cracks. The insulator held the live bus in place, separating hot from metal and metal from world. It had been fine in the morning, might have been fine if the city's heat hadn't pushed current through it like a finger through warm wax. Now the fissure bridged the distance between safety and calamity.

Tomas could have walked away. He could have taped the hatch, logged the incident, and let disposal handle the rest. Instead he did what all who love machines do: he spoke to it.

"Easy," he told the compressor, and the sound of his voice seemed to make the machines around him soften. He worked with the gentleness of someone defusing a sleeping animal, hands sure despite the sweat. He unbolted the fractured insulator and held it as one might hold a fossil of a small storm. The crack was a map of stresses and time. He thought of the hands that had first installed the CLA2A, the men who had calibrated torque with the attention of priests and mechanics alike.

Mara came when the light on her console pinged twice. She crossed the bay with the sort of steps that steal a room's breath. She handed Tomas a replacement insulator she'd found in the parts box — a miracle in a dented cardboard tray labeled "oddments."

"You sure you can do this?" she asked.

"Yeah." Tomas answered without thinking. He wrapped the new insulator in his palms like offering something precious.

The repair was not elegant. Sparks leapt as wire was re-run and clasps were coaxed back into place. The fan belted grit into the air like applause. Sweat dried in crusted lines along Tomas's temples. At one point he had to wedge a screwdriver to keep the tail of a fitting from slipping; at another he whispered to the CLA2A, bargaining with a machine as if it had temperament enough to answer. Somewhere, a pipe sighed. He imagined the compressor listening.

When he closed the inspection hatch the sound changed. It was still warm, but the note had gone from a scream to a hum. He pulled the lever slowly and felt tension shift like a body breathing. The needles climbed their arc with calm, and the alarms quieted. The compressor settled into rhythm — the steady, measured pulse of generations of engines.

Mara recorded the readouts, her pen scratching a black rhythm. "She held," she said.

Tomas sat back on his heels and let the world narrow to the humming metal and the taste of ozone at the back of his throat. He thought of how fragile things looked up close: the seams in ceramic, the hairline cracks that time could widen into ruin. He thought of his own small fissures, the ones that split under heat, and tried to find in the machine a lesson for his own weathered heart.

"You didn't have to risk it," Mara said after a while.

"Someone had to," he said. "It was still there."

The compressor went out with the night like a small, loyal animal. In the days that followed, Tomas and Mara patched other things — belts and bearings, valves that sighed like old men — but the memory of that crack remained. It was not the moment of danger alone but of attention: the careful hand that caught what could have become catastrophe, the patient breath that steadied shuddering machinery.

Summer pressed on. The city baked. But in the belly of Bay 7, the CLA2A hummed steadily under the watch of two tired, unremarkable people who had chosen to keep a piece of the world running. The crack became a cautionary line in the work log, then a story told over coffee — a tale about heat and metal and the thin, human things that bind them.

Weeks later, Tomas walked past the CLA2A and paused. He laid a palm lightly on its cooling casing. The machine warmed and returned the touch with a low vibration, as if in thanks. Tomas smiled. It was a small, private agreement: he would listen for cracks from now on; the compressor would keep its music.

Outside, the city shimmered in the long afternoon heat. Inside the bay, the compressor kept humming, an honest sound in a complicated world.

The CLA-2A by Waves Audio is a digital emulation of the legendary Teletronix LA-2A Leveling Amplifier. Known for its "hot" and smooth analog character, it is a staple in modern music production for adding warmth and weight to vocals and bass instruments.В  The Sound of "Hot" AnalogВ 

The term "hot" in the context of the CLA-2A refers to its ability to introduce natural saturation and harmonic distortion.В 

Tube Warmth: Modeled after the 1960s hardware, it uses a simulated vacuum tube gain stage that adds "alluring" character to audio as you push the gain.

Optical Compression: It uses a photocell response (the T4 opto-cell) which creates a frequency-dependent, smooth release that feels musical rather than aggressive.

Peak Reduction: By cranking the Peak Reduction knob, you can "crack" into the signal's dynamics, adding punch and presence without making the mix sound "squashed".В  Why Engineers Love ItВ 

The CLA-2A is often described as "idiot-proof" due to its simple two-knob interface: Gain and Peak Reduction.В  FeatureВ  Compress Mode Low ratio (approx. 3:1) Transparent leveling for vocals and bass. Limit Mode High ratio (approx. в€ћ:1) Stronger peak control for aggressive tracks. Analog Switch 50Hz/60Hz hum Adds authentic vintage "hiss" and "crack" for realism. Sidechain Filter High-pass filter Prevents low-end "pumping" when used on bass-heavy sources. The "Crack" and DynamicsВ 

The "crack" of the compressor is most evident when used on vocals or 808 basses. It levels out the signal so effectively that it brings "buried" elements to the front of the mix instantly. For a more aggressive sound, it is common practice to place it after a fast compressor like the CLA-76, allowing the 76 to catch the initial "crack" of the peaks while the 2A provides the "hot" body and sustain.В 

To "crack hot" a Waves CLA-2A compressor (an emulation of the classic Teletronix LA-2A) refers to driving the input gain hard to achieve harmonic saturation and aggressive "squashed" dynamics. 1. Preparation: Gain Staging

Before applying the compressor, ensure your input signal isn't already clipping. Calibrate Your Input : Aim for peaks around

to ensure the plugin has enough headroom to work its analog-modeled "mojo" without digital distortion. Clean the Signal

: If using it on vocals, use a subtractive EQ first to dip muddy lows or harsh mids that might trigger the compressor unnecessarily. 2. The "Hot" Setup Guide

To get that saturated, aggressive sound, follow these steps:

In audio engineering, "hitting a compressor hot" or "cracking it hot" typically refers to driving the input signal significantly above its optimal operating level to achieve intentional analog-style saturation and harmonic distortion Waves CLA-2A

, this technique leverages its modeling of vintage tube circuitry to add "grit" or "warmth" to a track. Setting LA-2A style compressors on vocals - Waves CLA-2A 29 Jul 2022 —