Six sturdy detented knobs click in the “usual suspects” parameters – but with the addition of a selectable highpass sidechain frequency. Housed in a sturdy black 1U steel chassis, the stereo-only unit keeps controls to just a dummy-proof set of bare necessities. Though the Bus-Comp may have some British DNA, a quick look reveals inside and out reveals as many similarities as it does differences. Priced at an almost-TOO-reasonable MSRP of $699, this is designed to do “that thing”… and it does the crap out of it. Strapped across a stereo mix or subgroup, the Bus-Comp delivers a first-class, totally analog path of gluey squish, squeeze and polish. That’s the sound that Austin, TX-based Warm Audio has set out to bring within reach of every even halfway-serious studio.The Warm Audio Bus Compressor is exactly what it says on the tin. And, for once, every member of the band stops saying they need to be louder (for an hour or two at least). Untamable Kilimanjaro-esque peaks become a bunny hill. Elements that won’t “sit right” suddenly fold their napkins politely in their lap. Often referred to as “the glue”, this design has an almost mythical ability to put meat on the bones of even the skinniest of mixes. Though certainly not the only high-end compressor available, it’s rightfully earned its place as many engineers’ immediate “go-to”.
CYTOMIC THE GLUE ALTERNATIVE PROFESSIONAL
Warm Audio’s latest entry in the world of analog compression takes inspiration from one of professional recording’s most famously used pieces of hardware: The stereo bus compressor from Solid State Logic’s large format consoles. We’re pretty fond of our writing but for the illiterate or impatient, Click HERE to get straight to the audio at the bottom of the review.
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