STRENGTHS: One knob operation. True hardware bypass. Independent limiter. Gain makeup.
LIMITATIONS: Requires the right input for proper gain staging. Meter less useful than standard VU.
Garrett Haines of Treelady Studios, “Talk about vibe: The Komit comes in an Army issue ammo box, has G.I. Joe green–rubber knobs, and a level meter that looks like the control panel from a missile silo. The guys didn’t like the meter, but I did – it fits with the unit’s personality. Instead of ratios, there is a compress knob that has images of a circle that gets more squashed and pancake–like as you go clockwise. But don't think this is all sizzle and no steak. Both Kevin Burgen and Travis McDaniel have years of audio and tech work on their résumés, including working side–by–side with Mr. Rupert Neve.
The Komit is a feed–forward compressor and limiter. Simply set the level, choose one of three preset (fast, med, slow), pick a compression level, and you’re ready to go. However note that the Komit requires a reasonably hot signal for best results, so be prepared to drive this box hard — but that’s expected, because this is a macho compressor. You know the type: just a man, some coffee, slab of bacon, a six–shooter and his horse.
In fact if John Wayne were a compressor, he would have been the Komit: “Look guitars, I need you to plunk yourself right here in the mix and stay there!” I would describe the sonics as vintage, thick, Neve–esque, rich, and slightly aggressive; it’s great on guitars, bass, backing vocals, synths, and drums (individual or bus). The Komit is not as clean or hi–fi sounding as the AnaMod, but it doesn’t want to be. If you work with rock and roll, you want a Komit. Or two.”
Still not convinced? There’s even more…