Warm WA-1B REVIEW: The accessible Tube-Tech CL1B alternative?
3,9 / 5,0 | 
In this Warm WA-1B REVIEW, we look at the latest recreation from the Texas company. Is this the accessible Tube Tech CL1B alternative? We take this legendary tube compressor circuit for a test drive…
Warm WA-1B REVIEW
Here at Gearnews, we’re unashamed fans of Warm Audio’s accessible audio gear. This year alone we’ve reviewed everything from mic preamps to guitar pedals from the Austin, Texas-based brand. We’ve loved everything sent our way, so far; the concept of recreating unobtainable vintage gear at an accessible price point is an easy one to get behind. Warm Audio’s latest release, the WA-1B offers a slightly different proposition, however…
If you know your outboard gear, then you’ll likely immediately recognise the source of inspiration for the WA-1B. The Tube-Tech CL 1B tube compressor has become a studio staple; in particular a “go-to” unit for Rap, Pop, and RnB vocal processing. Introduced in the late 1980s, and manufactured by Lydkraft, the CL1B has been hugely successful and is still in production.
Clone Compression
If the original unit is still in production, then why do we need a clone? That’s an entirely valid question and one that’s linked back to Warm’s mission of product accessibility. The Tube-tech CL 1B is a built-to-order unit with a substantial price tag. What if you need that CL 1B character but you need it NOW? Equally, what if the price tag of the boutique original seems wildly out of reach?
Well, enter the WA-1B; a circuit that promises sonic authenticity to the original unit, and in a unit you can buy off the shelf, for a third of the price of the original. Sounds like a tempting proposition doesn’t it? But does the WARM Audio clone stand up to the Danish-built original?
Well, in terms of component choice and build quality, the initial signs are good! For example, you’ll find premium Lundahl transformers used in the input and output stages. Right out of the box, this feels like a quality unit. The rotary controls have lovely, tactile, detented potentiometers; equally, the three-position selector switches all click into place in a very solid way.
Audio Tests
Ordinarily, when it comes to things like mic preamps and compressors, I rarely need to read the manual. In the case of the WA-1B however, I would recommend spending five minutes reading through it. Unless you’ve previously used a CL1B then there are aspects to this compressor’s operation which are unique.
With no audio passing through the device and my monitor speakers turned up loud, I could detect no hiss whatsoever. There was a faint 50Hz hum when the unit was engaged, but for a tube-based device, self-noise seemed very low. In practice and in the context of a track it won’t cause you any issues whatsoever.
Vocally Consumate
The original CL1B is a legendary unit for use on pop and hip-hop vocals; as such I was keen to try it on a vocal track I’m currently working on. Once I had my input and output gain settings dialed in, I experimented with various attack/release combinations. To my surprise, the “instant win” was simply setting the attack/release time to the “fixed” position. This utilises the natural attack/release characteristics of the opto coupler, and on this vocal track, it was instantly perfect.
I’d describe the character of this compressor as being largely transparent, yet with a gently smoothing quality. It has a punch to it that really helps vocal tracks sit forefront and centre. It’s probably no surprise the original Tube-tech unit is such a go-to unit for pop vocals. For example, Lady GaGa reportedly travels with a vintage U47, Neve 1073, and a CL1B as her permanent vocal tracking chain.
While I didn’t have a session “live” at the time of writing, I can see this “fixed” position setting being equally useful for tracking vocals initially. Especially if you’re self-producing and recording, it’s invaluable to have a “just sounds great” position on the knobs!
Audibly Accomplished
Optical compressors, especially tube-based optical compressors, are often described as being quite “slow” or “gluey”. The WA-1B is capable of those results but is also a little more versatile. It’s quite surprising how fast the WA-1B can compress transients; this is another reason this circuit is a favourite on rap vocals. However, I wanted to see, as part of this WARM WA-1B Review, if it would be useful on other sources.
Running a DI’d bass guitar through the WA-1B resulted in similar “thickening” effects as with vocals. The WA-1B is never going to be as fast or aggressive as a VCA-based compressor (such as an 1176) but I can see applications on bass where it would be useful. I can imagine the WA-1B sounding great on jazz-style upright bass for example. Quick enough to catch the transients, but still rounded enough to bring out the body of the signal.
Equally, I was intrigued as to what the WA-1B would sound like on drums. With a fast attack and fast release, this circuit’s characteristic punch was immediately obvious. It’s potentially possible, using the multiple selectable side-chain busses to group multiple WA-1B compressors together. I would love to hear a pair of these strapped across drum room ambient mics. Juggling the release time it’s quite possible to get the WA-1B to rhythmically “pump” in a very musical way to the programme content.
Good Value?
I would imagine that a significant proportion of WA-1Bs sold will only ever end up being used for vocals. Judging from my hands-on experience of the unit, I can understand why. Slapping the WA-1B on vocals instantly puts the vocal forefront in the mix, without being harsh or obtrusive. In this role, it absolutely excels and will become my new “go-to” unit for tracking and mixing vocals.
Is it a hugely versatile compressor? Hand on heart, I’d say no. But that’s not necessarily a bad thing when you’re looking to purchase a piece of hardware. The WA-1B has its own unique character and it’s one that suits particular sources extremely well indeed.
Is it good value for money? The CL 1B is a widely recreated piece of hardware, with Softube’s officially licensed version available for a fraction of the cost of this hardware reissue.
A quality piece of hardware, however, will be with you for life! As with all the WARM Audio gear I’ve reviewed I see the WA-1B as being superb value for money. Great build quality, superb sound quality, and a price that’s accessible enough for working musicians and professionals alike. Whatever is WARM going to come out with next?
More about the Warm Audio WA-1B:
- All about Warm Audio
- More about Compressors
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- WARM Audio WA-1B: WARM Audio
- WA-1B circuit board: WARM Audio
- WARM Audio WA-1B controls: WARM AUDIO
- WARM Audio WA-1B BACK PANEL: WARM Audio
- WA1B_widget: Warm Audio
- Softube Tubetech: Softube
- pb: Plugin Boutique
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