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.
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!
Nice video. Sort of the unspoken rule of thumb or best practices with most UAD plugins is to reduce their outputs by about 2db to level match the original signal BEFORE making any adjustments. UAD plugins come in hot by default, because they are emulating true analog which alters any signal being sent through them even in bypass whether sonically or volume. Using this technique will prevent you from chasing your tail of regain staging your mix and prevent the louder is better deception while running out of headroom 😂
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.🤨
@@Giannboy1 Well, it's unlikely anything I can say in a youtube comment will make a difference after all that, but the graph just represents the way that a compressor will change the relationship between input volume and output volume, including above which input volume threshold the relationship is changed. And the attack and release times set the timescale over which that change happens. But being able to hear the difference is more important anyway, and I doubt I won't continue to struggle with this TBH! But I remember hearing a veteran producer - possibly Dan Worrall - saying that being able to hear the effects of compression is something you really have to train your ear to do, so maybe the thing to do is do your own ear training instead of relying on videos that are maybe assuming a certain level of recognition (I know I often listen to especially EQ demo videos and can't hear much if any difference!) by playing around putting different kinds of source material through a compressor on fairly extreme settings, frequently A/Bing by bypassing, and as you get used to the change in sound, gradually make the settings more subtle. And make sure it's a compressor with a good graph, and possibly level visualiser too. Also bear in mind some compressors are more subtle anyway, so try a few.
@@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!
One thing that has helped me learn/hear what is actually happening (attributing to Dan Worrall) is to MAX the ratio, MIN the attack & release, and use auto make up gain. Once your there playing with threshold will give you an idea of what triggers the compression, then when you've got a threshold you like, adjusting attack first then release to hear the most dramatic version possible. It makes what happens to the attack/release more obvious. You can tune ratio and threshold afterwards to your liking.
I must say that I owned a pair of distressors for a while and I loved them in mono but in stereo they were horrible. Mine were a matched pair of the EL-X ones with the brit mod and the stereo linking, what was weird about them was that you would send pink noise through both of them and set all parameters the same and the output level would differ greatly. One was like 3dB louder than the other. I tried to tell the company that I bought them from and their response was "3dB is within tolerance for the unit". Craziness. Anyway, I love the distressor a lot but my recommendation would be to just get one and use it in mono as it will kill your stereo width. There are other compressors out there designed for stereo that will do it a lot better.
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:)
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
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!
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.
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.
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?
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??
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.
I didn't hear any difference that's a problem with these audio mixers they think because they made several differences that they know what they're talking about or ears are turned or something
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
Mike is a great! Teacher!
Thank you :)
Thanks Guru Mike for the great tip on how to use Distressor for a great vocal sound!
Danke!
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?
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 :)
Just installed my second distressor in my rack a few hours ago… love these units, I don’t even use my others like talking about. Great video
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.
Simply spectacular overview. So many nooks and crannies revealed - thank you! Bookmarked for future reference!
Clear, concise and well paced explanation. I thought I was done with compressors but I may add this one to my arsenal. Much appreciated!
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!
Great explanation!
Nice video. Sort of the unspoken rule of thumb or best practices with most UAD plugins is to reduce their outputs by about 2db to level match the original signal BEFORE making any adjustments. UAD plugins come in hot by default, because they are emulating true analog which alters any signal being sent through them even in bypass whether sonically or volume. Using this technique will prevent you from chasing your tail of regain staging your mix and prevent the louder is better deception while running out of headroom 😂
Great review and explanation of the Distressor and of studio compression in general.
Thank you :)
Very useful, as always...thanks, Mike!
Thank you!
This the best explanation how to use Distressor! Thank you so much!
My pleasure, thank you.
@@CreativeSauceyou are welcome Mike!
The acoustic sounded great through it. Thank you for the great overview and tutorial.
My pleasure, thank you :)
Hi Mike. You are the king of explainers! Thanks!
Thanks Fred :)
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 :)
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.🤨
@@Giannboy1 Well, it's unlikely anything I can say in a youtube comment will make a difference after all that, but the graph just represents the way that a compressor will change the relationship between input volume and output volume, including above which input volume threshold the relationship is changed. And the attack and release times set the timescale over which that change happens.
But being able to hear the difference is more important anyway, and I doubt I won't continue to struggle with this TBH! But I remember hearing a veteran producer - possibly Dan Worrall - saying that being able to hear the effects of compression is something you really have to train your ear to do, so maybe the thing to do is do your own ear training instead of relying on videos that are maybe assuming a certain level of recognition (I know I often listen to especially EQ demo videos and can't hear much if any difference!) by playing around putting different kinds of source material through a compressor on fairly extreme settings, frequently A/Bing by bypassing, and as you get used to the change in sound, gradually make the settings more subtle. And make sure it's a compressor with a good graph, and possibly level visualiser too. Also bear in mind some compressors are more subtle anyway, so try a few.
@@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!
One thing that has helped me learn/hear what is actually happening (attributing to Dan Worrall) is to MAX the ratio, MIN the attack & release, and use auto make up gain. Once your there playing with threshold will give you an idea of what triggers the compression, then when you've got a threshold you like, adjusting attack first then release to hear the most dramatic version possible. It makes what happens to the attack/release more obvious. You can tune ratio and threshold afterwards to your liking.
Track through my pair all the time. Such a great workhorse.
perfect video, brilliant explanation!
Good demonstration and explanation. Thank you!
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
That last example reminds me of the classic 1176 into an LA2A sound, which is my go to vocal chain (plugins and outboard hardware).
I must say that I owned a pair of distressors for a while and I loved them in mono but in stereo they were horrible. Mine were a matched pair of the EL-X ones with the brit mod and the stereo linking, what was weird about them was that you would send pink noise through both of them and set all parameters the same and the output level would differ greatly. One was like 3dB louder than the other. I tried to tell the company that I bought them from and their response was "3dB is within tolerance for the unit". Craziness. Anyway, I love the distressor a lot but my recommendation would be to just get one and use it in mono as it will kill your stereo width. There are other compressors out there designed for stereo that will do it a lot better.
Thanks Mike, enjoyed that.
Hi Dave! Thanks as ever for watching :)
Great video!
Thank you for the detailed use techniques.
Great breakdown Mike. Thank You!
Great video thanks 👍
I concur. This was great.
It makes the snare pop nicely.
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:)
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
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.
Last vocals in the end part - compression reacts/works to slow and try higher ratio it is a same as accuracy (ratio)
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?
Was really hoping you'd talk about the nuke button and the similarities to the all-in feature of the 1176
excellent!!!
This is awesome, but did you skip the nuke explanation?🤔
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.
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 are two EL8s in the Big Room at Real World. Now I understand why they're there!
Excellent
Thanks Nigel :)
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!
Excellent!!!Thanks!!!
My first compressor choice 😅
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!!!
Still upset I missed the live you did last week…smh. Just saying hello Mike! 👋🏽🙂
Hey man! Always good to see you here :)
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)?
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?
What would you prefer for a master track?
When you demonstrated the vocal it switched from 6:1 to 20:1 when you put it in the mix....
TL;DR; Old analog magic lufs enhancer and compressor in one. The color is crazy good too
That's a nice thingy 🙂
14:14 the guitar chords sound a lot like The Go Betweens in the 2000’s
This is also the first time UAD went with an "intelligent design" and not forced a 19" layout into a 16/9 screen. That and the Manley Tube amp...
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??
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.
Hey Mike, just curious if you have ever used arturia pigments 5 with cakewalk?
Hi Steve, yeah many times. I love it!
What up Mike.
Thanks much, very helpful - now maybe I'll start using it, instead of passing it over.
Doesn't it miss sidechain for nowadays music?
The voice example with compression sound clearly distorted .....
I never understood why they used these unfitting knobs with way too big scales.
For precision
your videos are the best , go to the point without being gay.
Very nice informative clip…even if you are a compressor newbie
I don't always buy plugins, but when I do ...
I confirm uad distressors are equivalent to the real. I had two real, sold one because the uad are same
Wasn’t DK doin like sketchy stuff recently😮
So, why do people love it? How is this different from a compressor?
It adds distortion (in a good way)
More is better
I didn't hear any difference that's a problem with these audio mixers they think because they made several differences that they know what they're talking about or ears are turned or something
Don't forget that there is no "stop doing THIS!" In the video so it should be blocked
Needs more More musical instruments to hear the real effect.
More and more exaggerated
Everyone will regret using plugins in the near future. They will start to make you pay a subscription fee. Stick with hardware devices!!!