SSL THE BUS+ Compressor

If there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor. From the very first commercially released SSL 4000 B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has always been the stalwart of the console centre section.

For many of the world’s top engineers and producers, the Bus Compressor continues to be the most relied upon processing tool for making mixes sound bigger and more complete, with drive and energy from adding that legendary SSL glue and punch.

With THE BUS+, Solid State Logic have been on a mission to create the ultimate and most versatile incarnation of the Bus Compressor ever. The bedrock of the design remains faithful to the original circuit and using this as the foundation, they’ve built upon it, adding several unique colouration options and advanced processing tools. If you need it to be clean and punchy like the SuperAnalogueTM 9000 Series version, it can be. If you need it to be gritty and grungy like an early 4000E, it can do that also. Or if you need over-the-top, saturated parallel compression for the drums, THE BUS+ has got you covered.

THE BUS+ circuit design not only utilises high-grade components, such as the 2181 THAT VCAs in the audio path for superior analogue performance, it is also incredibly flexible, offering four modes of operation and 3 distinct compression colouration options that can be combined to perfectly suit the genre you’re working on. As if that wasn’t enough, THE BUS+ features an all-new Dynamic Equaliser, a Transient Expander and comprehensive connectivity and routing options.

• 4 modes of operation - Classic Stereo, Σ S/C Stereo, Dual Mono or Mid-Side
• External side-chain inputs and sends
• The authentic SSL Bus Compressor circuit
• LOW THD Mode reduces low-frequency distortion caused by compression
• F/B Mode alters the compression characteristics for a more 'relaxed' style of compression
• 4K Mode - single VCA operation with variable harmonic distortion to bring some 'grit' and 'grunge' to the mix
• Negative Ratios - for creative pumping effects and control of particularly loud signals
• New Attack and Release options, including the new 'Auto 2' setting
• MIX control for instant parallel compression
• Moving-coil gain reduction meters
• Unlockable Transient Expander

• Powerful 2-band analogue Parallel Dynamic EQ - the D-EQ
• Compress/Expand modes
• 3 choices of time constants for each band - Nominal, FAST or AUTO
• 16 selectable Frequency points per band
• Adjustable Range control per band from 0.5 dB to 15 dB
• HF band can be switched to Bell shape, with selectable frequencies covering High-Mids and Highs
• Frequency band static 'make-up' gain for LF and HF bands (Stereo/ Σ S/C Stereo) or LF band (Dual Mono/Mid-Side)
• G-Series mode changes LF filter to be 2nd order with degree of undershoot/overshoot
• Tri-colour activity LEDs to indicate D-EQ activity
• Individually bypass-able bands

• 100% analogue circuit, controlled digitally using stepped front-panel pots
• Huge +27.5 dBu headroom
• Configurable processing order - Bus Compressor pre D-EQ (default) or post
• CH 1 IN and CH 2 IN buttons for global bypass
• Settable Operating Level - 0 dB (nominal), +10 dB, -5 dB
• Sleep and Auto-Sleep modes
• Precision MDAC-controlled MAKE-UP Gain with two ranges - 1 dB or 0.5 dB steps