Warm Audio WA76-A and WA76-D2 review: The most versatile ‘76-style compressors to date?

The Warm Audio WA76-A and WA76-D2, photo by press

Single-channel models: $699 / € 749 / £629
Dual-channel models: $1199 / €1299 / £1159
warmaudio.com

Warm Audio’s WA76 compressor/limiter has been performing stellar dynamic control duties in studios worldwide since its launch way back in the before-times of 2014. Indeed, your MusicTech correspondent here was one of the first to sing its praises; so much so, I bought a pair of them.

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Now, WA head honcho Bryce Young and his team have expanded the range to include four new models. Two of them are inspired by traditional mono 1176s, while the other two have two channels. Of course, all of the WA76s are based upon the classic Urei 1176, launched in 1967 and revised several times throughout the 1970s and beyond.

The WA76-A (mono) and A2 (stereo) emulate the sound and style of the original ‘67 ‘Blue Stripe’ model, while the WA76-D and D2 mimic the ‘Blackface’ Rev D version from the early 70s. As the mono and stereo units of each model share the same sonic signature, I asked to check out the single-channel WA76-A and the dual-channel WA76-D2.

Both models are referred to as a Limiting Amplifier on the facia; however, the ‘Blue Stripe’ A model is described as a vintage-voiced discrete FET compressor, while Rev D is a clean gain discrete compressor.

In practice, this means A models offer the more obviously coloured, harmoniously saturated and aggressive performance of the original late 60s units. It’s a gloriously vintage vibe that seems to beef up audio processed through it, much like the early solid-state consoles of the era.

By contrast, D revisions sound cleaner, more transparent and, significantly, operate with less self-noise. It’s those attributes that made original Rev D units so revered from the mid-70s onwards, yet with modern ultra-clean recording mediums, the more characterful Blue Stripes are enjoying a resurgence in popularity.

Internally, each model has ‘built-to-vintage-spec’ input and output transformers from CineMag, with the Blackface models incorporating a lower-noise preamp stage.

For those unfamiliar with the classic mono 1176 design, these latest single-channel incarnations feature all the dynamic control of historic units, while incorporating extra features to facilitate modern recording practice. As ever, there are rotary controls for Input and Output as well as Attack and Release. Four push buttons allow the selection of compression ratios (4:1, 8:1, 12:1 and 20:1) and of course, the famous ‘all buttons in’ mode that engineers love for a smashed drum sound, for example. New to these units are selectable 10 kΩ input impedance, to better match for modern interfaces, a variable sidechain high-pass filter that operates between 30-300 Hz and a Wet/Dry mix control, which is particularly useful for parallel compression when using heavier compression.

A large back-lit VU meter shows either gain reduction or output level (+8 dB or +4 dB), while around the back, Input and Output can be used with either XLR or balanced jack cables. Stereo Link sockets and External Sidechain Access (for the single-channel units only) are also located there.

Dual-channel versions manage to squeeze two channels into the same-sized 2U chassis as the mono models, so if space saving is important, this is a great cost-effective way to get stereo 1176 dynamic control without using up double the rack space required for a linked mono pair.

Control knobs on the WA76-A, photo by press

There are three ways these two-channel models can be configured, two of them for stereo use and the third for dual-mono use on two separate sources. As there are no external side-chaining options available on these models, the way the compressor works with stereo or dual-mono signals is controlled by a toggle switch on the front panel. In standard stereo mode, the compressor reacts as you would expect, providing even compression determined by the fastest attack and slowest release settings. With the A>AB mode engaged, the left channel also controls the response times of the right channel.

A/B mode is for dual mono processing, however as there is only one set of ratio controls on the unit, you can’t select different compression ratios for each mono source, although you can of course set the response times to suit the separate input signals as well as independently adjust the input and output levels.

Used on a variety of mono and stereo signals, each model works to its own strengths. Although the Blue Stripe is a little noisier in operation, it does impart a real, classic analogue sound, thickening things up and adding unique sonic colour even with little (or no) compression taking place. Dialling up the input gain injects a lovely touch of saturation that mimics that slightly overdriven sound often heard on recordings from the late 60s. For tracking electric guitars, bass and hard-edged vocals, Bluey is hard to beat if you want hot, gritty glue. It’s also brilliant at breathing life into digital synth sounds that might otherwise appear flat and sterile.

Control knobs on the WA76-D2, photo by press

On the other hand, Rev D is more transparent, but without losing any of the grippy compression characteristics I love about ‘76 type units. It does add a noticeable degree of analogue thickening to audio and, if you drive the unit hard with high input levels, welcome harmonic distortion provides a larger-than-life sound.

Used on a stereo drum bus, the sound pumps rhythmically, with little self-noise even at extreme compression levels. Here, the Wet/Dry control comes into its own, allowing for a continuously variable blend so that you can precisely achieve the right amount of parallel compression without the need to set up additional channels. This is a wonderful feature not available on vintage units.

Both the WA76-A and WA76-D (mono or dual-channel) exhibit the classic compression characteristics we all love about this type of unit. The many available response times that can be dialled in makes them fantastic dynamic controllers that can handle any audio signal with ease.

If you’re after an unmistakable vintage sound with bags of character and don’t mind a touch of extraneous noise, the Blue Stripe ‘A’ models are the ones to seek out. For a cleaner, less coloured and slightly more ‘hi-fi’ sound that still possesses that authentic ‘76 style from the mid-1970s, the Rev D models are hard to beat.

Warm Audio’s superb build quality and value for money is a given these days, so the additional flexibility of switchable impedance, high-pass filter and the Wet/Dry control makes either version a must-hear audition choice if you’re in the market for a classic 1176-style compressor.