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Post by Deleted on Jan 25, 2023 22:28:41 GMT -6
If the band is wimpy, it’s not your equipment if it was made by George Massenburg or Geoff Daking; it’s the band.
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Post by seawell on Jan 25, 2023 23:13:06 GMT -6
It was a bit of a bummer that he didn’t seem to understand brit mode & never engaged it in any of the examples. That’s one of my favorite things about the EL8-X.
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Post by bgrotto on Jan 25, 2023 23:27:33 GMT -6
I personally like the simplicity of the 1176. Hard to screw it up LOL tell that to my students. They find aaaalllllll sorts of ways. |
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Post by bgrotto on Jan 25, 2023 23:34:13 GMT -6
Dan Deurloo finds Distressors useful finally once Jim touches them. The Zing is cool on drums, that's the only place I use mine anymore. Would you please walk me through the settings you default to on Distressors for drums? For me, I like 6:1 on snare. Lower ratio (which has a softer knee) on kick, though I generally don't love Distressor on kick so using them there is rare. EXCEPT! A proper resonant front kick drumhead (minimal dampening, no hole) sounds great with 10:1 with the 'opto' settings and dist 3, just barely kissing the thing. Props to my pal and insanely good (and grammy winning!) engineer Justin Guip for that tip. Weirdly, though, I like the Arouser plugin on kick. Go figure. If you have the time and inclination, I *just* made a couple videos to augment a classroom segment I teach about one of my approaches to compression, and happen to be using the Arouser plug in the vids. I use a distressor in the classroom, and since these videos are meant as supplemental material for my students, I wanted to be using a familiar tool. The Arouser isn't like a 1:1 clone, but it's close enough to get the point across. Anywho, here's the longer one: And then I did a 'cliffs notes' version since getting a 20 year old to watch a 19 minute long video is fucking impossible: |
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Post by thehightenor on Jan 26, 2023 2:34:17 GMT -6
I personally like the simplicity of the 1176. Hard to screw it up LOL tell that to my students. They find aaaalllllll sorts of ways. +1 The 1176 being a FET comp has inherently a very “electronic” sound at is core and enough variable parameters to bring that character out too much. Imvho, it takes a far amount of skill to perfectly dial in a 1176 (especially the A’s) |
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Post by Ward on Jan 26, 2023 6:22:18 GMT -6
The resurgence of 1176s as the de facto for drums is really a kind of cool development.
FETs bring out the snap and crack in drums, especially snares
VCAs make things go splat. Especially on kicks.
That’s why they tend to go to those assignments.
Just like why we generally prefer an LA2a/3a/4 on bass. It just works in rounding out the waves (or WAVs).
I don’t own a distressor despite owning ten or so 76s… and my interest is genuine.
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Post by Johnkenn on Jan 26, 2023 7:58:48 GMT -6
One compressor for every track on every song? MDWDRC2 so I can’t screw up. Molot GE for something in the 1176/distressor vein. The only Daking that’s still made is the Comp II. What do you mean by "can't screw up"? MDWDRC2 has many interacting parameters, doesn't it? Wouldn't that make it easier to screw up? To me, an opto is what I think about "not screwing up". Actually- I don’t really know what half of the shit on there does, but just using auto release and the two levers on the left, you can get kindve any sound you want. Attack knob to taste. I need to try it on vocals too. |
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Post by Johnkenn on Jan 26, 2023 8:02:40 GMT -6
The resurgence of 1176s as the de facto for drums is really a kind of cool development. FETs bring out the snap and crack in drums, especially snares VCAs make things go splat. Especially on kicks. That’s why they tend to go to those assignments. Just like why we generally prefer an LA2a/3a/4 on bass. It just works in rounding out the waves (or WAVs). I don’t own a distressor despite owning ten or so 76s… and my interest is genuine. The UAD 1176’s do a distortion thing with all buttons in that even the hardware (I’ve used) doesn’t do. You can really destroy things like a Drumbus and use it parallel. The 175/6 does it too…it can be too much in most situations. If I’m using parallel, I probably use the chandler zener most often. |
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Post by Ward on Jan 26, 2023 8:19:43 GMT -6
The resurgence of 1176s as the de facto for drums is really a kind of cool development. FETs bring out the snap and crack in drums, especially snares VCAs make things go splat. Especially on kicks. That’s why they tend to go to those assignments. Just like why we generally prefer an LA2a/3a/4 on bass. It just works in rounding out the waves (or WAVs). I don’t own a distressor despite owning ten or so 76s… and my interest is genuine. The UAD 1176’s do a distortion thing with all buttons in that even the hardware (I’ve used) doesn’t do. You can really destroy things like a Drumbus and use it parallel. The 175/6 does it too…it can be too much in most situations. If I’m using parallel, I probably use the chandler zener most often. I have not tried that. That sounds REALLY cool! |
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Post by EmRR on Jan 26, 2023 8:30:30 GMT -6
It was a bit of a bummer that he didn’t seem to understand brit mode & never engaged it in any of the examples. That’s one of my favorite things about the EL8-X. Funny, I've owned mine since before there was a '-X' model, have never heard it, or felt like spending another $400-500 to send them in. |
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Post by Deleted on Jan 26, 2023 8:38:28 GMT -6
It was a bit of a bummer that he didn’t seem to understand brit mode & never engaged it in any of the examples. That’s one of my favorite things about the EL8-X. He didn’t even nuke anything. The resurgence of 1176s as the de facto for drums is really a kind of cool development. FETs bring out the snap and crack in drums, especially snares VCAs make things go splat. Especially on kicks. That’s why they tend to go to those assignments. Just like why we generally prefer an LA2a/3a/4 on bass. It just works in rounding out the waves (or WAVs). I don’t own a distressor despite owning ten or so 76s… and my interest is genuine. Yes the standard has become to use antiquated, distorted 1960s tech about as sophisticated as a mercury thermostat and dysfunctional attempts at replicating them to make recordings more distorted than the 60s. |
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Post by seawell on Jan 26, 2023 8:44:18 GMT -6
It was a bit of a bummer that he didn’t seem to understand brit mode & never engaged it in any of the examples. That’s one of my favorite things about the EL8-X. Funny, I've owned mine since before there was a '-X' model, have never heard it, or felt like spending another $400-500 to send them in. It’s Dave’s take on the all buttons in mode. It responds even faster/more aggressively & is very cool on a parallel drum buss 👍🏻 |
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Post by svart on Jan 26, 2023 8:46:35 GMT -6
Distressor on drum bus can't be beat.
It's all in the settings. Attack around 5 (which is around 5-8ms) and release around 1-2 (around 100ms) and 1.5:1 or 2:1 ratio. Snare hits should be around 4-6GR. Detector sidechain HP engaged so that the kick isn't really triggering the unit that much because kick will always make compressors pump too much.
The kit will come alive like this and you'll need a LOT less individual compression on each drum, perhaps none at all (I stopped using kick compression and only occasionally snare compression now. Toms still get some to even their attacks out).
Folks typically try to squash drum bus with a high ratio (I did for a long time) and it never sounds right. Lower ratio but a bit more GR sounds much better, gets a bit more "round" sounding and a lot less of that crazy TTT-attack-y sound.
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Post by Deleted on Jan 26, 2023 8:56:07 GMT -6
What do you mean by "can't screw up"? MDWDRC2 has many interacting parameters, doesn't it? Wouldn't that make it easier to screw up? To me, an opto is what I think about "not screwing up". Actually- I don’t really know what half of the shit on there does, but just using auto release and the two levers on the left, you can get kindve any sound you want. Attack knob to taste. I need to try it on vocals too. I have no idea what the main slider really does. I think it pushes the gain under the threshold (is this upward compression where it compresses the stuff below threshold upward too?) and lowers output at the same time? Or maybe it just raises the material in the side chain and pushes it up against the overshoot limiters in it? I have no idea but it can sound a little different than just lowering your threshold and you can use a hard knee for the main detector and push the entire signal up into the compressor and it sounds good. i don’t even notice a sound change cranking that think up to 30-40 db in except for the noise floor coming up on recordings that use total junk, eg bad tape recordings, Presonus, Behringer. Then I tried it on some other cassette portastudio metal and there was no sound difference with the slider all the way up. |
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Post by tkaitkai on Jan 26, 2023 9:14:37 GMT -6
Distressor on drum bus can't be beat. It's all in the settings. Attack around 5 (which is around 5-8ms) and release around 1-2 (around 100ms) and 1.5:1 or 2:1 ratio. Snare hits should be around 4-6GR. Detector sidechain HP engaged so that the kick isn't really triggering the unit that much because kick will always make compressors pump too much. The kit will come alive like this and you'll need a LOT less individual compression on each drum, perhaps none at all (I stopped using kick compression and only occasionally snare compression now. Toms still get some to even their attacks out). Folks typically try to squash drum bus with a high ratio (I did for a long time) and it never sounds right. Lower ratio but a bit more GR sounds much better, gets a bit more "round" sounding and a lot less of that crazy TTT-attack-y sound. +1
I learned something similar from an Eric Valentine video I watched years ago and I've had a Distressor emu on my drum bus ever since. One of those things that just fuckin' works.
Maybe not the best choice for more vibey/retro drums where you want the transients tucked in. But it works like a charm for the stuff I work on.
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Post by Ward on Jan 26, 2023 9:42:12 GMT -6
Yes the standard has become to use antiquated, distorted 1960s tech about as sophisticated as a mercury thermostat and dysfunctional attempts at replicating them to make recordings more distorted than the 60s. #dark |
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Post by ml on Jan 26, 2023 9:50:37 GMT -6
I have both. I think the distressor is more versatile but doesn’t sound as good as an 1176. If I could only keep one it would be the distressor. In my opinion an sm7b > 1073 > distressor is a killer vocal chain.
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Post by Ward on Jan 26, 2023 9:52:04 GMT -6
You lost me at sm7b.
LOL
Queue @chesparov
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Post by kcatthedog on Jan 26, 2023 10:08:30 GMT -6
Ya, what did Swedien know about vocal mikes: eh ?  |
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Post by Ward on Jan 26, 2023 10:12:02 GMT -6
Ya, what did Swedien know about vocal mikes: eh ? an engineer with his skills could even make an SM7b sound great. LOL |
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Post by EmRR on Jan 26, 2023 10:12:13 GMT -6
I had a guy who's preferred vocal chain was a 421 into (? prob Sytek) driving a Distressor low ratio driving another Distressor 10:1. Prob dist2 on both.
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Post by ml on Jan 26, 2023 10:21:55 GMT -6
You lost me at sm7b. LOL Queue @chesparov Not to derail the thread, but as a singer I find the sm7b very comfortable to sing into, especially hand held. I guess it gives a singer the “on stage” feel. I have nice condensers but sometimes they can feel awkward to sing into. This is gonna sound crazy but I actually prefer singing into a Neumann style head basket. I have no idea why but it just feels right haha. |
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Post by kcatthedog on Jan 26, 2023 10:32:37 GMT -6
You’re such s basket case, anyway: it figures! |
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Post by mcirish on Jan 26, 2023 10:54:04 GMT -6
The resurgence of 1176s as the de facto for drums is really a kind of cool development. FETs bring out the snap and crack in drums, especially snares VCAs make things go splat. Especially on kicks. That’s why they tend to go to those assignments. Just like why we generally prefer an LA2a/3a/4 on bass. It just works in rounding out the waves (or WAVs). I don’t own a distressor despite owning ten or so 76s… and my interest is genuine. I'm probably in the minority but the only way I like an 1176 on drums is in parallel. I much prefer VCA compressors. I'm always looking for a bit more snap. |
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Post by bgrotto on Jan 26, 2023 13:02:44 GMT -6
Ya, what did Swedien know about vocal mikes: eh ? an engineer with his skills could even make an SM7b sound great. LOL I had Chris Robinson from the Black Crowes in a few years ago, and we set up some fancy tube mic (forget which one, but something expensive LOL) and when he arrived, he sang into it and sounded good. Then he came in for a listen, and was like "do y'all have a sm7b and 1073?", which we do, and the mic amp was already right, so we swapped the fancy mic for the sm7b, he resang the part, and sounded FUCKING GREAT. Let it be noted that I am not anywhere nearly as good an engineer as Mr Swedien 🤣 I'd also mention that the older SM5b is amongst the best male vocal mics I've ever used. |
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