I love Dstressors. You can use them on pretty much anything. I love them on drums. I reach for the Distressor anytime I want a tight , punchy drum sound.
that vocal example demonstrates perfectly WHY the Distressor is so useful in studios. One unit. Many flavors of compression. Huge range of sound and coloration options, and all are potentially useful. If a studio pays for 2 units and engineers learn them well, they can have the functionality of 5 or 6 different compressors.
To be honest I struggle a little with compression; I understand the theory of what they're doing, and the meaning of ratio and attack and release times, but so far I haven't been great at identifying with my ears what effect they're having and how it benefits the tracks being run through it. But I feel with this video I've taken a big step forwards in that regard. This is an excellent clear explanation of the Distressor (which I've always been curious about) and compression in general.
Same here except I still struggle with it. I've watched tons of videos and still can't hear the difference with my ears and the graphs are above my mind's pay grade.🤨
@@Giannboy1Sorry for butting in, but I figured I might share something that helped me to hear compression more easily. For me, it became a bit easier to hear when I stopped focusing on what was happening to the level or volume, and started listening for timing characteristics. For example, a compressed signal will often sound a bit “longer” than the dry signal. Or it will sound like the decay/tail is emphasized. This kinda just scratches the surface but I’m hoping maybe this could help unlock things for you. Also be sure to level match your compressed signal to the same perceived loudness as the uncompressed signal so that you can A/B the before and after effectively if you’re not already doing that. Oh, and don’t be afraid to go way too far with the compression at first so that the effect is easier to hear, then dial it back to an appropriate amount once you get a feel for what’s going on. Hopefully this helps a bit and I didn’t just waste your time. Cheers!
Great job of explaining this amazing hardware/plugin. I use it all the time and you just explained to me why I like it so much. I just makes vocals pop out of the mix without actually getting "louder". You, Sir, are the rockstar of the day! Many thanks and blessings my friend!
Like 15 years ago we DEFINITELY had the dual distressor + Avalon outboard set up. before we even got in the box we had that thick sound when laying vocals. definitely brings out the character in your voice. Really wanna see what this emulator can do. Same with the Avalon plug in
I got a real distressor and learned I guess I do prefer ‘color’ lol. To me it was too lifeless so I sold it since it just sounded like a plug-in. I get why it’s great for loud live things like drums or guitars but with just synths I don’t need get control of any volume that extreme. Don’t get me wrong it’s a great compressor- just too much for my needs. I’m happy with my la2a and 1176 since they add the color I want. Great video since I still have the uad version:)
I've had this for 10 years and was always under the assumption that opto mode disregarded attack and release, as opto compressors do. I may be wrong. It's a great do it all comp and no one would regret buying it.
Hey, I just checked the manual so that we are both informed :) In their own examples they suggest faster attack time in opto mode for more aggression, and mention release time go up to 20 seconds. In other parts they suggest specific settings in opto mode. So I do believe these controls are still active when using the opto circuit.
@@CreativeSauce Hi, I've looked myself and it seems I was wrong about this. It was the graphics (and other opto units) that lead me to think what I did. Apparently if you want to simulate LA2A, 3A, etc you use the attack and release settings (10,0) and that's closest but you can change them to taste. I have learned something, thanks.
Very helpful - thank you. Didn't know that about the ratios provoking different behaviour - maybe I should have read the manual. The UAD version of this is great - but I'd also check out the version Plugin Alliance do - I think it's very good.
There is just one thing I didn’t understand….when you played the vocal the first time you had the first compressor in 6:1 ratio….which I assume would be more of and 1176 type emulation….but when you played the vocal the second time with the music you had the first compressor in 20:1 ratio….so that would be like 2 LA2A compressors back to back?? I loved the video but I don’t get what happened there??
Thanks for the video lesson. The vocal sounded like it had reverb on it and then was compressed. Is it better to get a super dry vocal recording and then add any effects afterwards?
On the last example where you ran a vocal through 2 Distressors, I noticed you started with the top Compressor on a 6:1 ratio but then at 16:13 in the video you changed it to a 20:1 ratio when you played the vocal with the music. Which setting should we use?
Hi Tony. Yes that was an error, I must have accidentally hit it. There is no hard rule, but in most cases I'd say 20:1 is a bit too much. It may sound unnatural. 6:1 would be good for me most of the time, as I feel we want to 'control' the transient rather than destroy it!
There is definitely a difference…but as someone who spent countless hours researching it and who has worked with the software and now owns the hardware…let me give you a bit of advice. Don’t get bogged down on the debate. If you can afford it…go ahead and get one, try it for yourself and don’t waste too much time thinking on it, because it will be just that…a waste of time. Get what you think you need and get back to making the music my friend. For most listeners in most genres these days, they won’t be able to tell much IF you know what you’re doing when mixing or have an excellent mix engineer. Keep making music pal.
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Kind sir, I should let you know that it’s illegal on TH-cam to properly gain match and explain compression in clear terms 😅
Lol :)
Ahem.....ahem!!!!! No comparison is worthy of thy time without a mention of the analogue warmth, good sir!
😂 Right !!😂
Lol
this was a total learning experience about compression. especially the use cases for attack and release settings. thanks!
Thank you, glad you enjoyed :)
I love Dstressors. You can use them on pretty much anything. I love them on drums. I reach for the Distressor anytime I want a tight , punchy drum sound.
So true! Although, it wouldn't be my first choice for mastering.
@@CreativeSauce nor mine.
@@CreativeSauce which would that be?
that vocal example demonstrates perfectly WHY the Distressor is so useful in studios.
One unit. Many flavors of compression. Huge range of sound and coloration options, and all are potentially useful.
If a studio pays for 2 units and engineers learn them well, they can have the functionality of 5 or 6 different compressors.
Yes, that's why I love it - swiss army knife of compression. Plus it has great design.
Mike, this is the most thorough rewiew of the distressor. Always prefer your channel for extra detail and a real human being, mate.
Thank you so much, I appreciate your support :)
This the best explanation how to use Distressor! Thank you so much!
My pleasure, thank you.
@@CreativeSauceyou are welcome Mike!
To be honest I struggle a little with compression; I understand the theory of what they're doing, and the meaning of ratio and attack and release times, but so far I haven't been great at identifying with my ears what effect they're having and how it benefits the tracks being run through it. But I feel with this video I've taken a big step forwards in that regard. This is an excellent clear explanation of the Distressor (which I've always been curious about) and compression in general.
Same here except I still struggle with it. I've watched tons of videos and still can't hear the difference with my ears and the graphs are above my mind's pay grade.🤨
@@Giannboy1Sorry for butting in, but I figured I might share something that helped me to hear compression more easily. For me, it became a bit easier to hear when I stopped focusing on what was happening to the level or volume, and started listening for timing characteristics. For example, a compressed signal will often sound a bit “longer” than the dry signal. Or it will sound like the decay/tail is emphasized. This kinda just scratches the surface but I’m hoping maybe this could help unlock things for you. Also be sure to level match your compressed signal to the same perceived loudness as the uncompressed signal so that you can A/B the before and after effectively if you’re not already doing that. Oh, and don’t be afraid to go way too far with the compression at first so that the effect is easier to hear, then dial it back to an appropriate amount once you get a feel for what’s going on. Hopefully this helps a bit and I didn’t just waste your time. Cheers!
@@gregfender Thanks so much! I appreciate it!
Simply spectacular overview. So many nooks and crannies revealed - thank you! Bookmarked for future reference!
Very useful, as always...thanks, Mike!
Thank you!
Great job of explaining this amazing hardware/plugin. I use it all the time and you just explained to me why I like it so much. I just makes vocals pop out of the mix without actually getting "louder". You, Sir, are the rockstar of the day! Many thanks and blessings my friend!
That last example reminds me of the classic 1176 into an LA2A sound, which is my go to vocal chain (plugins and outboard hardware).
Great review and explanation of the Distressor and of studio compression in general.
Thank you :)
Hi Mike. You are the king of explainers! Thanks!
Thanks Fred :)
The acoustic sounded great through it. Thank you for the great overview and tutorial.
My pleasure, thank you :)
Great explanation. Ive never used a distresser plug un before and just fot one. Glad i stopped by here 1st to learn about it.
this is the only and best video hands down! Thank you!
Thank you :)
Great tutorial, thanks! 👍 But all the time I was hoping to learn, what the little "HR" tweaker knob would do. 😅
The tiny “HR” (headroom) knob keeps the Distessor in a middle ground if the input signal is extremely soft or overly loud.
Track through my pair all the time. Such a great workhorse.
great demo!!!!! thank you for that.
This video made me have an epiphany on understanding compression more than I already do. I can’t explain it, just trust me on that lol
Great explanation!
TL;DR; Old analog magic lufs enhancer and compressor in one. The color is crazy good too
Like 15 years ago we DEFINITELY had the dual distressor + Avalon outboard set up. before we even got in the box we had that thick sound when laying vocals. definitely brings out the character in your voice. Really wanna see what this emulator can do. Same with the Avalon plug in
I got a real distressor and learned I guess I do prefer ‘color’ lol. To me it was too lifeless so I sold it since it just sounded like a plug-in. I get why it’s great for loud live things like drums or guitars but with just synths I don’t need get control of any volume that extreme. Don’t get me wrong it’s a great compressor- just too much for my needs. I’m happy with my la2a and 1176 since they add the color I want.
Great video since I still have the uad version:)
Thanks Mike, enjoyed that.
Hi Dave! Thanks as ever for watching :)
Last vocals in the end part - compression reacts/works to slow and try higher ratio it is a same as accuracy (ratio)
It makes the snare pop nicely.
I've had this for 10 years and was always under the assumption that opto mode disregarded attack and release, as opto compressors do. I may be wrong. It's a great do it all comp and no one would regret buying it.
Hey, I just checked the manual so that we are both informed :) In their own examples they suggest faster attack time in opto mode for more aggression, and mention release time go up to 20 seconds. In other parts they suggest specific settings in opto mode. So I do believe these controls are still active when using the opto circuit.
@@CreativeSauce Hi, I've looked myself and it seems I was wrong about this. It was the graphics (and other opto units) that lead me to think what I did. Apparently if you want to simulate LA2A, 3A, etc you use the attack and release settings (10,0) and that's closest but you can change them to taste. I have learned something, thanks.
@@pigknickers2975 my pleasure. I'm sure I get things wrong sometimes, so it's nice to check!
Good demonstration and explanation. Thank you!
Very helpful - thank you. Didn't know that about the ratios provoking different behaviour - maybe I should have read the manual. The UAD version of this is great - but I'd also check out the version Plugin Alliance do - I think it's very good.
Great video!
Thank you for the detailed use techniques.
perfect video, brilliant explanation!
This is awesome, but did you skip the nuke explanation?🤔
I believe that these compressors are one of the easiest and simplest to operate and yet they sound just like the one that currently cost 35k!!!
Great breakdown Mike. Thank You!
When you demonstrated the vocal it switched from 6:1 to 20:1 when you put it in the mix....
14:14 the guitar chords sound a lot like The Go Betweens in the 2000’s
I concur. This was great.
can the link setting on the detector section be used as a side chain (like if you were to send a kick drum into the link input)?
Still upset I missed the live you did last week…smh. Just saying hello Mike! 👋🏽🙂
Hey man! Always good to see you here :)
My first compressor choice 😅
There is just one thing I didn’t understand….when you played the vocal the first time you had the first compressor in 6:1 ratio….which I assume would be more of and 1176 type emulation….but when you played the vocal the second time with the music you had the first compressor in 20:1 ratio….so that would be like 2 LA2A compressors back to back?? I loved the video but I don’t get what happened there??
Great video thanks 👍
What up Mike.
at 16:14 the initial vocal compressor switched ratio to 20:1 was this a mistake or something that you sought after when mixing and didn't cover?
Thanks for the video lesson. The vocal sounded like it had reverb on it and then was compressed. Is it better to get a super dry vocal recording and then add any effects afterwards?
Excellent
Thanks Nigel :)
What would you prefer for a master track?
I never understood why they used to unfitting knobs with way too big scales.
Excellent!!!Thanks!!!
On the last example where you ran a vocal through 2 Distressors, I noticed you started with the top Compressor on a 6:1 ratio but then at 16:13 in the video you changed it to a 20:1 ratio when you played the vocal with the music. Which setting should we use?
Hi Tony. Yes that was an error, I must have accidentally hit it. There is no hard rule, but in most cases I'd say 20:1 is a bit too much. It may sound unnatural. 6:1 would be good for me most of the time, as I feel we want to 'control' the transient rather than destroy it!
@@CreativeSauce Thanks for the clarification.
That's a nice thingy 🙂
Hey Mike, just curious if you have ever used arturia pigments 5 with cakewalk?
Hi Steve, yeah many times. I love it!
The voice example with compression sound clearly distorted .....
Hi Mike, do you feel the plugins have the same sound and feel as the hardware? And if not, what's the difference?
They do not , and there is still a difference and will always be.
There is definitely a difference…but as someone who spent countless hours researching it and who has worked with the software and now owns the hardware…let me give you a bit of advice.
Don’t get bogged down on the debate. If you can afford it…go ahead and get one, try it for yourself and don’t waste too much time thinking on it, because it will be just that…a waste of time. Get what you think you need and get back to making the music my friend.
For most listeners in most genres these days, they won’t be able to tell much IF you know what you’re doing when mixing or have an excellent mix engineer.
Keep making music pal.
Very nice informative clip…even if you are a compressor newbie
I don't always buy plugins, but when I do ...
Doesn't it miss sidechain for nowadays music?
Wasn’t DK doin like sketchy stuff recently😮
Thanks much, very helpful - now maybe I'll start using it, instead of passing it over.
So, why do people love it? How is this different from a compressor?
More is better
Don't forget that there is no "stop doing THIS!" In the video so it should be blocked
Everyone will regret using plugins in the near future. They will start to make you pay a subscription fee. Stick with hardware devices!!!
Was really hoping you'd talk about the nuke button and the similarities to the all-in feature of the 1176