Do you really need a distressor?

Posted: Fri Jan 18, 2002 7:15 pm

OK if you get a 1176 (say a Purple Audio) and an LA2a type comp. (say a Manley El Op), and you have the RNC and an Avalon 737, do you really need something that is trying to emulate the things you have? I know it's another part of your pallet yada yada yada. Seems the only thing I'd need it for is the harmonic distortion stuff but is this really better than real tubes and transformers?

Posted: Fri Jan 18, 2002 7:39 pm

No other true parametric compressor I have found provides as much potential coloration as a distressor. I find the Distressors essential to my kick, snare, and electric guitar sounds even when tracking through a transformer coupled preamp (I'm going to digital). Every other source I could live without it on, but not those three. I have a pair of Manley El-op's (they are in my voxboxs, which I am letting go BTW), Millennia STT-1 (essentially w/ a TCL-2 opto), a pair of UA 1176's, a pair of RNC's, the EL-8's, and the UAD-1 card (which is the best sounding plugs I have heard). A pair of Crane Song Trakkers would complete my list but they seem to be more for 'hi-fi diversity' rather than 'slam & color'....which would be a very welcome compliment to the arsinal. I record mostly guitar based rock and roll (Mesa Amps & hard hitting drummers), so I need the EL. If you rarely or don't ever do that, I would say the 1176's (get the Purple BTW, just for the sake of supporting the guys that really deserve it) will provide more than enough color...maybe coupled with a Crane Song HEDD or FATSO Jr. Lots of choices. I hope this helped a bit.

Posted: Sat Jan 19, 2002 12:13 am

I dig the kick / snr stuff, but why is the EL-8 essential for el. Gtr sounds?
Don’t gtr amps provide more than enough coloration control?Peace,Zooot.

Posted: Sat Jan 19, 2002 3:22 am

<blockquote>quote:<hr>Originally posted by Zooot:
Dont gtr amps provide more than enough coloration control?<hr></blockquote>Not enough for my tastes. It becomes really apparent when you listen with and without the coloration. Basically I try to get it to emulate tape as much as the box can. Nothing sounds like guitars to tape (or some close approximation containing some musical harmonic distortion & compression), and even an all tube Mesa or Sovtek to digital still lacks when put to plain digital. I hear it, and the guitar players at the studio really hear the difference too. YMMV.

Posted: Sat Jan 19, 2002 5:48 am

Another vote for the Distressor. I have a pair and find them to be the most useful and flexible outboard gear in my racks. While my Manleys, 1176, TubeTech, dbx, Drawmer and joemeek comp/limiters each have a unique sound and applications, I've found that the EL-8 can emulate both the dynamic effect and coloration of all of those. If I could have just one pair of compressors, it would be Distressors.

Posted: Sat Jan 19, 2002 7:31 am

I'm guessing what Nathan likes about Distressors on electric guitar is the third harmonic distortion they can generate, which tends to make things sound brighter, airier, possibly more present. Master volume type guitar amps, as are usually used these days for harder rock styles, lean on triode preamp distortion, which is predominantly second harmonic in character, wheras old non-master amps of the "classic rock" era drove power sections into distortion, and the push-pull pentode circuits introduce some odd harmonic distortion into the mix (think Marshall Super Lead). Additionally, tape saturation is 3rd harmonic distortion, so it can give a bit of a tape emulation effect. Now, if Nathan is leaning on the second harmonic distortion, my theory is shot to hell, but it seems like a good guess.Bear

Posted: Sat Jan 19, 2002 11:02 am

How's this for a different opinion. I don't use distressors all that much, and recently sold two of the four distressors in my studio.In general, they are better for *smash* than for subtle/natural. I find them great on overheads and room mics and not bad on acoustic guitar, bass and snare. In R&B/rap mixes, they are great on the sine-wave parts. Most of the time though, I'd rather use 2" tape and the classic comps the distressor manual claims to emulate.It would not be my 'desert-island' comp if for no other reason than I do not particularly like it on lead vocals.Jon

Posted: Sat Jan 19, 2002 11:10 am

<blockquote>quote:<hr>Originally posted by Bear's Gone Fission:
I'm guessing what Nathan likes about Distressors on electric guitar is the third harmonic distortion they can generate, <hr></blockquote>Actually Bear you are totally right...and it's not subtle either. I'll do Dist 3 w/ link ON. I it is set right up to the point where you hear the crackly effect from it being overkill, and then roll it off so that never happens. It's never been too much on any project and it's been sucessful time and time again. As a matter of fact, I turn it off just to see what the bands will say and usually the reply is "what happened to the guitar tone?". It's been a lifesaver, but little things like that can go a long way towards making a production really sweet instead of just average IMO.

Posted: Sat Jan 19, 2002 11:21 am

I love my Distressors! Sure, it'll kinda emulate all those other comp's, but IMO that is NOT the reason to have 'em around. I use mine primarily as effects boxes, to do the things that NO other compressor will do. NUKE mode? Fuggedaboudit. Plus the distortion modes are a godsend for those of us in DAW territory. I agree with Jon, the Distressor probably wouldn't be my first-call comp for vox... but for many sources, when "that sound" is called for, it is my magic box. Love 'em.Hey Nathan, why are you selling your VoxBoxes? I have two of those and love the hell out of 'em! Especially since you're a DAW guy too, I woulda thought that the Manley creaminess would be the cat's meow especially if, as you say, you're trying to get "tape emulation"... IMO, that buttery Manley flavor goes a long way towards phattening up any source on a DAW! And, I reckon the VB pisses all over the STT-1 (unless you're doing audiophile jazz or classical recordings... but you're a rock'n'roll guy right?) What the dillio?!?

Posted: Sat Jan 19, 2002 12:07 pm

<blockquote>quote:<hr>Originally posted by EJolson:
I reckon the VB pisses all over the STT-1 (unless you're doing audiophile jazz or classical recordings... but you're a rock'n'roll guy right?)<hr></blockquote>After you have the Tranny and the tubes in on the STT-1 the coloration is just about equivalent to the Manley, but there is a fundamental difference in tone between the two that I find much more to my liking on the MM. Don't stereotype the MM STT-1 as only being the same as the solid state HV3B...it does have that potential because it contains that very circuit. But no other piece in their line has a transformer in the path, and it makes a difference when producing thick low frequency distortion as compared to their pristine purely solid state line. Fortunately the STT-1 is only 65% the cost of the Voxbox, which makes much more sense to me considering I personally prefer the STT-1. The STT-1 is much more open sounding & versatile even with the extra coloration, which for me, is a means to the ends of what I hear in my head. It's infinitely more useful to have the choice of flavors, than just one. Also I don't use the Voxboxs as a stand alone unit ever, and rarely if ever use the pre's. A transformer coupled pre will go in front of the VB, then usually to the elop/eq section of the VB for just a touch of that, and then to the Distressors or maybe an 1176 (even if the attack is off just for the tone benefit). I don't rely on just one item in the signal path for my sound (for r'n'r) and the magic lies in the combo of different pieces in a series. The STT-1 can easily take the place of the Voxboxs and has the added benefit of more parametric control of the EQ and Elop compression (almost fully parametric on the Millennia, where as the Manley has the more traditional fixed 10:1 non linear limiter and 3 band boost-cut-boost Pultec...I'm not even touching the front section with the pre and 3:1 elop which means I have half of both VB's not being used...do the math). To each his own I suppose, that's what makes this fun.

Posted: Sat Jan 19, 2002 4:40 pm

i'm having kik trouble on my distressor...tips/ratios/settings?rok.--o

Posted: Sat Jan 19, 2002 7:26 pm

Start with 6:1, attack @ 5, release @ 0. If you want more percussiveness (ie transient) go to a higher # with the attack. If you want less punch and more sustain go to a higher # with the release. The ratio really depends on how consistent the drummer is, and the higher the ratio the less apparent low end. I personally like 6:1 though...it's tight. It's great on Samples too, but usually the ratio is lower and the attack is on 10 (slowest) because there is no variation of volume in a single sample. You can really slam it too with the gain reduction, just listen carefully to what it does in the context of the whole kit, and how it effects the bleed (if any) going into the kick mic. In other words use your ears not your eyes. Mess around with the side chain functions...I usually leave both filters off for kick unless it's a really fast band with busy kick and then I'll usually compress just the mids. Good Luck!

Posted: Sat Jan 19, 2002 8:39 pm

Nathan
does the "link on" button have any effect when using just 1 distressor(mono... to be redundant).Rivers
(still learning how to use my distressor)

Posted: Sat Jan 19, 2002 8:46 pm

Oh yeah

...somehow it allows you to get more available harmonic distortion above and beyond the regular Dist 3. From my experience it seems to up each one to another level...Distortion 2 goes into the red, Dist 3 just cranks. I usually find it to my liking to have the link on...maybe I'm just crazy <img src="graemlins/retard.gif" border="0" alt="[rasta]" /> .

Posted: Sat Jan 19, 2002 9:11 pm

Damn
that was a quick reply!
I've played around with the detector and audio buttons but haven't got a solid handle on them yet,will try the link suggestion.
Do you have any quick and dirty starting points (for the detector/audio buttons)for Gtrs,Vox and drums.
I've been having good luck with the opto setting for vox.
Rivers

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