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.

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.

Originally posted by Zooot:
Dont gtr amps provide more than enough coloration control?

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.

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.

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

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,

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.

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?!?

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?)

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.

i'm having kick trouble on my distressor...tips/ratios/settings?

rok.

--o

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!

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)

Oh yeah :D ...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.

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

See a few posts above for drums. The high pass functions are good for cleaning up snare. It rolls off everything below 60 cycles. I like the opto setting a lot for electric guitars also (10:1 attack 10, release 0). Dist 3, Link ON. I don't usually push it past -4 on peaks, but you may like more (or less). I haven't really messed around with it on vocals...I tried it once and it just seemed too thick (maybe the VCA?) for brighter/light/airy sources (ie voxs, overheads, acoustic guitars) which usually get sent to the 1176's. The EL-8 has got a really fast grab (but so does the 1176) so I would think Elop would work well, although the 10:1 ratio seems a little steep (although the attack/release on the elop is non linear so it will react differently depending on how hard you gain reduce). I would probably do a little light elop when tracking for just the peaks and then maybe a 2:1 with a faster attack, and slower release on mixdown.

Hello everyone,

Who uses the Brit Channels and when?

Also , why is it that the Brit Channel change the Led indicators responce to bare minimum?

Lastly , does any body use the Distressors for 2-bus mixdowns?

Cheers you all!

Mad John
Zythum Studios

"The presaent day Composer refuses to die!"
Edgar Varese - 1921

Hi Bear ,

Yes I did have the mod done on the MU and I must say I am quite pleased to say the least!

The bass responce has more depth coupled with clarity that is so improved that I cant recomend the mod for you Manley MU users enough!

A tighter less foggy result can be expected.

** I did not think many peolpe used the Distressor for mixdowns (would seeem to brite and harsh in most cases I would think!)

Mad John
Zythum Studios

"The present day Composer refuses to die!"
Edgar Varese - 1921

Originally posted by Bear's Gone Fission:

Lastly , does any body use the Distressors for 2-bus mixdowns?

Damn few. Stereo linking is not their strong suit, and a lot of folks find it extreme for two bus.

Bear

Is this what most people think? Is the "stereo image link" really not up the job???
:(

Renie

Hey Nathan,when using a dist. on Kick,snare and guit. do you do them while Tracking? that would require 3 units. Or do you run them through after you have them recorded...Thanks and are they the orig. or the brit mods.....Mike

Hi Guys,
I have most of the compressors being discussed and I have to agree that the Distressor is a great tool
for interesting coloration. I would never strap them across a 2-bus unless you're specifically looking for a pumping effect or something unusual.
The Vari-Mu mod has moved the Vari-Mu back into the 'first choice' catagory. It can slam and pump or become very open and transparent with a much better
airy high end. Is airy a word? It is now.
It also does it's traditionally great job as a mix compressor. Get the mod.
If you're looking for 'saturation' maybe a couple of Fatsos would be better.
If you want absolute, heavy handed smashing - try the Demeter. That thing can be brutal.

Spoiled with the choice of several different compressors I tend to try the Distressor - last. But if it wins the shoot out - on it stays, I jab at the various settings and just settle on one....

But I have a theory, I believe the Distressor to be quite 'deep' as a unit... lots to get into.

Shamefully I haven't gotten into it much... I have found the distortion settings have rarely made one (real) IOTA of difference to the signal.

:)

I agree with you Jules. The Distressor requires more futzing almost randomly until you hit something great. It might be more for tech heads and I tend to like to work fast. I have to admit that on many occasions, it's saved my ass.
As for tracking with a ton of compression, I agree again, why? I recently mixed a well known blues diva. Her performances were stunning and the band played well (a bit too much beer in the mix but it's blues) I was shocked when I brought up the kick and snare and found them squashed beyond comprehension. Hard to undo so now we're fixing instead of mixing. Unless certain, I avoid overcompression in tracking because it just makes someone elses life miserable.

Just to update. I started this thread quite a while ago and have sense bought and sold a Distressor. It was good but not my favorite on anything so I didn't feel is was worth keeping for me. I tried the Fatso without high expectations and it really through me. I think that thing is great, particularly on drums. I'll hang onto that. Not much of a compressor though. Bus setting words for tracking individual drums.

I guess I am jumping in late. But I don't use anything. I track strait in through a transformer coupled pre-amp and leave tons of head room. If I need big guitar crunch I triple track. Single rectifier plus marshal each with a 57 up close and an Earthworks omni about 2 feet away doe sit for me.

If I want a BIG acoustic sound I use an Earthworks omni about 6 inches from the body plus an 81 on the neck. Go in dry right to digital. Ultratools pitchblender will make it do magic.

Kicks and snare the same way, Go in dry, use 2 mics on each balance em for EQ a little Ren EQ in the mix and Ren Comp. Works like a charm.

I don't squash stuff as much as I used to either. I tend to get it most of the time w/ no eq or comp.....or a lot (pretty rare). More and more, if I want it to sound distressed I use a sans amp...or some other amp...Now we're talkin' ditressed!
:p