Dedicated DISTRESSOR settings thread... Share your tried and proven settings!!!

[SUGARCULT666]

I havn't seen a thread dedicated to distressor settings yet so here it is... Lets see your tried and proven distressor settings for Vocals, Bass, Acoustic Guitar, Guitar, Synth, Drums etc etc... What are your favourite settings do you keep coming back to the same?? Yes I know that each individual tracxk will probably require a little different settings BUT do you have a setting that you will go to first because it has worked so well in the past?

[SUGARCULT666]

OK I'LL START IT OFF!!! I use this one all the time thanks to Mr Wagener this is a true winner for dynamic vocals!

mwagener: "Let's see. Distressor settings: input set so I get about 18-20 dB of reduction on very loud passages, prefferably no reduction on low passages, attack is on 3.5, release is just under 2, output set for optimal level to the converter (-6dB). I use the 6:1 setting and the audio button is set to dist2 and hi pass, detector cicuit is set to hi pass.

I like the Distressor on vocals, since I normally deal with singers with quite a large dynamic range. With the right Distressor setting, they can step back 4 feet and it still sounds like they are right up on the mic, that way they can sing all the way through the song and we don't have to go piece by piece. Great box, great sound."

[SUGARCULT666]

What is everyone too stingy to give up their settings? Big secrets???

[magellan]

ok...i'm currently mixing a rock song and have a distressor inserted on the snare (which is gated itb). here's the settings:
6:1 ratio, dist 3 'on', input 9, attack 5, release 4.2, output 5
i should add that the snare, kick, & toms are bussed together with an api2500 inserted on that bus (very light compression). without this additional compression, the distressor settings would probably change.

[delcosmos]

OK here we go...On kick I like 2:1 with attack at 8, fast release, 5 or 6 dbs GR.



Best regards.

delcosmos.

[Jim Williams]

My favorite setting is with the power switch in the down position.

Jim Williams
Audio Upgrades

[Brad McGowan]

Is that an upgraded power switch, Jim?

On kick drums I tend to like 3:1, attack between 8 and 10, and release somewhere between 1 and 2. I always use the HP filter in the detector.

Brad

[paterno]

Originally Posted by Jim Williams

My favorite setting is with the power switch in the down position.

Jim Williams
Audio Upgrades

You're just upset that there is no transformer to pull out...

JP

[peter_mavro]

i never use the "british" setting. 10:1 opto mode, dist 2 on vox. the "nuke" on the room is passe. stick a small condenser an inch from the shell of a metal snare drum(mic the side of the drum), try that on nuke. gets mostly snare, though everything ends up being represented. great for adding some bright-sounding excitement to a good drum mix.

[DontLetMeDrown]

Haven't used it enough yet to offer any killer settings, but when it doubt-- 5's all the way across seems to work well

[Matt Smith]

We can always count on Jim for a snobby, worthless reply!

Matt

[Toad]

I really like the Opto mode!

[NathanEldred]

I usually like 6:1 for snare and kick. Keeps it rock solid in place. Distortion 2 or 3 depending on the song/genre. More 'red' sounds a bit brighter to my ears, where more 'yellow' sounds a bit more round and thickish. Attack really depends on the song and the snare sound itself, the attack combined with a certain amount of gain reduction will really bring up the ambience...it's a fine line between just right and too much. I've used them on guitar amps to good effect too, low ratio, open/slow attack, fast release just a little gain reduction to keep it in your face.

Usually a fair amount of dist from the comp will makes it sound rich on guitar amps, especially straight to digital (about 8-9 years ago these were 50% the only comps worth a shit that I owned). Opto is nice for overheads and/or room. It's good for bass, but the player has to be good and consistant because overall it sounds not too aggressive in that setting. 6:1 is better for punk or hardcore bass. I think the Distressor is probably the best compressor for someone learning what compression does since it's so versatile and reacts very differently between a few of the ratios.

[Toad]

Originally Posted by NathanEldred

I usually like 6:1 for snare and kick. Keeps it rock solid in place. Distortion 2 or 3 depending on the song/genre. More 'red' sounds a bit brighter to my ears, where more 'yellow' sounds a bit more round and thickish. Attack really depends on the song and the snare sound itself, the attack combined with a certain amount of gain reduction will really bring up the ambience...it's a fine line between just right and too much. I've used them on guitar amps to good effect too, low ratio, open/slow attack, fast release just a little gain reduction to keep it in your face.

Usually a fair amount of dist from the comp will makes it sound rich on guitar amps, especially straight to digital (about 8-9 years ago these were 50% the only comps worth a shit that I owned). Opto is nice for overheads and/or room. It's good for bass, but the player has to be good and consistant because overall it sounds not too aggressive in that setting. 6:1 is better for punk or hardcore bass. I think the Distressor is probably the best compressor for someone learning what compression does since it's so versatile and reacts very differently between a few of the ratios.

There you have it!! Very nicethumbsup thumbsup

[SUGARCULT666]

Here's another good one that works well on vox thanks to Dave Derr...

"A guaranteed Distressor Vocal Setting:

I have used this setting 11,253 times (lol) and never had a pump or anything nasty happen.

Ratio 6:1, Attack on 6, release 3 - 5. Don't over do it by letting the compressor work all the time. Six dB of gain reduction should be totally invisible.

Dont use any additional sidechain or distortion modes. An exception is if someone is POPPING the mic on P's etc... then you have to take action and either move the mic, add a popscreen, or try the DET HP on the Distressor. (I recommend one of the first two).

But that being said, up to 14 dB on extreme peaks during tracking is usally jusssssssst fine! A person with good vocal technique would probably never come close to this. Lower ratios on the Distressor should be even more subtle.

The 10:1 can be fine due to its long release, however... like the LA2A, if you are using a lot of compression, the first word of a line can sometimes JUMP at you in an unnatural way.

Let me know if anyone ever has a problem with this 6:1 setting!"

[SUGARCULT666]

Does anyone have a 10:1 opto LA2A type setting that they like for tracking vox?

[not_so_new]

Originally Posted by Matt Smith

We can always count on Jim for a snobby, worthless reply!

Matt

My thoughts exactly.

[Rockman]

Hey guys. When it comes to squashing drum room trax, for extreme aggressiveness.. do you guys tend to use the British mode? or simply the "Nuke" setting?

Can you share your settings? Thanks.

[Brad McGowan]

I tend to use 20:1 more than NUKE since with NUKE it's pretty much all or nothing. It really flattens things. The Brit mode is cool because it adds some edge and aggression to the sound and makes the attack and release super fast so you get all sorts of fun distortion. Honestly as far as room mic guys I pretty much twiddle knobs until I'm satisfied.

Brad

[SUGARCULT666]

bump

[tomcolliva]

vocals:
3:1, sidechain filter and midbump, audio filter and dist 2, fast attack and release (around 2/3)

[uptoolate]

Bump from the SOUTH!

[lowfreq33]

This is ridiculous. Play with it until it sounds good.

[rainsinvelvet]

Originally Posted by lowfreq33

This is ridiculous. Play with it until it sounds good.

thanks for the insightful reply! I'd never tried this setting before.
" Dedicated DISTRESSOR settings thread... Share your tried and proven settings!!!" ie: the name of this thread. great reply..

ERic

[scking]

Tracking snare: 6:1, all knobs in the 12 o'clock position. Sometimes I don't even have to do anything to it in mixing.

[Max The Dog]

Favorite setting: in the on position. I love these things.

[Suspects]

From the Joe Chiccarelli play book:

Spaced pair of R-121's in front of the kit forming a triangle with the kick (and into a TG-2). 36" high, three feet out and five feet apart both facing the front hoop of the kick. NUKE, attack on 5, release on 3, and input set to trigger at least one red LED (20+ db of compression). Solo'd it sounds absurd, but blended in with the kit mics the drums sound huge. We use these in conjunction with a overhead SF-12 and a set of LDC room mics higher and behind the kit.


Dave/Suspect

[DanRock101]

Originally Posted by scking

Tracking snare: 6:1, all knobs in the 12 o'clock position. Sometimes I don't even have to do anything to it in mixing.

hmmmm.........

[Dog_Chao_Chao]

dont like distressors on vocals. ´

tracking drums with a 6:1 on snare? Man, too risky. I would have to know the song pretty well and Id have to know very very well what I would end up in the end.

Im almost with Jim here. Shut them off, at least during tracking. I have only one use for them in that stage: room mics:

Room mics. 10 feet away, stereo oktavas usually into apis. I prefer 20:1 to nuke.

input set around max., attack 6, 7, release 3 to 5 (depends on song) band detector ( tames hh a bit) dist 3

by the way, how do you eq your squashed room mics? I always end up with a with very loud cymbals...

[Max The Dog]

Originally Posted by Dog_Chao_Chao

dont like distressors on vocals. ´


by the way, how do you eq your squashed room mics? I always end up with a with very loud cymbals...

I put the room mics pretty low to the ground, maybe 18 - 24 inches up, to get mostly drums and not too much cymbals. Then squash away. No need to eq too much.