Empirical Labs Distressor User manual

DISTRESSOR
FEATURES
¾ Classic knee sound - With modern noise specs and improved performance. Really grabs.
¾ Programmable analog distortion/warmth - helpful in the pristine but unforgiving digital world.
Three audio modes providing user programmable, warm harmonic distortion. Emphasized tube-
like, 2nd harmonic in clean and Distort 2 mode. In Distort 3 mode, the distortion becomes
dominated by 3rd harmonic, more similar to tape.
¾ Distortion indicator lights - A 1% LED and a "Redline" (3%) LED. No hard clipping until a few
dB past "Redline".
¾ Advanced built-in sidechain EQ - High mid band emphasis prevents harsh, edgy guitars or
vocals from hurting innocent ears. Low cut keeps the low "sum & difference" frequencies from
pumping the upper frequencies of source material.
¾ Fool proof operation - Even though there are 384 possible settings (not counting knob settings),
it's almost impossible to get a bad sound. Keep all knobs on 5 or 6 (around middle) with ratio at
6:1 and you won't go wrong.
¾ Eight unique curves - From the 1:1 mode that simply warms up signal with low order harmonics
without intentional compression, to the "Nuke" setting - a brick wall limiting curve that shines on
live drum room mics. Each curve has its own personality, and release shape. Most exceptional is
the 10:1 "Opto" ratio which uses separate circuitry to emulate the oldest (and valued) "light
controlled" devices, such as the LA-2A etc. See manual to emulate other compressors of old.
¾ Discrete and integrated combination - the best of speed/linearity with repeatability. Hand tested
& selected components.
¾ Huge knobs with high resolution numbering - For easy readability and repeatable settings.
They also go to 10 1/2.
¾ Locked, calibrated, output level - Allows speed in setting tape and live mix levels.
¾ Stereo Strappable
¾ Switchable 115/230 volt operation - Extra fuse provided inside unit.
¾ Over designed power supplies - Runs cool, allowing cabinet to be sealed - without heat vents.
Long life components.
¾ Single height and light weight - Classic sound in a small, extremely reliable package.
¾ True bypass - Know what it's really doing. All contacts doubled up for maximum reliability. No
internal audio connectors.
¾ XLR and 1/4" phone ins and outs - XLR fully balanced, transformerless design, pin 2 hot.
Changeable by user to pin 3 hot!
¾ All metal film and Roederstein resistors in the audio path - top quality components. Many
military spec. parts.
¾ Interface and features found nowhere else.
¾ Hand wired, calibrated in USA. Shipping weight 12 Lbs.
SPECS
 Freq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in
distortion modes (Dist 2, Dist 3).
 Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal
to noise in distort 3 mode.
 Distortion ranges between .02% and 20% depending on distortion mode and release times set
on front panel.
 DC coupled output - High quality input caps.
 Time constants - Attack range 50uS - 30mS. Release range .05 sec to 3.5 seconds. Release
goes up to 20 seconds in 10:1 “Opto” mode.
 Power Consumption – Typical is 10 Watts, maximum is 14 Watts.
Empirical Labs - Something old, Something new
1
Customer Comments
Comments About the DISTRESSOR
"Every once in a while a product comes along with ‘classic’ written all over it. And in a
certain sense of the word, this product actually is a classic already." Mix Magazine
“Dear Empirical, I’m an LA based producer and an owner of a Distressor. The unit is really
awesome! I've used it on guitars, bass, room mics, vocals it works great on everything. I've
used it on records I've made with Beck, U2, Etta James, Hole and lots of others.”
Joe Chicarelli
“After buying a Distressor I had an epiphany. Having used software plug-ins for years I
often didn’t hear or understand the affects of various controls. After getting my Distressor,
and using it and hearing the obvious affects of the attack and release controls, I was able to
go back and use the Plug-ins with a new understanding.” (Email)
"One piece of gear I definitely recommend is a compressor called the Distressor. It's really
great for just about everything and if you had to use just one compressor you could
probably get away with just using that." Mitchell Froom
“I sold a couple of 1176's and have replaced them with the Distressors, which do a great job
of emulating the 1176's. Michael Wagener “(Ozzy Osbourne, Extreme, Metallica)
“In general, I really like where Dave Derr’s ear leads him; one of pro audios truly
independent thinkers, I’m a huge fan of the box (the Distressor): I use it for bringing up the
“goosh” on ambient sources, and for saturating snares, toms, and kicks.” George
Massenburg
Comments About the FATSO Jr
“In a word, the FATSO is a very good answer to what a lot of people loathe about digital
recording. It smoothes out the sharp, brittle edges to exactly the extent you choose, and
fills in the hairline cracks just right. I use one on almost every mix I do. I could easily use
one and possibly two more.” George Massenburg
“People used to have to hunt for old, expensive gear to get the kind of sounds that the
FATSO gives me.” Ed Cherney (The Rolling Stones, Bonnie Raitt, Bob Dylan, Eric Clapton,
Jackson Browne, Susan Tedeschi, Etta James, … et al)
Best new Signal Processor-EQ AES Awards - "Empirical Labs Fatso took this category,
despite the introduction of a variety of cool new processors. Who can resist the best
aspects of analog tape combined with great compression" EQ Magazine
"The winner of the highly -coveted, ‘I'm going to write you a check right after the show
award’ was picked up by Empirical Labs for its FATSO processor.’ Craig Anderton
LIL FREQ
“Hey Dave… so I got the box, plugged it in on an Etta James vocal that I was having
problems with… and it $#$%^&* rocks. This is a great box, my friend. I can see anybody
with a DAW wanting to use this thing. I am using the shelving, DS’ing and transformer out,
and I am just thrilled. Congratulations. It absolutely complements the digital crap that I am
forced to use…wooo hooo.” Ed Cherney
"I finally got to hear Empirical Labs’ Lil FrEQ, a monster that will destroy the way you think
about EQ. This single-channel unit has two shelving bands, tunable low cut, four parametric
bands, dynamic EQ for de-essing and direct box input—all noiseless and distortion free.
Best of all, its smooth processing is absolutely addictive. Sweet! " George Peterson (Mix
Magazine) 1
14 4( (R
Re ev v1 19 9) )
BACK TO TABLE OF CONTENTS

Stereo Image Linking for the Distressor
Basic Description -
-T
Th he eo or ri ig gi in na al lD Di is st tr re es ss so or rs st te er re eo ol li in nk ki im mp pl le em me en nt ta at ti io on nu us se ed da as su um mm mi in ng ga an nd d
p
ph ha as se ed de et te ec ct ti io on nm me et th ho od dw wh hi ic ch ha al ll lo ow we ed ds st te er re eo oi im ma ag ge es sh hi if ft ti in ng g. ." "I Im ma ag ge es sh hi if ft ti in ng g" "o oc cc cu ur rs sw wh he en nt th he e
i
in nt te er rc ch ha an nn ne el lb ba al la an nc ce e( (t th he er re el la at ti iv ve ev vo ol lu um me eb be et tw we ee en nL Le ef ft ta an nd dR Ri ig gh ht tc
ch ha an nn ne el ls s) )c ch ha an ng ge es sd du ur ri in ng g
c
co om mp pr re es ss si io on n. .A Al lt th ho ou ug gh hk kn no ow wn nf fo or ri it ts sp ph ha as se ec co or rr re ec ct ti io on n, ,a an nd di it ts s" "t th hi ic ck ke en ni in ng g" "o on no op pe en nr ro oo om mm mi ic cs sa an nd d
o
ot th he er rs st te er re eo os so ou ur rc ce es s, ,t th he eo or ri ig gi in na al lD Di is st tr re es ss so or rp ph ha as se el li in nk ka ap pp pr ro oa ac ch hh ha as ss so om me et ti im me es sb be ee en na ap pr ro ob bl le em mo on n
s
st te er re eo op pr ro og gr ra am mm
ma at te er ri ia al l, ,w wh he er re et th he ep pr ro od du uc ce er r/ /e en ng gi in ne ee er rs sw wa an nt tt to om ma ai in nt ta ai in na ab bs so ol lu ut te el le ef ft t/ /r ri ig gh ht tb ba al la an nc ce ea at t
a
al ll lt ti im me es s. .
W
Wi it th ht th he en ne ew w" "S St te er re eo oI Im ma ag ge eL Li in nk k" "o op pt ti io on n, ,t th he eD Di is st tr re es ss so or ru us se er rn no ow wh ha as st th hr re ee el li in nk ko op pt ti io on ns s- -t th he e
o
or ri ig gi in na al l" "p ph ha as se e" "l li in nk k, ,t th he en ne ew wI Im ma ag ge eL Li in nk ka an nd dt
th he ec co om mb bi in na at ti io on no of ft th he et tw wo o, ,p ph ha as se ea an nd di im ma ag ge el li in nk ki in ng g. .T Th hi is s
h
ha as sn ne ev ve er rb be ef fo or re eb be ee en no of ff fe er re ed do on na an ny yc co om mp pr re es ss so or rs so or rl li im mi it te er rs s. .T Th he er re ec ca an nb be ev ve er ry ys sl li ig gh ht td di if ff fe er re en nc ce es si in n
t
th he em me et te er ri in ng gb be et tw we ee en nt th he et tw wo ou un ni it ts s. .D Du ue et to ot th he eh hi ig gh hr re es so ol lu ut ti io on no of ft th he eD Di is st tr re es ss so or r'
's sm me et te er ri in ng g, ,1 1/ /1 10 0t th hd dB B
c
ca an nm ma ak ke ea an nL LE ED Do on no on ne eu un ni it tg go oo on no or ro of ff fe ea ar rl li ie er rt th ha an nt th he eo ot th he er ru un ni it t' 's s. .S Sl li ig gh ht tm me et te er ri in ng gm mi is sm ma at tc ch hi is st to o
b
be ee ex xp pe ec ct te ed d. .A Al ls so o, ,d do on n' 't tr re ea ad dj ju us st tk kn no ob ba al li ig gn nm me en nt t- -t th he eo ou ut tp pu ut tp po ot ts se es sp pe ec ci ia al ll ly y. .T Th he ey ya ar re eo of ft te en no of ff fs se et t
a
ar ro ou un nd d" "0 0" "t to oa al ll lo
ow wf fo or r" "d de ea ad ds sp po ot ts s" "a at tt th he el lo ow we er re ex xt tr re em me es s. .
How to use the new Stereo Image Link Option for the first time
Y
Yo ou um mu us st tn no ow wu us se et tw wo os st te er re eo op ph ho on ne ep pl lu ug gs si in nt th he el li in nk kc ca ab bl li in ng g. .T Th hi is sm me ea an ns ss st ta an nd da ar rd dT TR RS Sp ph ho on ne ep pl lu ug gs s. .
T
Th he ey ya ar re es su up pp pl li ie ed dw wh he en ny yo ou up pu ur rc ch ha as se et th he eo op pt ti io on n. .P Pl lu ug go on ne eu un ni it t' 's sL Li in nk kO Ou ut tt to ot th he eo ot th he er r' 's sL Li in nk kI In n, ,a an nd d
v
vi ic ce
ev ve er rs sa a. .B Bo ot th hu un ni it ts sm mu us st th ha av ve et th he e" "S St te er re eo oI Im ma ag ge eL Li in nk k" "s sw wi it tc ch ho on n( (b bo ot th hs sw wi it tc ch he es ss sh ho ou ul ld db be ei in nt th he eu up p
p
po os si it ti io on na an nd dt th he eL LE ED Ds ss sh ho ou ul ld db be el li it t) ). .T Th he ee en ng gi in ne ee er rm mu us st ts st ti il ll lm ma at tc ch ht th he eu un ni it ts s' 'f fr ro on nt tp pa an ne el lc co on nt tr ro ol ls s
u
us su ua al ll ly y, ,b bu ut tt th he eu un ni it ts sw wi il ll ln no ow wa al lw wa ay ys sm ma at tc ch hi
in nt th he ei ir rg ga ai in nr re ed du uc ct ti io on na am mo ou un nt t- -e el li im mi in na at ti in ng gi im ma ag ge es sh hi if ft t. .
T
Th he em mo os st ti im mp po or rt ta an nt tt th hi in ng gt th he eu us se er rm mu us st td do oi is sm ma at tc ch ht th he el le ef ft ta an nd dr ri ig gh ht ti in np pu ut ta an nd do ou ut tp pu ut tl le ev ve el ls s. .I If fn no o
c
ch ha an ng ge ei is sg go oi in ng gt to ob be em ma ad de et to ot th he el le ef ft t/ /r ri ig gh ht tb ba al la an nc ce e, ,u us si in ng ga at to on ne et to os se et tt th he el le ef ft tr ri ig gh ht
tI I/ /O Ol le ev ve el ls si is sv ve er ry y
d
di ir re ec ct ta an nd du us se ef fu ul l. .S Se ee eb be el lo ow w. .
Setting I/O levels -I
It t’ ’s ss su ug gg ge es st te ed dt th ha at ty yo ou us se et tb bo ot th hu un ni it ts st to ot th he ei ir rg ge en ne er ra al le ex xp pe ec ct te ed ds se et tt ti in ng gs s, ,
w
wi it th hS St te er re eo oI Im ma ag ge el li in nk ke en ng ga ag ge ed d, ,a ap pp pl ly ya an ni id de en nt ti ic ca al lt to on ne et to ob bo ot th hD Di is st tr re es ss so or rs s, ,a an nd da ad dj ju us st tt th he ei in np pu ut ts s
n
ne ea ar rl ly yt th he es sa am me
e, ,t th he en n" "t tw we ea ak k" "t th he eo ou ut tp pu ut ts ss so ot th ha at tt th he eo ou ut tp pu ut tl le ev ve el ls sa ar re ei id de en nt ti ic ca al l. .U Us se et th he em me et te er rs so on n
y
yo ou ur rb bo oa ar rd do or rr re ec co or rd de er rs s. .T Th hi is sw wi il ll le en ns su ur re et th ha at tt th he ei in nt te er rc ch ha an nn ne el ll le ev ve el ls sr re em ma ai in ns su un nc ch ha an ng ge ed d. .A Al ls so o, ,w wi it th ht th he e
n
ne ew wl li in nk ki in ng g, ,i it ti is sn no ot ta as sc cr ri it ti ic ca al lt to oe ex xa ac ct tl ly ym ma at tc
ch he ei it th he er rt th he ei in np pu ut to or ro ou ut tp pu ut ts s, ,s si in nc ce et th he eg ga ai in nr re ed du uc ct ti io on n
b
be et tw we ee en nt th he et tw wo oc ch ha an nn ne el ls si is sl lo oc ck ke ed d, ,a an nd dt th he er re ef fo or re eo on nc ce et th he eo ov ve er ra al ll lt th hr ro ou ug gh hp pu ut tl le ev ve el ls sa ar re em ma at tc ch he ed d, ,
t
th he ey yw wi il ll lr re em ma ai in nt th ha at tw wa ay y. .H Ho ow we ev ve er r, ,t th he eu un ni it ts sc ca an nr re es sp po on nd dm mo or re et to ot th he el lo ou ud de er rc ch ha an nn ne el li
if ft th he ei in np pu ut tl le ev ve el ls s
a
ar re en no ot tm ma at tc ch he ed d. .
Stereo Image Link Tricks
�
� F Fi ir rs st t, ,t th he er re ei is sn no ol li im mi it tt to oh ho ow wm ma an ny yu un ni it ts sc ca an nb be el li in nk ke ed d- -i in nt th he eo or ry y. .H Ho ow we ev ve er r, ,y yo ou um mu us st ta av vo oi id dl lo on ng g
l
li in nk kc ca ab bl le es ss si in nc ce et th he ey yw wi il ll lc ca au us se en no oi is se ea an nd dd de eg gr ra ad da at ti io on no of fo op pe er ra at ti io on n. .T To ow wi ir re eu up pm mo or re et th ha an nt tw wo ou un ni it ts s, ,g go o
f
fr ro
om mt th he el li in nk ko ou ut tp pu ut to of ft th he e1 1s st tu un ni it t' 's sl li in nk kt to ot th he en ne ex xt tu un ni it ts sl li in nk ki in np pu ut t, ,t th he en nt ta ak ke et th ha at tu un ni it ts sl li in nk ko ou ut tt to ot th he e
n
ne ex xt to on ne es si in np pu ut te et tc c. .F Fi in na al ll ly y, ,t ta ak ke et th he el la as st tu un ni it ts sl li in nk ko ou ut ta an nd df fe ee ed di it tb ba ac ck kt to ot th he ef fi ir rs st tu un ni it ts sl li in nk ki in n. .Y Yo ou um mu us st t
u
us se es st te er re eo op ph ho on ne ep pl lu ug gs sf fo or rt th he
e" "S St te er re eo oI Im ma ag ge eL Li in nk k" "t to ow wo or rk k. .
�
� T Tr ry yp pu ut tt ti in ng gt th he el lo ow we er ru un ni it ti in nt to o1 1: :1 1m mo od de ew wi it th ha at tt ta ac ck ka an nd dr re el le ea as se eo on n1 10 0. .T Th he en ns st ti il ll lm ma at tc ch hi in ng gt th he eI I/ /O O
l
le ev ve el ls s, ,u us se et th he eu up pp pe er ru un ni it tt to os se el le ec ct tr ra at ti io oa an nd da at tt ta ac ck k/ /r re el le ea as se et ti im me es s. .T Th hi is sw wi il ll la al ll lo ow wa al lo on ng ge er ra at tt ta ac ck kt ti im me e
t
th he en no
ot th he er rw wi is se ea av va ai il la ab bl le e, ,s si in nc ce et th he et to op pu un ni it tm mu us st td dr ri iv ve eb bo ot th hu un ni it ts st ti im mi in ng gc ci ir rc cu ui it tr ry y. .T Th he ed do ow wn ns si id de ei is st th ha at t
t
th he eu un ni it ts sw wi il ll lo on nl ly yr re es sp po on nd dt to ot th he et to op pu un ni it ts ss si ig gn na al l, ,u un nl le es ss st th he eo or ri ig gi in na al ll li in nk ki is se en ng ga ag ge ed d( (s se ee eb be el lo ow w) ). .T Th he er re e
a
ar re ea af fe ew ww we el ll lk kn no ow wn nc co om mp pr re es ss so or rs
st th ha at th ha av ve ea am ma as st te er r/ /s sl la av ve em mo od de et th ha at to on nl ly yl lo oo ok ks sa at tt th he e" "m ma as st te er ru un ni it ts s" "
a
au ud di io o- -s so ot th hi is si is sn no ot tu un nh he ea ar rd do of f. .Y Yo ou um ma ay ys sw wi it tc ch ht th he eu un ni it ts sa an nd dh ha av ve et th he eb bo ot tt to om mo on ne ec co on nt tr ro ol lt th he et to op pu un ni it t
(
(w wh hi ic ch hi is si in n1 1: :1 1m mo od de e) ). .A Al ls so o, ,u us si in ng gt th he eo or ri ig gi in na al ll li in nk kw wi il ll ls su um mb bo ot th hc ch ha an nn ne
el ls sp pa ar rt ti ia al ll ly y, ,s so ot th ha at tt th he er re ei is s
s
so om me er re es sp po on ns se et to ot th he e" "s sl la av ve e" "u un ni it ts sa au ud di io o. .T Th hi is sl lo on ng ge er r( (s sl lo ow we er r) )a at tt ta ac ck kt ti im me ei is ss so om me et ti im me es sv ve er ry yu us se ef fu ul lo on n
p
pr ro og gr ra am mm ma at te er ri ia al l- -a al la aS SS SL Lt ty yp pe ec co om mp pr re es ss si io on n. .
� T Tr ry yn no ot tm ma at tc ch hi in ng gt th he eu un ni it ts sf fr ro on nt tp pa an ne el lc co on nt tr ro ol ls s- -w wh ho ol le en ne ew wr
ra at ti io os sc ca an nb be eo ob bt ta ai in ne ed d. .F Fo or ri in ns st ta an nc ce e, ,
p
pu ut tt ti in ng gt th he el le ef ft tc ch ha an nn ne el lo on n2 2: :1 1a an nd dt th he er ri ig gh ht tc ch ha an nn ne el lo on nN Nu uk ke e( (p pr re et tt ty yr ra ad di ic ca al lb bu ut t. .. .) ), ,t th he en ns se et tt ti in ng gt th he el le ef ft t
a
an nd dr ri ig gh ht tl le ev ve el ls sd di if ff fe er re en nt tl ly y, ,y yo ou uc ca an ng ge et ta ac co om mb bi in na at ti io on no of ft tw wo or ra at ti io oc cu ur rv ve es s. .U Us su ua al ll ly yt th he el lo ow we es st
t
a
at tt ta ac ck k/ /d de ec ca ay ys se et tt ti in ng gs sw wi il ll lo ov ve er rr ri id de et th he eh hi ig gh he er rs se et tt ti in ng gs s, ,i i. .e e. .i if fo on ne ec ch ha an nn ne el lh ha as st th he ea at tt ta ac ck ks se et tt to o1 10 0a an nd d
t
th he eo ot th he er rt to o3 3, ,t th he eu un ni it ts sw wi il ll lg ge en ne er ra al ll ly yr re ea ac ct ta at tt th he ef fa as st te er r3 3s se et tt ti in ng g. .
� I If fn no oT TR RS Ss st te er re eo ol li in nk kc ca ab bl le es sa ar re ea av va ai il la ab bl le e, ,o on ne em ma ay yu us se ea ar re eg gu ul la ar rg
gu ui it ta ar rc ca ab bl le et to oe en na ab bl le et th he en ne ew w
l
li in nk k. .B Bu ut ty yo ou uo on nl ly yi in ns se er rt tt th he ec ca ab bl le ep pa ar rt tw wa ay yi in nt to ot th he er re ea ar rL Li in nk kc co on nn ne ec ct to or rs s- -s so ot th ha at to on nl ly yt th he er ri in ng gi is si in n
c
co on nt ta ac ct tw wi it th ht th he et ti ip po of fp ph ho on ne ep pl lu ug g. .T Th he en no or rm ma al lE EL L8 8l li in nk kw wi il ll lb be es sa ac cr ri if fi ic ce ed d, ,h ho ow we ev ve er r, ,s si in nc ce ei it tr re el li ie es so on nt th he e
t
ti ip po of
ft th he el li in nk kc co on nn ne ec ct to or rs st to ob be ec co on nn ne ec ct te ed d. .I It ti is sb be es st tn no ot tt to op pu ut tt th he eu un ni it ti in nn no or rm ma al ll li in nk k( (i in nt th he eD De et te ec ct to or r
a
ar re ea a) )s si in nc ce ei it tw wi il ll lm ma ak ke et th he eu un ni it to op pe er ra at te ew wi it th hm mo or re ed di is st to or rt ti io on nw wi it th ho ou ut tt th he et ti ip pc co on nn ne ec ct ti io on ns s- -t th he en na ag ga ai in n
t
th hi is sm mi ig gh ht tb be et th he ep pe er rf fe ec ct ts sp pi ic ce ef fo or ry yo ou ur rg
gu um mb bo o! !1 13 3
Using the Distressor for the first time
H
Ho oo ok ku up pi is ss st tr ra ai ig gh ht tf fo or rw wa ar rd d. .E Ei it th he er rt th he eX XL LR R' 's so or rp ph ho on ne ep pl lu ug gs sc ca an nb be eu us se ed d. .I In nr re el la at ti io on nt to ot th he ep ph ho on ne ej ja ac ck k
t
ti ip ps s, ,p pi in n2 2i is sw wi ir re ed d" "h ho ot t" "o on nt th he eX XL LR R' 's s. .B Bu ut ti if fy yo ou u' 'r re eu us si in ng gt th he eX XL LR R' 's si in na an nd do ou ut t, ,i it td do oe es sn n' 't tm ma at tt te er rw wh hi ic ch h
p
pi in ni is sh ho ot t, ,a as sl lo on ng ga as sy yo ou u' 'r re ec ca ab bl li in ng gi is
si in np ph ha as se e. .I If fy yo ou uu us se ea as si in ng gl le ee en nd de ed dX XL LR Ro ou ut tp pu ut t, ,l le ea av ve eu un nu us se ed dp pi in n
f
fl lo oa at ti in ng g! !T Th he eg gr ro ou un nd dp pi in n( (p pi in n1 1o on nX XL LR R) )s sh ho ou ul ld d, ,o of fc co ou ur rs se e, ,a al lw wa ay ys sb be ec co on nn ne ec ct te ed d. .C Co on nn ne ec ct ti in ng ga al ll li in np pu ut t
p
pi in ns si is sp pr re ef fe er rr re ed d, ,b bu ut tt th he eu un ni it tw wi il ll lo op pe er ra at te ef fi in ne ei if fu un nu us se ed dp pi in ns sa ar re en n' 't tt ti ie ed dt
to og gr ro ou un nd d. .H Ho oo ok ku up pd di ir re ec ct ti io on ns s
a
ar re ea al ls so ol lo oc ca at te ed do on nt th he er re ea ar rp pa an ne el lo of fu un ni it t, ,n ne ea ar rt th he ec co on nn ne ec ct to or rs s. .S Se ee ew wi ir ri in ng gs se ec ct ti io on no on np pa ag ge e9 9f fo or r
g
gr re ea at te er rd de et ta ai il ls s. .
Where to start - 5 5 5 5
S
St ta ar rt tw wi it th h6 6: :1 1r ra at ti io oa an nd ds se et ta al ll lf fo ou ur rk kn no ob bs st to o5 5, ,t th he em mi id dw wa ay yp po os si it ti io on n. .T Th hi is si is sa ag gr re ea at ts st ta ar rt ti in ng gp pl la ac ce ef fo or r
a
an ny yt th hi in ng g. .P Pu us sh ht th he er ra at ti io ob bu ut tt to on nu un nt ti il lt th he eL LE ED D' 's sc cy yc cl le et to ot th he e6 6: :1 1r ra at ti io o( (Y Ye el ll lo ow wL LE ED D) ). .A Ad dj ju us st ti in np pu ut tt to od dr ri iv ve e
i
in nt to om mo or re ec co om mp pr re es ss si io on n. .T Th he eh ha ar rd de
er ry yo ou ud dr ri iv ve e, ,t th he em mo or re ek kn ne ee ey yo ou u' 'l ll lh hi it t, ,a an nd dt th he eg gr re ea at te er rt th he er ra at ti io ow wi il ll lb be e. .
O
On nl ly y1 1L LE ED Ds sh ho ou ul ld db be el li it t- -t th he e6 6: :1 1L LE ED D( (n no ot tc co ou un nt ti in ng ga an ny yb ba ar rg gr ra ap ph hL LE ED D' 's s) ). .I If fy yo ou un ne ee ed dm mo or re eo ob bv vi io ou us s
c
co om mp pr re es ss si io on n, ,p pu us sh hr ra at ti io ob bu ut tt to on nt to op pr ro og gr re es ss st to oh hi ig gh he er rr ra at ti io os s. .I If fy yo ou uw wo ou ul ld
dl li ik ke el lo ow we er rr ra at ti io os s, ,t th he ev ve er ry yl lo on ng g
k
kn ne ee es so of f2 2: :1 1, ,3 3: :1 1, ,4 4: :1 1a ar re es si il lk ky ys sm mo oo ot th h. .T Th he e2 2: :1 1r ra at ti io oh ha as sa a+ +1 15 5d dB Bk kn ne ee e, ,w wh he er re et th he er ra at ti io og gr ra ad du ua al ll ly y
i
in nc cr re ea as se es s! !U Un ni it tw wi il ll ls sc cr ro ol ll la ar ro ou un nd d" "N Nu uk ke e" "b ba ac ck kt to ot th he es se el lo ow we er rr ra at ti io os s, ,b bu ut ti if fy yo ou um mu us st tc cy yc cl le et th hr ro ou ug gh h1 1: :1 1
w
wh hi il le eu un
ni it ti is si in nu us se e, ,d do oi it tq qu ui ic ck kl ly ys si in nc ce ec co om mp pr re es ss si io on nw wi il ll lb be et tu ur rn ne ed d" "o of ff f" "a an nd dt th he es si ig gn na al lw wi il ll ls sw we el ll lt to oi it ts s
p
pe ea ak ki in np pu ut tl le ev ve el ls s, ,p po os ss si ib bl ly yb be ec co om mi in ng gd da an ng ge er ro ou us sl ly yl lo ou ud d. .W Wa ai it ti in ng gf fo or ra ap pa au us se ei in nt th he ei in np pu ut tb be ef fo or re e
c
ch ha an ng gi in ng gr ra at ti io oi is sa as sa af fe et th hi in ng gt to od do o. .F Fo or ra aq qu ui ic ck k+
+4 4t ta ap pe el le ev ve el ls s, ,t tr ry ys se et tt ti in ng go ou ut tp pu ut tk kn no ob bt to o8 8. .
Distortion Settings
I
If fa al ll lt th he eL LE ED D' 's sa ar re eo of ff fi in nt th he e" "A Au ud di io o" "a ar re ea a, ,y yo ou ur rD Di is st tr re es ss so or ri is so op pe er ra at ti in ng gi in ni it ts sc cl le ea an ne es st tm mo od de e. .
D
Di is st to or rt ti io on ns se et tt ti in ng gs ss sh ho ou ul ld db be eu us se ed dw wh he en ns su ub bt tl le ea an na al lo og gd di is st to or rt ti io on ni is sd de es si ir re ed d. .D Di is st t2 2m mo od de ep pr ro od du uc ce es s
"
"C Cl la as ss sA A" "t ty yp pe ew wa ar rm mt th h, ,p pr ro od du uc ci in ng gm mo os st tl ly y2 2n nd dh ha
ar rm mo on ni ic cw wh he en nc co om mp pr re es ss si in ng g( (t tu ub be ed di is st to or rt ti io on ni is sk kn no ow wn nf fo or r
i
it ts s2 2n nd dh ha ar rm mo on ni ic c) )a an nd dD Di is st t3 3a ad dd ds s3 3r rd da al lo on ng gw wi it th h2 2n nd dh ha ar rm mo on ni ic c. .D Di is st t3 3c ca an nl lo oo ok ka an nd ds so ou un nd dv ve er ry ys si im mi il la ar r
t
to ot ta ap pe ed di is st to or rt ti io on n- -i it tg gr ra ad du ua al ll ly yf fl la at tt te en ns so ou ut tt th he et to op pa an nd db bo ot tt to om mo of ft th he ew wa av ve ef fo or rm m. .I If fy yo
ou uw wa an nt ta ad di ig gi it ta al l
s
si ig gn na al lt to os so ou un nd dl li ik ke ea an na an na al lo og gt ta ap pe es si ig gn na al l, ,t tr ry y2 2: :1 1m mo od de ew wi it th hD Di is st t3 3e en ng ga ag ge ed d, ,a an nd dc co om mp pr re es ss s1 1- -3 3d dB B
(
(a as sd di is sp pl la ay ye ed do on nb ba ar rg gr ra ap ph h) ). .T Ta ap pe eg go oe es si in na an nd do ou ut to of fs sa at tu ur ra at ti io on nq qu ui ic ck kl ly y, ,s so of fa as st ta at tt ta ac ck ks sa an nd dd de ec ca ay ys sa ar re e
a
ap pp pr ro op pr ri ia at te e. .I If fy yo ou uw wa an nt tt to
om ma ak ke ei it ts so ou un nd dl li ik ke eo ov ve er r- -s sa at tu ur ra at te ed dt ta ap pe e, ,y yo ou uc co ou ul ld dt tr ry yo on ne eo of ft th he eh hi ig gh he er r
r
ra at ti io os sa an nd dd dr ri iv ve et th he ei in np pu ut tt to op pr ro od du uc ce e1 1- -5 5d dB Bo of fc co om mp pr re es ss si io on n. .W Wi it th ht th he eq qu ui ic ck kr re el le ea as se e, ,2 2n nd dh ha ar rm mo on ni ic c
w
wi il ll ls st ti il ll lb be es st tr ro on ng gi in nD Di is st t3 3m mo od de e. .M Mo or re et th ha an n3 3t to o5 5d dB Bo of fr re ed du uc ct ti io on nw wi il ll ls so
ou un nd dl le es ss sl li ik ke et ta ap pe e, ,m mo or re el li ik ke e
c
co om mp pr re es ss si io on n. .
Advanced Detector functions
T
Th he en ne ew wu us se er rm ma ay yw wa an nt tt to os st ti ic ck kw wi it th ha ab ba as si ic cs se et tu up pu un nt ti il lh he ef fe ee el ls sc co om mf fo or rt ta ab bl le e, ,b bu ut tw wi it th ht th he ep pu us sh ho of fa a
b
bu ut tt to on nh he ec ca an ne en na ab bl le es so om me ea ad dv va an nc ce ed ds si id de ec ch ha ai in nf fu un nc ct ti io on ns s. .W Wh hi il le et tr ra ac ck ki in ng gv vo oc ca al ls sf fo or ri in ns st ta an nc ce e, ,
s
so om me et ti im me es s" "p p' 's s" "a an nd d" "b b' 's s" "c ca an nh hi it tt th he em mi ic cw wi it th ha an na ai
ir rb bl la as st tt th ha at ts sh ho ow ws su up pa as sa ah hi ig gh ha am mp pl li it tu ud de e, ,l lo ow w
f
fr re eq qu ue en nc cy ys si ig gn na al l, ,c ca au us si in ng gt th he ec co om mp pr re es ss so or rt to o" "k ki ic ck ki in n" ". .T Th he er re es su ul lt tm ma ay yb be ea ab br ri ie ef f, ,u un nn na at tu ur ra al ld dr ro op pi in nt th he e
a
ap pp pa ar re en nt tv vo oc ca al ll le ev ve el l. .B By yp pu us sh hi in ng gt th he ed de et te ec ct to or rb bu ut tt to on no on nc ce e, ,y yo ou ue en ng ga ag ge ea ah hi ig gh h- -p pa as ss s( (a ab bb br re ev vi
ia at te ed dw wi it th h
H
HP P) )f fi il lt te er ri in nt th he ed de et te ec ct to or r( (t th he ep pa ar rt to of ft th he ec ci ir rc cu ui it tt th ha at tf fi ig gu ur re es so ou ut th ho ow wm mu uc ch ht to ot tu ur rn nd do ow wn nt th he es si ig gn na al l) ). .T Th hi is s
h
hi ig gh h- -p pa as ss s, ,o or rl lo ow wc cu ut t, ,w wi il ll ln no ot ta al ll lo ow wl lo ow w, ,l lo ow wf fr re eq qu ue en nc ci ie es st to ot tr ri ig gg ge er rc co om mp pr re es ss si io on n, ,a an nd di in nt th hi is sc ca as se e, ,
p
pr re ev ve en nt tt th he eu un nn na at tu ur ra al ld
dr ro op pi in nv vo oc ca al ll le ev ve el lf fr ro om ma a" "p p" "o or r" "b b" "b bl la as st ti in ng gt th he em mi ic cw wi it th hw wi in nd d. .I It tm ma ay ya al ls so oh he el lp p
t
to oH HP P( (h hi ig gh h- -p pa as ss s) )t th he ea au ud di io oi in nt th hi is sc ca as se e. .
A
An no ot th he er rd de et te ec ct to or rs si id de ec ch ha ai in nf fi il lt te er rc ca an nb be ee en ng ga ag ge ed dw wi it th ha as se ec co on nd dp pu us sh ho of ft th he eb bu ut tt to on n. .T Th hi is si is st th he e" "b ba an nd d
e
em mp ph ha as si is sf fu un nc ct ti io on n" "t th
ha at ti in ns se er rt ts sa an nE Eq qi in nt to ot th he ed de et te ec ct to or rc ci ir rc cu ui it tr ry yt th ha at tm ma ak ke es st th he ec ci ir rc cu ui it tm mu uc ch hm mo or re e
s
se en ns si it ti iv ve et to oh ha ar rs sh h, ,m mi id db ba an nd df fr re eq qu ue en nc ci ie es s. .T Th hi is si is su us se ef fu ul lo on nv vo oc ca al ls s( (f fo or rt th ho os se es si in ng ge er rs sw wi it th ha an na as st ty ye ed dg ge e
t
to ot th he ei ir rv vo oi ic ce ew wh he en nt th he ey yg go ou up ph hi ig gh h) ), ,g gu ui it ta ar rs s, ,s sy yn nt th hs s, ,a an nd dm ma
an ny yo ot th he er rs so ol lo oi in ns st tr ru um me en nt ts st th ha at tm ma ay y
b
be ec co om me eh ha ar rs sh ha an nd dt to oo ol lo ou ud di in nt th he em mi ix x. .S Se ee e" "D De et te ec ct to or rM Mo od de es s" "o on np pa ag ge e6 6f fo or rm mo or re ei in nf fo o. .
2
2
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Example settings
G
Ge en ne er ra al ll ly y, ,i it ti is sd di if ff fi ic cu ul lt tt to om ma ak ke et th he eu un ni it ts so ou un nd du un nn na at tu ur ra al ld du ue et to oi it ts sv vi in nt ta ag ge et to op po ol lo og gy y. .T Th he er ra at ti io oa an nd d
r
re el le ea as se et ti im me es sa ar re et th he em mo os st tc cr ri it ti ic ca al ls se et tt ti in ng gs s. .A Ag ga ai in n, ,a ar ro ou un nd d5 5o on nt th he er re el le ea as se ek kn no ob bi is sa ag go oo od ds st ta ar rt ti in ng g
s
sp po ot t. .T Th he ea at tt ta ac ck ki is sv va ar ri ia ab bl le ef fr ro om m5 50 0u uS St
to o3 30 0m mS S. .T Th he er re el le ea as se ei is sv va ar ri ia ab bl le ef fr ro om m5 50 0m mS St to o3 3s se ec co on nd ds s. .F Fo or r
p
pe er rc cu us ss si iv ve em ma at te er ri ia al l, ,i if fy yo ou un ne ee ed dt to oa ad dd da at tt ta ac ck k, ,a ad dd da at tt ta ac ck k. .T Th ha at ti is s, ,s sl lo ow wt th he ea at tt ta ac ck kb by yt tu ur rn ni in ng gt th he ek kn no ob b
c
cl lo oc ck kw wi is se et to ow wa ar rd ds s1 10 0. .C Co on nv ve er rs se el ly y, ,i if fy yo ou un ne ee ed dt to og ge et tr ri id do of fs so om me ep pi ic ck kn no oi is se e, ,o or ro
ov ve er rt tr ra an ns si ie en nt ts so ou un nd ds s, ,
t
th he ef fa as st ta at tt ta ac ck ka an nd dr re el le ea as se ei is st th he ew wa ay yt to og go o. .W Wi it th ht th he es se et to oo ol ls s, ,a an ne en ng gi in ne ee er rc ca an nm mo ol ld dt th he ee en nv ve el lo op pe eo of f
s
so ou un nd ds si in na av ve er ry yc co on nt tr ro ol ll le ed dm ma an nn ne er r, ,a ad dd di in ng go or rs so of ft te en ni in ng ga at tt ta ac ck k, ,s su us st ta ai in ni in ng g, ,s sm mo oo ot th hi in ng ga an nd de ev ve en ni in ng gu un nt ti il l
t
th he es so ou un nd ds sf fi
it ti in nt to ot th he em mi ix xa as sd de es si ir re ed d. .
V
Vo oc ca al ls s-
-T Tu ur rn no of ff fa al ll ld di is st to or rt tm mo od de es si if fy yo ou u' 'r re eg go oi in ng gt to ot ta ap pe e, ,h ho ow we ev ve er rt th he eH Hi ig gh h- -p pa as ss s( (H HP P) )i in nb bo ot th ht th he e
d
de et te ec ct to or ra an nd da au ud di io op pa at th hs sm ma ay yb be eu us se ef fu ul l. .S Se et tr ra at ti io ot to o6 6: :1 1o or rl le es ss s, ,a at tt ta ac ck k5 5, ,r re el le ea as se e4 4. .A Ad dj ju us st ti in np pu ut tt to o
p
pr ro od du uc ce ea an ny yw wh he er re ef fr ro om m3 3t to o1 17 7d dB Bo of fc co om mp pr re es ss si io on n. .S So om
me et ti im me es st th he eb ba an nd de em mp ph ha as si is ss se et tt ti in ng gi is se ef ff fe ec ct ti iv ve e
f
fo or rt th ho os se ed dy yn na am mi ic c, ," "p pi ie er rc ci in ng g" "v vo oc ca al lp pa as ss sa ag ge es s. .O On nm mi ix xd do ow wn ns s, ,D Di is st t2 2c ca an na ad dd da aw wa ar rm me ed dg ge et to ov vo oc ca al ls s. .
T
Th he e" "O Op pt to o" "m mo od de ei in n1 10 0: :1 1i is sg gu ua ar ra an nt te ee ed dt to og gi iv ve ey yo ou ua ac cl la as ss si ic cc co om mp pr re es ss si io on nc cu ur rv ve e. .T Tr ry y1 10 0: :1 1, ,w wi it th ha at tt ta
ac ck k
o
on n1 10 0, ,r re el le ea as se eo on n0 0. .S Se ep pa ar ra at te ed de et te ec ct to or rc ci ir rc cu ui it tr ry yw wi il ll lb be ee en na ab bl le ed d. .
A
Aw we el ll lk kn no ow wn np pr ro od du uc ce er rg ga av ve eu us sa an no ot th he er rm mo or re ea ag gg gr re es ss si iv ve ev vo oc ca al lc co om mp pr re es ss so or rs se et tt ti in ng g: :R Ra at ti io o6 6: :1 1, ,A At tt ta ac ck k
2
2. .5 5- -3 3, ,5 5, ,R Re el le ea as se e0 0– –2 2, ,A Au ud di io om mo od de es sH HP P& &D Di is st t2 2. .I In ns so of ft tp pa as ss sa ag ge es s, ,n no oc co om mp pr
re es ss si io on ns sh ho ou ul ld do oc cc cu ur r
w
wh hi il le eo on nl lo ou ud dp pa as ss sa ag ge es s1 17 7– –2 20 0d dB B. .T Th hi is ss se et tt ti in ng gw wa as su us se ed df fo or rt tr ra ac ck ki in ng ga as sw we el ll la as sm mi ix xi in ng g. .
B
Ba as ss s-
-4 4: :1 1, ,6 6: :1 1t tu ur rn na at tt ta ac ck ko on n5 5, ,r re el le ea as se e4 4. .T Th he ed di is st to or rt ti io on na au ud di io om mo od de es ss so ou un nd dg gr re ea at to on nb ba as ss s, ,b bu ut t
c
ca au ut ti io on ns sh ho ou ul ld db be eo ob bs se er rv ve ed di if fy yo ou ua ar re eg go oi in ng gt to ot ta ap pe e/ /H HD D. .Y Yo ou uc ca an nn no ot tu un n- -d di is st to or rt t. .I If fy yo ou uh ha av ve ea av ve er ry y
"
"c cl la ac ck ky y" "b ba as ss sp pl la ay ye er r, ,s so om me et ti im me es st th he eb ba an nd de em mp ph ha as si is si in nt th
he ed de et te ec ct to or rj ju us st tf fl la at tt te en ns st th ha at ts st tu uf ff fo ou ut t. .U Us se ef fa as st t
a
at tt ta ac ck ka an nd dr re el le ea as se et ti im me es st to ok ke ee ep p" "c cl la ac ck ks s" "f fr ro om mp pu um mp pi in ng g. .A Al ls so o, ,t tr ry y" "O Op pt to o" "m mo od de e. .
E
El le ec c. .g gu ui it ta ar r-
-A Aw wi id de er ra an ng ge eo of fs se et tt ti in ng gs sc ca an nb be eu us se ed d. .T To og ge et tr ri id do of fe ed dg gy ya at tt ta ac ck ks s, ,u us se eq qu ui ic ck ka at tt ta ac ck k, ,
m
me ed di iu um mr re el le ea as se e. .T To os sm mo oo ot th ho ou ut ts so ol lo os s, ,t tr ry yt th he eb ba an nd de em mp ph ha as si is si in nt th he ed de et te ec ct to or rt to op pu ul ll lu up pt th he el lo ow we er r, ,s so of ft te er r
n
no ot te es sa an nd dp pu us sh hb ba ac ck ka an nd ds su us st ta ai in nt th he eh hi ig gh he er r, ,a an nd do of ft te en n, ,t th hi
in nn ne er rn no ot te es s. .T Tr ry y" "O Op pt to o" ". .
A
Ac co ou us st ti ic cg gu ui it ta ar r-
-W We e' 'v ve eb be ee en nt to ol ld db by ya ac co ou up pl le eo of fe en ng gi in ne ee er rs st th ha at tt th he eD Di is st tr re es ss so or ri is so on ne eo of ft th he eb be es st t
s
so ou un nd di in ng gu un ni it ts sf fo or ra ac co ou us st ti ic ct th he ey y' 'v ve ee ev ve er rh he ea ar rd d. .U Us se e6 6: :1 1, ,[ [7 7, ,2 2, ,5 5, ,7 7] ]s se et tt ti in ng gs s( (i i. .e e. .I In np pu ut t7 7, ,A At tt ta ac ck k2 2, ,
R
Re el le ea as se e5 5, ,O Ou ut tp pu ut t7 7) ). .H Hi ig gh h- -p pa as ss s( (H HP P) )i is so of ft te en nu us se ef fu ul li in nb bo ot th hd
de et te ec ct to or ra an nd da au ud di io om mo od de es s. .T Th he ef fa as st ta at tt ta ac ck k
w
wi il ll lg ge et ty yo ou ua a" "g gl la as ss sy y" "f fu ul ll ls so ou un nd ds si in nc ce et th he ep pi ic ck kn no oi is se ew wi il ll lb be ea at tt te en nu ua at te ed da an nd dt th he es su us st ta ai in nl le en ng gt th he en ne ed d. .
P
Pi ia an no o/ /K Ke ey ys s-
-S St ta ar rt tw wi it th hq qu ui ic ck ka at tt ta ac ck k( (0 0- -4 4) )a an nd dm me ed di iu um mr re el le ea as se e( (4 4- -6 6) ). .A Ac co ou us st ti ic cp pi ia an no os so of ft te en nn ne ee ed dl le es ss s
a
at tt ta ac ck kt to of fi it ti in nt to oa am mi ix x, ,b bu ut tt th he er re ea ar re em mi il ll li io on ns so of fe ex xc ce ep pt ti io on ns s. .B Br ru uc ce eH Ho or rn ns sb by yi is sh hp pi ia an no os sa ar re eo of ft te en nr re ea al lo or r
s
sa am mp pl le es so of fr re ea al lp pi ia an no os sw wi it th hm me ed di iu um ma at tt ta ac ck ka an nd dm
me ed di iu um mr re el le ea as se e, ,g ge et tt ti in ng gt th ha at t" "b bi it te e" "f fo ol ll lo ow we ed db by y
s
su us st ta ai in ne ed db bo od dy y. .T Tr ry ya at tt ta ac ck k5 5, ,r re el l5 5. .O Op pt to om mo od de ei is sv ve er ry yn ni ic ce eh he er re e, ,t to oo o. .S So om me e- -
t
ti im me es sb br ri it tt tl le eh hi ig gh hn no ot te es sc ca an nb be ee ex xt tr ra ac co om mp pr re es ss se ed db by yu us si in ng gt th he e" "b ba an nd de em mp ph ha as si is s" "d de et te ec ct to or rm mo od de e. .
D
Dr ru um ms s-
-S St ta ar rt tb by yk ke ee ep pi in ng gt th he ea at tt ta ac ck ko ov ve er r3 3t to ok ke ee ep pt tr ra an ns si ie en nt ts s. .P Pl la ay yw wi it th hd de ec ca ay yt to og ge et tm mo or re eo or rl le es ss s" "i in n
y
yo ou ur rf fa ac ce e" "s so ou un nd ds s. .B Be ec ca au us se eo of ft th he ew wi id de er ra an ng ge eo of fa at tt ta ac ck k, ,t th he eD Di is st tr re es ss so or rp pu ut ts st th he ed dr ru um m" "p pe er rc cu us si iv ve en ne es ss s" "
m
mu uc ch hm mo or re ei in nt to ot th he ee en ng gi in ne ee er r' 's sc co on nt tr ro ol lt th ha an nt th he
eo ol ld de er r, ,c cl la as ss si ic cu un ni it ts s. .
S
Sn na ar re es s/ /K Ki ic ck ks s/ /T To om ms s- -T Tr ry y[ [3 3: :1 1t to o6 6: :1 1, ,6 6, ,5 5, ,5 5, ,6 6] ]. .S Sh ho or rt te en nd de ec ca ay yi if fy yo ou un ne ee ed dt to ob br ri in ng gu up p" "a af ft te er r
r
ri in ng g" ". .I If fa at to om mh ha as st to oo om mu uc ch ha at tt ta ac ck k, ,t tu ur rn na at tt ta ac ck kd do ow wn nb be et tw we ee en n0 0- -4 4. .I If fc cr ra ac ck kl li in ng gf fr ro om mL L. .F F. ., ,m mo od du ul la at ti io on n
o
oc cc cu ur rs s, ,p pl la ay yw wi it th hl lo on ng ge er
ra at tt ta ac ck ko or rr re el le ea as se et ti im me es s, ,o or rD De et tH HP P. .S Si in nc ce ey yo ou uc ca an nl lo oa ad dc co om mp pr re es ss si io on no on nw wi it th ho ou ut t
s
so ou un nd di in ng gf fu un nn ny y, ,w wa at tc ch h" "m mi ic cl le ea ak ka ag ge e" "w wh hi ic ch hc ca an nb be ec co om me ea ap pr ro ob bl le em m. .K Ki ic ck kd dr ru um ms ss so ou un nd dg gr re ea at tu us si in ng g
O
Op pt to om mo od de e( (1 10 0: :1 1, ,a at tt ta ac ck ko on n1 10 0, ,r re el le ea as se e0 0) )a an nd dD De et tH HP Po on n. .
R
Ro oo om mm mi ic cs s- -F Fo or rr
ra ad di ic ca al lt tr re ea at tm me en nt t, ,t tr ry y2 20 0: :1 1o or r" "N Nu uk ke e" ", ,[ [1 10 0, ,6 6, ,2 2. .5 5, ,6 6] ]. .T Th he e" "N Nu uk ke e" "r ra at ti io ow wa as s
o
or ri ig gi in na al ll ly yd de ev ve el lo op pe ed df fo or rr ro oo om mm mi ic cs s, ,b bu ut tw we eh ha av ve es si in nc ce ef fo ou un nd di it tu us se ef fu ul li in nm ma an ny ya ar re ea as s. ." "N Nu uk ke e" "a an nd d2 20 0: :1 1
a
ar re ep pr re et tt ty ym mu uc ch hb br ri ic ck kw wa al ll ll li im mi it ti in ng g, ,k ke ee ep pi in ng ga an ny yn no or rm ma al ls si ig gn na al lw wi
it th hi in n1 1d dB Bo or rs so o. .J Ju us st tp pa at tc ch hi in na ar ro oo om m
m
mi ic ct th ha at ti is s1 10 0- -2 25 5f fe ee et tf fr ro om md dr ru um ms s( (o or ro ot th he er ri in ns st tr ru um me en nt ts s) )a an nd ds sl la am mt th he em me et te er rs s. .T Tr ry ya at tt ta ac ck ko on n5 5a an nd d
r
re el le ea as se eo on n3 3. .F Fi if ft te ee en nt to ot tw we en nt ty yd dB Bo of fc co om mp pr re es ss si io on ni is ss st ta ar rt ti in ng gt to os so ou un nd da ab bo ou ut tr ri ig gh ht tf fo or rt th he eJ Jo oh hn nB Bo on nh ha am m
t
th hi in ng g, ,b bu ut
td do on n' 't tb be ea af fr ra ai id dt to or ru un nt th he eg ga ai in nr re ed du uc ct ti io on nm me et te er rs sr ri ig gh ht to of ff fs sc ca al le e. .Y Yo ou uw wi il ll lf fi in nd dt th he eo ou ut tp pu ut ta al li it tt tl le e
l
lo ow we er rt th ha an nt th he eo ot th he er rr ra at ti io os si in n" "N Nu uk ke e" ". .B Be et tt te er rh ha av ve eq qu ui ie et tm mi ic cp pr re ea am mp ps st to oo o- -a as s2 20 0d dB Bo of fc co om mp pr re es ss si io on nc ca an n
b
br ri in ng gt th he en no oi is se ef fl lo oo or ru up pb by y2 20 0d dB B. .T Th he er re el le ea as
se es sh ho ou ul ld db be eq qu ui ic ck k( (< <3 3) )f fo or rt th he el la ar rg ge es st ts so ou un nd d, ,b bu ut ts sl lo ow we er r
r
re el le ea as se es sc ca an no of ft te en nb be ee ef ff fe ec ct ti iv ve ew wh he en nm mi ix xe ed di in nw wi it th ht th he er re es st to of ft th he ek ki it t. .R Ro oo om ma am mb bi ie en nc ce ec ca an nb be em ma ad de et to o
"
"s sw we el ll lu up p" "o on nt th he et to om ma an nd ds sn na ar re er ri in ng gs sl la at te er r, ,f fi il ll li in ng gi in nb be eh hi in nd dt th he ec cl lo os se em mi ic cs s. .I If fy yo ou uw wa an nt
tt to oa ad dd d" "g gr ru un ng ge e" ", ,
e
ex xp pe er ri im me en nt tw wi it th hD Di is st t2 2a an nd dD Di is st t3 3. .
3
3
The Distressor "British Mode" Option
Another Upgrade & Option for your Distressor!
Basic Description -
-T
Th he eo or ri ig gi in na al lc co on nc ce ep pt to of ft th he e" "B Br ri it ti is sh hM Mo od de e" "c ca am me ef fr ro om ma an nu un nu us su ua al ls se et tt ti in ng go on n
t
th he ec cl la as ss si ic cU UR RE EI I1 11 17 76 6L LN Nl li im mi it te er r. .T Th he eu un ni it tw wa as sd de es si ig gn ne ed dt to oh ha av ve eo on nl ly yf fo ou ur rr ra at ti io os s, ,e ea ac ch hr ra at ti io ob be ei in ng g
e
en ng ga ag ge ed db by ys se el le ec ct ti in ng go on ne eo of ff fo ou ur rb bu ut tt to on ns s. .H Ho ow we ev ve er r, ,a as se ea ar rl ly ya as s1 19 98
80 0( (o or rb be ef fo or re e) ), ,r re en ne eg ga ad de er re ec co or rd di in ng g
e
en ng gi in ne ee er rs s, ,a al lw wa ay ys so on nt th he el lo oo ok ko ou ut tf fo or rs so om me et th hi in ng ga al li it tt tl le em mo or re e" "o ov ve er rt th he et to op p" ", ,f fo ou un nd dt th ha at ty yo ou uc co ou ul ld dm ma ak ke e
a
al ll lf fo ou ur rb bu ut tt to on ns ss st ta ay y" "i in n" "i if fy yo ou up pr re es ss se ed dt th he em mj ju us st tr ri ig gh ht t. .W Wh ha at tr re es su ul lt te ed dw wa as sa av ve er ry y, ,v ve er ry ya ag gg gr re es ss si iv ve e
s
so ou
un nd dt th ha at th ha ad ds so om me ee el le em me en nt ts so of ft th he eu un ni it ts s2 20 0: :1 1r ra at ti io o, ,b bu ut tw wi it th ha an nu un nu us su ua al lk kn ne ee ea an nd dn ne ew we en nv ve el lo op pe e
s
sh ha ap pe e. .S So om me ew wh he er re ea al lo on ng gt th he el li in ne e, ,s so om me eo on ne ec ca al ll le ed di it ta a" "B Br ri it ti is sh hM Mo od de e" "a an nd dt th he en na am me eh ha as ss st tu uc ck k. .I It ti is sa al ls so o
c
ca al ll le ed d" "a al ll lb bu ut tt to on ns si in n" "a an nd ds so om me eo ot th he er ri in nt tu ui it ti iv ve
en na am me es s. .
T
Th he eD Di is st tr re es ss so or rh ha as st th he ea ad dv va an nt ta ag ge eo of fb be ei in ng ga ab bl le et to oa ap pp pl ly yt th hi is s" "a ag gg gr re es ss si iv ve e" "n na at tu ur re en no ot to on nl ly yt to ot th he en ne ew w
B
Br ri it ti is sh hr ra at ti io o( (1 1: :1 1) )b bu ut ta al ls so ot to oa al ll lt th he er ra at ti io os ss si in nc ce ea as se ep pa ar ra at te es sw wi it tc ch hi is si in ns st ta al ll le ed d, ,w wh hi ic ch hc ca an nb be ee en na ab bl le ed d
w
wi it th ha an ny yr ra at ti io o. .O On ne es sh ho ou ul ld dk ke
ee ep pi in nm mi in nd dh ho ow we ev ve er r, ,t th ha at ta an na at tt ta ac ck kw we el ll lb be el lo ow w3 3o or r4 4i is sr re eq qu ui ir re ed dt to o
m
ma ai in nt ta ai in nt th he e1 11 17 76 6L LN Nc ch ha ar ra ac ct te er r. .I If fy yo ou ug go oa ab bo ov ve ea an na at tt ta ac ck ko of f3 3y yo ou uw wi il ll la al ls so oi in nc cu ur ra ar ri is se ei in ns so om me e
g
gr ru un ng ge e( (d di is st to or rt ti io on n) )a an nd ds se ee et th he eT TH HD Di in nd di ic ca at to or rl li ig gh ht ts sc co om me eo on na al lo ot tm mo or re e. .
How to use the new British Mode Option for the first time
P
Pu ut tt th he eu un ni it ti in nt th he e1 1: :1 1r ra at ti io oa an nd dt tu ur rn no on nt th he eB Br ri it ti is sh hM Mo od de eS Sw wi it tc ch h( (f fl li ip pi it tu up pa an nd dt th he eL LE ED Ds sh ho ou ul ld db be el li it t) ). .
T
Th ha at te en na ab bl le es si it t. .T To os so ou un nd dl li ik ke et th he e1 11 17 76 6t th he eo on nl ly yc co on ns st tr ra ai in nt ti is st to ok ke ee ep pt th he ea at tt ta ac ck kw we el ll lu un nd de er r4 4o on nt th he e
D
Di is st tr re es ss so or rs s- -t th he ei ir ra at tt ta ac ck kc ca an ng go om mu uc ch hl lo on ng ge er rt th ha an nt th he
e1 11 17 76 6. .N No ow wy yo ou uw wi il ll lf fi in nd dt th ha at tt th he eu un ni it th ha as sa an ne ew w
a
at tt ti it tu ud de e! !T Th he ea at tt ta ac ck ka an nd dr re el le ea as se ew wi il ll lg ge en ne er ra al ll ly yb be em mo or re ea ag gg gr re es ss si iv ve ea an nd dt th he eu un ni it tw wi il ll lg ge et ti in na an nd do ou ut to of ft th he e
w
wa ay yv ve er ry yq qu ui ic ck kl ly y. .I In nt te er re es st ti in ng gl ly y, ,t th he eu un ni it tw wi il ll lb be es sl li ig gh ht tl ly yl le es ss sc co ol lo or re ed dw wh he en nn no ot tc co om mp pr re es ss
si in ng g. .
Tips
U
Us se et th hi is sr ra at ti io ot to o" "s sk ki im m" "p pe ea ak ks s. .T Th hi is sm me ea an ns st th ha at tm mo os st to of ft th he et ti im me ei it tm ma ay yn no ot tb be ed do oi in ng ga an ny yt th hi in ng g, ,b bu ut tw wh he en n
i
it td do oe es s" "h hi it t" "t th he es si ig gn na al l, ,i it tw wi il ll ls sm mo oo ot th hl ly yp pu us sh hb ba ac ck kt th he es si ig gn na al la an nd dt th he en ng ge et tr ri ig gh ht to ou ut to of ft th he ew wa ay ya ag ga ai in n. .I If f
y
yo ou ua ar re eh hi it tt ti in ng gt th he eG Ga ai in nR Re ed du uc ct
ti io on na al ll lt th he et ti im me ew wi it th ht th he eB Br ri it ti is sh hm mo od de eo on n, ,y yo ou ua ar re eg go oi in ng gt to ob be er re ea al ll ly y
"
"s sq qu ua as sh hi in ng g" "t th he es si ig gn na al l. .O On nt th he eo ot th he er rh ha an nd d, ,t th he eD Di is st tr re es ss so or rw wi il ll ls so ou un nd df fa ai ir rl ly ys su ub bt tl le ew wh he en nc co om mp pr re es ss si in ng ga al ll l
t
th he et ti im me ei in n2 2: :1 1m mo od de e, ,e es sp pe ec ci ia al ll ly yw wi it th ha as sl lo ow we er ra at tt ta ac ck k( (> >5 5) ). .O On nc ce ea ag ga ai
in n, ,r re em me em mb be er rt th ha at tt th he e1 11 17 76 6' 's s
n
no or rm ma al la at tt ta ac ck kr ra an ng ge ef fa al ll ls sb be el lo ow wt th he e3 3o on nt th he eD Di is st tr re es ss so or r’ ’s sA At tt ta ac ck kk kn no ob b, ,s so oa ag ga ai in n, ,o on nc ce ey yo ou ug go oa ab bo ov ve e4 4i in n
t
th he eB Br ri it ti is sh hM Mo od de e, ,y yo ou ua ar re en no ol lo on ng ge er rg go oi in ng gt to og ge et ta as st ta an nd da ar rd d1 11 17 76 6s so ou un nd d. .
A
Al ls so o, ,d du ue et to ot th he en na at tu ur re eo of ft th he ea ad dd de ed dc ci ir rc cu ui
it tr ry ya an nd dc co om mp pl le ex xn no on n- -l li in ne ea ar ri in nt te er ra ac ct ti io on n, ,t th he ec cu ur rv ve es so of ft th he e
B
Br ri it ti is sh hM Mo od de ec ca an nv va ar ry yb by y+ +- -. .5 5d dB Bf fr ro om mu un ni it tt to ou un ni it t. .W We em me en nt ti io on nt th hi is sb be ec ca au us se ea as sw we eh ha av ve es sa ai id d, ,a al ll lt th he e
o
ot th he er rD Di is st tr re es ss so or rc cu ur rv ve es sm ma at tc ch hu un ni if fo or rm ml ly yf fr ro om mu un ni it tt to ou un ni it t. .T Th he er re ef fo or re e, ,a af fr ra ac ct ti io on no of
fa ad dB Bi is sm me ea an ni in ng gf fu ul l
h
he er re eo on nl ly yc co om mp pa ar re ed dt to ot th he ee ex xt tr re em me ea ac cc cu ur ra ac cy yo of ft th he es st ta an nd da ar rd dD Di is st tr re es ss so or rr ra at ti io os s( (t th he eo or ri ig gi in na al l7 7r ra at ti io os s
s
sh hi ip pp pe ed dw wi it th ha al ll lD Di is st tr re es ss so or rs s) ). .
British Mode Tricks
�
� V Vo oc ca al ls s! !- -T Th hi is si is sa ag gr re ea at tf fi in na al lc co om mp pr re es ss si io on nd du ur ri in ng gm mi ix xd do ow wn n. .W Wh he en nn no ot tw wo or rk ki in ng gi it ti is sv ve er
ry y
t
tr ra an ns sp pa ar re en nt t, ,b bu ut tw wh he en na av vo oc ca al lp po op ps so ou ut ta an nd dh hi it ts st th he ec co om mp pr re es ss si io on n, ,t th he eB Br ri it ti is sh hm mo od de ew wi il ll lg ge et ti in na an nd do ou ut to of f
t
th he er re eq qu ui ic ck kl ly ya an nd ds sm mo oo ot th hl ly y. .W Wh he en ny yo ou ua ar re er re ea al ll ly yc co om mp pr re es ss si in ng ga al lo ot t, ,b br re ea at th hs sa an nd db ba ac ck kg gr ro ou un nd dn no oi is se es sw wi il ll l
b
be ec co om me ev ve er ry yl lo ou ud d( (p pu us sh he ed du up p) ). .T Th he
er re ei is sn no ot tm mu uc ch hy yo ou uc ca an nd do ow wi it th ht th hi is se ex xc ce ep pt tg ga at te eb be ef fo or re ec co om mp pr re es ss si io on n
m
ma ay yb be eo or r, ,m mu ut te eo or re er ra as se et th he en no oi is se es sa an nd db br re ea at th hs so ou ut tt th ha at ty yo ou ud do on n' 't tw wa an nt tt to oh he ea ar r. .R Re em me em mb be er rt th ha at t
b
br re ea at th hs sa ar re en na at tu ur ra al la an nd dc ca an na ad dd da al lo ot to of fe ex xc ci it te em me en nt ts so om me et ti im me es s, ,s so od do on n' 't tg ga at te eo or re er ra as se
et th he em mb by yd de ef fa au ul lt t. .
I
If fy yo ou uc ca an n, ,b ba ac ck ku up pa av vo oc ca al lt tr ra ac ck kb be ef fo or re ey yo ou us st ta ar rt tt tr ry yi in ng gt to op pu un nc ch ho ou ut tb br re ea at th hs sa an nd dn no oi is se es se et tc c. .
�
� D Dr ru um ms sc ca an nb be em ma ad de et to od di is st to or rt tw wi it th hl lo on ng ga at tt ta ac ck kt ti im me es si in nt th he eB Br ri it ti is sh hM Mo od de e. .T Th he ey yc ca an na al ls so ob be eg gi iv ve en na a
w
wh ho ol le en ne ew wc ch ha ar ra ac ct te er rd du ue et to ot th he ea ag gg gr re
es ss si iv ve ea at tt ta ac ck ka an nd dr re el le ea as se es sh ha ap pe e. .T Tr ry yi it to on nl li iv ve er ro oo om mm mi ic cs sa as sw we el ll l
a
as sc cl lo os se eo or ro ov ve er rh he ea ad dm mi ic cs s. .
�
� R Re ev ve er rs se ee ef ff fe ec ct t. .W Wi it th hB Br ri it tM Mo od de ee en na ab bl le ed d, ,a an nd dr ra at ti io os se et tt to oN NU UK KE E, ,s se et ta at tt ta ac ck kt to o2 2, ,a an nd ds st ta ar rt tw wi it th ht th he e
r
re el le ea as se ea ar ro ou un nd d6 6. .5 5, ,a an nd d2 20 0– –3 30 0d dB Bo of fc co om mp pr re es ss si io on n. .A Ad dj
ju us st tr re el le ea as se ec ca ar re ef fu ul ll ly ya an nd da as sw we el ll li in ng g“ “r re ev ve er rs se e” ”
a
af ff fe ec ct tc ca an ns so om me et ti im me es sb be ea ac ch hi ie ev ve ed d. .A An ne ex xa ac ct tr re el le ea as se et ti im me ei is sc cr ri it ti ic ca al ld de ep pe en nd di in ng go on nt te em mp po oa an nd dp pa at tt te er rn n. .
1
12 2
BACK TO TABLE OF CONTENTS

Fuses, Operating Voltage & Non-Volatile
Memory
Caution: Always unplug unit before removing cover!
Fuse
I
In nt th he ec ca as se eo of fa ab bl lo ow wn nf fu us se e, ,p pu ul ll lo ou ut tt th he ep po ow we er rp pl lu ug gf fr ro om mt th he eA AC Co ou ut tl le et t, ,o op pe en nu un ni it t, ,a an nd de en ns su ur re ef fu us se e
c
cl lo os se es st tt to or re ea ar ro of ft th he eD Di is st tr re es ss so or ri is sb bl lo ow wn n. .N No ot te e: :T Th he ef fu us se ec cl lo os se er rt to ot th he ef fr ro on nt tp pa an ne el li is sa as sp pa ar re ef fu us se ea an nd di is s
n
no ot tc co on nn ne ec ct te ed dt to oa an ny yt th hi in ng g. .A As sm ma al ll ls sc cr re ew
wd dr ri iv ve er rm ma ay yb be eh he el lp pf fu ul l. .G Ge en nt tl ly yp pr ry yo ou ut to on ne ee en nd do of ft th he ef fu us se ea an nd d
t
th he en nt th he eo ot th he er r, ,r re ep pl la ac ci in ng gi it tw wi it th he ex xt tr ra af fu us se et th ha at ti is sl la ab be el le ed dn ne ea ar re er rf fr ro on nt to of fu un ni it t. .B Be ef fo or re ep pu ut tt ti in ng gc co ov ve er ro on n, ,
p
pl lu ug gi in nu un ni it t, ,k ke ee ep pi in ng gh ha an nd ds so ou ut to of ft th he eb bo ox x, ,e en ns su ur re et th ha at tt th he ef fu us se ed do oe es sn n' 't tb bl lo
ow wa ag ga ai in n, ,i in nd di ic ca at ti in ng ga ap po os ss si ib bl ly y
m
mo or re es se er ri io ou us sp pr ro ob bl le em m( (s se ee et tr ro ou ub bl le es sh ho oo ot ti in ng g) ). .I If fu un ni it tt tu ur rn ns so on nO OK K, ,u un np pl lu ug gu un ni it t, ,r re ep pl la ac ce es sp pa ar re ef fu us se ei in n
f
fr ro on nt ti if fa av va ai il la ab bl le e, ,s sc cr re ew wd do ow wn nt to op pc co ov ve er ra an nd dr re et tu ur rn nt th he eu un ni it tt to on no or rm ma al lu us se e. .F Fo or rr re ef fe er re en nc ce e, ,a an ny yf fu us se ef fr ro om m
.
.3 3t to
o. .6 6A As sh ho ou ul ld db be es sa af fe e, ,b bu ut t. .5 5A A( (1 1/ /5 5A A) )i is sw wh ha at ti is ss sp pe ec ci if fi ie ed da an nd du us se ed da at tf fa ac ct to or ry y. .
Line Voltage Select
C
Ch ha an ng gi in ng gt th he ev vo ol lt ta ag ge ef fo or r2 23 30 0o or r1 11 15 5o op pe er ra at ti io on na al ls so oi in nv vo ol lv ve es su un np pl lu ug gg gi in ng gt th he eu un ni it ta an nd dr re em mo ov vi in ng gt to op p
c
co ov ve er r. .I In ns si id de eo on nt th he er ri ig gh ht t( (a as st th he ef fr ro on nt to of ft th he eu un ni it tf fa ac ce es sy yo ou u) ), ,i is sa as
sw wi it tc ch hw wi it th h1 11 15 5o or r2 23 30 0V Vs sh ho ow wi in ng go on n
i
it ts sf fa ac ce e. .S Se el le ec ct tt th he ed de es si ir re ed dv vo ol lt ta ag ge eb by ys sl li id di in ng gt th he es sw wi it tc ch hu un nt ti il li it ti in nd di ic ca at te es st th ha at tv vo ol lt ta ag ge ea an nd dy yo ou u' 'r re ed do on ne e. .
R
Re ep pl la ac ce ec co ov ve er ra an nd ds sc cr re ew ws s. .
Non-Volatile Memory
A
Ag go ol ld dc ca ap pa ac ci it to or ri in ns si id de ew wi il ll ls st to or re ef fr ro on nt tp pa an ne el ls se et tt ti in ng gs sf fo or ra at tl le ea as st tf fo ou ur
rw we ee ek ks s. .
Upgrades
T
Th he er re ea ar re es se ev ve er ra al le el le em me en nt ts si in ns si id de et th he eD Di is st tr re es ss so or rt th ha at tw we er re ed de es si ig gn ne ed dt to ob be e" "m mo od di if fi ia ab bl le e" ". .A Al lt th ho ou ug gh hw we e
c
ca an nn no ot tg gu ua ar ra an nt te ee ei it ta at tt th hi is st ti im me e, ,E Em mp pi ir ri ic ca al lL La ab bs sm ma ay yr re el le ea as se ei in nf fo or rm ma at ti io on na an nd dh ha ar rd dw wa ar re eo op pt ti io on ns st th ha at tw wi il ll l
a
al ll lo ow wo ow wn ne er rs st to oa al lt te er rt th
he ec cu ur rv ve es sa an nd do ot th he er ri im mp po or rt ta an nt tp pe er rf fo or rm ma an nc ce ep pa ar ra am me et te er rs so of ft th he ei ir rD Di is st tr re es ss so or ri in n
a
ad dd di it ti io on nt to ot th he ec cu ur rr re en nt tl ly ya av va ai il la ab bl le eS St te er re eo oI Im ma ag ge eL Li in nk ka an nd dB Br ri it ti is sh hM Mo od d( (1 11 17 76 6“ “A Al ll lB Bu ut tt to on ns sI In n” ”) ). .M Mo os st to of f
t
th he es se em mo od di if fi ia ab bl le ee el le em me en nt ts sw wi il ll lp pr ro ob ba ab bl ly yn no ot ti im mp pr ro ov ve et th he ep pe
er rf fo or rm ma an nc ce e, ,b bu ut tw wi il ll lo of ff fe er ro ot th he er ra al lt te er rn na at ti iv ve e
s
si ig gn na al lp pr ro oc ce es ss si in ng gv va ar ri ia at ti io on ns s. .I It tm ma ay yb be ep po os ss si ib bl le ef fo or ru us se er rt to os sa af fe el ly ym mo od di if fy yt th he eD Di is st tr re es ss so or ra an nd dc cr re ea at te e
u
un ni iq qu ue es se et ts so of fc cu ur rv ve es sa an nd df fi il lt te er ro op pt ti io on ns s. .I If fy yo ou uh ha av ve es se en nt ti in na ap pr ro op pe er rl ly yf fi il ll le ed do ou ut tw wa ar rr ra an nt ty yc
ca ar rd d, ,w we ew wi il ll l
k
ke ee ep py yo ou ua ap pp pr ri is se ed do of ft th he es se ed de ev ve el lo op pm me en nt ts s. .
D
Do on no ot ta at tt te em mp pt tt to om mo od di if fy yo or rm ma ak ke ea ad dj ju us st tm me en nt ts st to oy yo ou ur rD Di is st tr re es ss so or ru un nt ti il ly yo ou uh ha av ve en no ot ti if fi ie ed dE Em mp pi ir ri ic ca al lL La ab bs s
a
an nd db be ee en ns se en nt tt th he en ne ec ce es ss sa ar ry yi in nf fo or rm ma at ti io on n. .T Th he er re ea ar re ea an nu um mb be er ro of fc cr ri it ti ic ca al la ad dj ju us st tm me en
nt ts st th ha at tc ca an nn no ot tb be e
m
ma ad de ep pr ro op pe er rl ly yw wi it th ho ou ut tt th he ec ca al li ib br ra at ti io on nt to oo ol ls sw we eh ha av ve eh he er re ea at tt th he ef fa ac ct to or ry y. .A An ny ys si ig gn no of fi in nt te er rn na al la ad dj ju us st tm me en nt t
b
by yt th he eu us se er rw wi il ll lv vo oi id dy yo ou ur rw wa ar rr ra an nt ty yw wi it th ht th he ee ex xc ce ep pt ti io on no of fc ch ha an ng gi in ng gt th he ef fu us se es s, ,o or rl li in ne ev vo ol lt ta ag ge es se el le ec ct ti io on n. .
E
Em mp pi ir ri ic ca al lL La
ab bs sI In nc c. .t ta ak ke es sn no or re es sp po on ns si ib bi il li it ty yf fo or rt th he es sa af fe et ty yo of fa an ny yo on ne eo op pe en ni in ng gt th he eD Di is st tr re es ss so or rf fo or ra an ny y
r
re ea as so on n. .T Th he er re ea ar re ed da an ng ge er ro ou us sv vo ol lt ta ag ge es sp pr re es se en nt tw wh he en nu un ni it ti is sp pl lu ug gg ge ed di in n. .R Re ef fe er ru un ni it tt to op pr ro op pe er rl ly yq qu ua al li if fi ie ed d
s
se er rv vi ic ce ec ce en nt te er ro or rr re et tu ur rn nt to of fa ac ct to or ry y. .
S
Se ee et th he eB Br ri
it ti is sh hM Mo od da an nd dS St te er re eo oI Im ma ag ge eL Li in nk kI In nf fo or rm ma at ti io on no on np pa ag ge es s1 12 2a an nd d1 13 3. .
11
The Ratios and their Curves
Each "ratio mode" of the Distressor sets both the threshold and the ratio, in the standard sense of the
word. This was done to provide an easy to set, yet versatile group of curves. The 1:1 mode provides no
compression, but allows the audio to pass through the "warming" circuits of the unit (we'll get to the
distortion modes in a moment). Ratio's 2 through 6 are general purpose curves great for tracking. The
2:1 and 3:1 ratios are "parabolic" knees - very gentle curves that won't typically go into hard limiting and
therefore, also won't provide absolute overload protection. Ratios 4:1 and 6:1 have steeper knees and
are good general purpose curves that gradually move towards hard limiting, "nailing" the signal in its
place. The ratio of 6:1 is very useful for vocals, bass, and acoustic instruments. It has an easy slope at
first until after the knee, where an increasing ratio "musically" limits the peaks of the signal before
damage is done. The 6:1 and 10:1 Opto ratios employ shorter knee limiting, reminiscent of some old
classics from the 60's and 70's (see Classic Emulation).
"Nuke" is a different story. The "Nuke" ratio was developed for room mics, but we have since found it
useful in many areas. "Nuke" has a medium threshold but when the signal hits it, a nuclear blast won't
budge the output level. It is brick wall limiting, keeping any normal signal within 1 dB or so. Just patch
in a room mic while recording drums (or other instruments) and slam the meters. Try attack on 4 and
release on 2. The release curve of "Nuke" is logarithmic, meaning it lets off quickly at first and then
slows. This release curve is a big part of the Distressor's sound. Experiment with the release times -
this guy can release really fast without too much crackling, even on bass. 20:1 can be used similarly to
"Nuke". Each of these curves again has their own feel to them, with the release slopes slightly altered,
and the knees falling in slightly different places. Most exceptional are the 2:1, 10:1 and Nuke ratios,
which employ special detector circuitry.
Just what is a soft knee?
A "soft knee" is a compression curve where the first few dB of gain reduction occur at very low ratios,
gradually increasing as the signal increases (gets louder). This makes the onset of compression very
hard to detect. The knee usually extends for a few dB and gradually flattens out toward a final ratio. All
curves with the exception of 20:1 and "Nuke" have dominant knees. The 2:1 ratio has a knee that can
be as long as 30 dB, depending on attack and decay settings.
Classic Emulation
Since the unit is based on the oldest compressor topology, the unit can be made to sound very similar
to older classics. The nonlinear nature of the older gain control elements of opto-couplers, FET's,
pentode (or triode) tube bias or "mu" modulation, etc., can be closely emulated if proper settings are
used. A special "Opto" mode has been provided in the 10:1 ratio.
Some Examples:
* To simulate the opto-VCA models of old (the LA-2A, LA-3A, LA-4A), try 10:1 "Opto" ratio, with attack
on 10, release on 0, Det HP on. Adjust input and outputs to your taste. Keep the attack above 4 to
keep the OPTO flavor. Faster attacks will give you a more aggressive sound. Remember our LED
metering deflects much faster than the old VU's so don't be afraid to hit the unit quite hard (10-20 dB of
compression on peaks). To emulate tubes, try Dist 2 & 3 mode, but let your ears be your guide.
* For a classic “Over E-Z” type sound, try ratios 2:1 thru 6:1, att 9, release 2, clean mode.
* 1176LN 6:1, Att 0 - 3.5, rel 1 - 10.5. Use ratios 3:1, 4:1, 6:1, 20:1 to emulate 4 1176LN ratios. Clean
mode is appropriate (Dist 2 or 3 off). Remember that the 1176LN attacks extremely fast and you must
keep attack under 4 max. A familiar sound is 6:1, att2, rel 4.
* Old Fairchild IGFET - 6:1 att 3-5, rel 2 - 7 (start with att 4 and rel 4)
Due to the transformerless design, you will maintain a low transient intermodulation distortion, but will
get the warming grunge of 2nd and 3rd harmonic distortion, if distortion modes are enabled. Also,
unlike some of the older units, the Distressor is uniform and predictable from one unit to the next.
Precise factory calibration assures that if you go from one Distressor to another, these settings will all
sound the same.
Empirical Labs would like to thank Universal Audio for not only creating classic audio gear, but for
kindly allowing us to refer to their model numbers. As they say “Once a classic, always a classic.”
4
BACK TO TABLE OF CONTENTS

The Audio Modes
To switch between the "Audio" modes, press the button labeled Audio. The LED's above the switch will
cycle through 6 states. In order of occurrence:
1) Norm - (No LED's lit) Low distortion and full frequency range.
2) HP - High-pass (Green LED) Smoothly cuts low "mud" audio frequencies.
3) Dist 2 - (Yellow LED) Emphasized 2nd harmonic distortion.
4) Dist 2 & HP - Combination of 2 and 3 above.
5) Dist 3 - (Red LED) 3rd harmonic emphasized.
6) Dist 3 & HP - Combination of 2 and 5 above.
The High-pass mode (HP)
The first mode cycled to after normal is HP (or High-pass). With the HP LED on, the unit rolls off low
"sub" frequencies below 80 Hz in the audio. It is a very smooth Bessel filter, about 3 dB down at 65Hz
and -12 @ 30Hz. Its final slope is 18 dB per octave but is below all but the very exceptionally low vocal
tones. Rolling "subs" off of a singers mic is an excellent use for this filter. This can also be selected
along with either Dist 2 or Dist 3 modes as explained below.
It’s not only a compressor but a ... "Distortion Generator"
The Distressor is a modern digitally controlled analog device that attempts to offer some of the "musical
non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. The old,
sought after vintage gear is not anywhere near as accurate (or linear) as devices made today, but
certain "faults" or non-linearities are exactly the reason some sell today at 10 times their original value.
They color the sound with distortion and frequency response shaping. Getting the frequency response
flat to 20kHz and having distortion below .5% used to be an achievement. Today, a 35 cent op amp is
flat to 3 MHz and produces distortion below .002%. Getting things accurate in the digital age is
relatively cheap and easy. But getting the expert user to think a piece of gear is "musical" and fun to
use is something else.
The Distortion Modes
By using a design that allows pinpoint control of nonlinear analog devices, the Distressor is trimmed to
produce three controllable distortion modes:
1. Normal (Clean) No induced distortion. THD hovering between .025 and .3%
2. Dist 2 THD hovering between .05 and 3% Emphasized 2nd Harmonic
3. Dist 3 THD hovering between .1% and 20% 3rd Harmonic increased.
Dist 2 Mode
It is well known that the triode distortion in tube circuits produces lots of 2nd and 3rd harmonics, in
somewhat varying ratios. These lower order harmonics form "the octave" and "the octave and a fifth"
to the fundamental musical tones. They are actually "musical" distortion. Harmonics well above the
2nd and 3rd are usually considered more harsh and unmusical, and therefore should be lower in
amplitude (<-60 dB) to keep with our line of thinking. Second harmonic is considered to be the
warmest and most "consonant" harmonic distortion and is usually very hard to hear, especially on
single tracks. The Dist 2 mode on the Distressor emphasizes the 2nd harmonic (octave), especially
while compressing.
Dist 3 mode & the Distortion indicators
This mode emphasizes the third harmonic. This is basically caused by nonlinear gain that results with
the top and the bottom of waveforms being flattened out. Analog tape saturates in this manner. The
3rd harmonic is induced in the Distressor by increasing VCA output level. We have provided distortion
indicator lights that come on most frequently in Dist 3 mode. A yellow LED light indicates .25% THD
and the red "redline" LED indicates 3% THD or more. Though not always an exact indication of the
distortion, these LED's are an excellent guide to where the user is in the "Grunge Department" and can
help to avoid turning the music into an "overwell" mess. You will find that the harmonic distortion is
generally more obvious on overall mixes and complex programs. On individual instruments,
sometimes 3% distortion sounds "fat" and "analog" and isn't heard as distortion at all.
5
Troubleshooting
* No sign of life - Check power cord for firm connection. If still no life open top cover by removing all
top screws and check fuse toward rear next to transformer. If it is blown, pry it out and replace it with
extra fuse provided in fuse holder toward front of chassis. If fuse is OK, make sure your Voltage select
switch is set to current wall outlet voltage (115, 230 VAC).
* Unit keeps blowing fuses - Probably has short or power supply problem. Try to make sure there is
nothing trapped under the PC board, shorting to the metal case. Attentive visual inspection is still the
most effective troubleshooting tool available. Check internal voltage select switch for proper settings
(115/230).
* Unit is on but not doing anything - The unit may be bypassed or in 1:1 mode. If bypassed, you
need to press the "BY-PASS" button so red LED goes off. The 1:1 mode may be inaudible but the
input and output levels will still affect it. Try another ratio for compression.
* Bargraph shows gain reduction but very little or none is actually occurring -The unit is probably
severely out of adjustment. We use very stable trim pots and high quality components, but it is
possible that long term component aging or failure may require factory re-calibration. Right now you will
have to return the Distressor to factory for re-calibration. In the future there will be local dealers and/or
service centers to help.
* Distorted output - If there is severe, un-musical distortion, chances are you're hard clipping. Check
that the output cable is properly wired and any unused output pins (2 or 3) on XLR are floating (left
unconnected). Shorting an output pin will not harm the unit but can show up as distortion in the output
driver. The distortion this unit is meant to impart is harmonic and should not sound like crackly
distortion caused by hard clipping. Long attack times can clip transients in lower ratios when Dist 2 or
3 are employed. If the attacks are too fast (towards 0), low frequency clipping and unpleasant
distortion can occur. Try slowing up the attack or release.
* No output level - Make sure there is audio getting to unit, and that the input and output levels are
turned up.
* Unit pops or unnaturally pumps with low frequencies at ultra fast attacks when compressing 20 dB
or more - Possibly caused by the high-pass (HP) in the detector engaged, and not controlling the low
frequency amplitude in the VCA, causing offset pumping. Turning up attack (to 5 or above) will often
eliminate the effect. Remember that this unit has an extremely fast attack time that can show up as
pumping or crackling on low frequency laden material. You can control this with a slower attack, or a
slower decay. Also, try enabling and disabling the "HP" in the detector.
* Unit seems noisy - The dynamic range of the Distressor is greater than CD (16 bit) quality. However,
if you are compressing a noisy signal, the noise is pushed up along with the soft signals. If you have
20 dB of gain reduction on a room mic that has a 90 dB S/N, the noise floor will be raised 20 dB in
quiet areas, bringing the noise floor up to 70 dB. Since the Distressor is capable of lots of compression
without sounding unnatural, you can often bring noise or hiss up undesirably. Remember your current
input level, and then ensure that the noise is coming from outside the unit by turning the input knob off
(to 0). All noise should disappear. Try gating before compressing.
* Unit forgets where it was when power was shut off - Non-Volatile cap backup may have become
defective. Please call factory for information on replacement.
* Unit quits working when Bypassed – Pins 2 & 3 may be reversed on one of the XLR cables.
* Unit only works in Bypass – Input or Output are turned to 0, or input and output wiring is reversed.
* The Stereo Link in the Detector doesn’t seem to have an affect. User may have a radically
different source in the left and right channels. Consider installing the Stereo Image Link (see p13).
A note on Bypass and the Multiplexed Controls
A hardwired bypass relay enables the user to compare processed and unprocessed signals accurately.
When comparing the original signal from the processed signal, matching the output level with bypassed
signal makes it very easy to hear the processing changes. Bypassing can cause audio “clicking”.
To change ratio, audio, and detector modes, press the associated button and cycle through the
options. These step function controls are sometimes inconvenient when trying to compare two
settings, but if there was a control switch for every selection offered on the Distressor, there would be
15 switches on the front panel instead of four. We considered it very important to fit it all in the single
height 1.75" cabinet - and 15 switches just won't go. The color encoded, indicator LED's were arranged
in an easy to read pattern, with Red LEDs usually indicating radical or distorted settings.
10
BACK TO TABLE OF CONTENTS

Basic Wiring
Wiring is straightforward. Connect AC line cord to 3 prong jack, plug in XLR or phone plug ins and
outs, and you're wired. Both input jacks are differential but at the output, only the XLR is differential
(balanced). The output phone jack tip is wired to pin 2 of the XLR out, and therefore is in phase with
that pin. The only possible problem is if you attach one of the XLR output pins 2 or 3 to ground. A
separate amplifier drives each of these pins, so grounding one of them will short the associated
amplifier out. Therefore if you only use only pin 2 on your output cable, leave pin 3 floating
(unconnected) and vice-versa. However, the Distressor will be un-harmed if you temporarily short an
output pin. The phone jack ins and outs will be out of phase with pin 3 since the unit is wired pin 2 hot
from the factory (see note below). Pin 1 should almost always be grounded on the XLR cables.
Note: It is possible to change the wiring of the connectors inside since they are hand wired. A user can
therefore make XLR pin two or three hot in relation to the phone jacks. Always unplug unit before
making any changes. Our company cannot be responsible for damage to unit or electric shock to
anyone trying such a modification.
Stereo Operation
Stereo operation requires only two things, - 1) Two short stereo (TRS) 1/4" phone cables are plugged
from Stereo Link input of one unit to Link output of second unit and vice versa, and that 2) the unit has
the Link function selected on the front (the RED "Link "LED in the detector mode should be on), or the
Stereo Image Link Switch is on if provided on the unit (EL8-X). It is usually best to match all front
panel settings on the two "left and right" units to maintain imaging. However, unlike most units, the user
has the option to treat the left and right channels differently.
An example of this may be when one channel has a heavy low frequency source (such as a tom drum)
that is causing both sides to pump. You could put the side without the L.F. source into DET HP mode
to prevent that side from excessively modulating, allowing you to set the release a little faster on the
side with the boomy tom. Sometimes for room mics, keeping the units unlinked actually makes them
sound more stereo. This is due to unique left and right ambient envelopes widening the stereo image.
See “Stereo Image Link Mod” on page 13 for a method of linking two EL8-X’s to prevent image shifting.
Distressor "Pet" Tricks
1) To set quick +4 tape levels, try setting output at 8 and "drive" input knob until compression
occurs. For -10 equipment, try 6.5 on the output. For ADAT's try 6 to 7 output level.
2) You can elevate distortion levels by going to "link" with stereo links unplugged (on rear).
Obviously, the unit will not work in stereo now. "Link" sums 2 inputs, and with one missing, the
distortion generator will receive a hotter signal since the detector is seeing half of what it would
normally see in true stereo operation. Try this on bass guitar in Dist 3 mode for extra grunge.
3) It is also possible to sidechain process. Take the "Link Out" of a unit, go to an EQ (and/or
preamp), then return it to the "Link In" of the same unit. Then put the unit into link to further affect the
compression in a more frequency dependent unit. The sidechain must not have appreciable delay nor
be out of phase since the "link" signal gets mixed back in with the normal detector signal and the delay
would cause "combing" of the frequency response, resulting in irrational compression behavior.
4) Submixing in a compressed signal with a dry (uncompressed) signal can be extremely useful on
percussion and other sources. On snare, a “submixed” compressed signal will bring up the ring and
body if the release is set extremely quickly. This submix method is often called “Multing” or “Splitting”.
5) Here is an interesting bass instrument trick for the EL8-X version or a Distressor with the BRIT
MOD. You can emulate a “tube-y” type saturation by turning on the Brit Mod, Nuke, attack 1 – 2,
release 0 – 5, 10 – 20dB of compression. This will saturate each low frequency note making it sound
distorted, and if adjusted right, much like a bass amplifier. One could bring the Bass track in on two
channels, one processed with the above “BRIT” setting, and one “dryer” and cleaner. The engineer
could then mix the “AMP” sound with the “DIRECT” bass sound, to his taste.
9
The Detector Modes
The detector is the part of the compressor circuit (or software) that figures out how much and how fast
to turn down a signal. The actual audio you finally hear is not passed through this circuitry, only
adjusted by it. In fact, you can put entirely different audio into the Stereo Link input that will affect the
main audio coming out, but not be heard itself. See block diagram below and stereo hookup in this
manual.
There are three additional modes that affect the detector part of this unit.
Detector Modes To switch between the "Detector" modes, press the button labeled “Detector”.
The LED's above the switch will cycle through eight states. In order of occurrence:
1) Norm - No detector LED's lit. Standard compressor operation.
2) HP High-pass - (Green LED) cuts low frequencies in detector to stop L.F. modulation.
3) Band Emphasis - (Yellow LED) emphasized 6kHz band makes unit overreact to harsh
mids.
4) HP and Band Emphasis - Combination of 2 and 3 above.
5) Stereo Link - (Red LED) - Puts unit in Stereo operation mode to respond with 2nd unit.
6) Stereo Link and HP - Combination.
7) Stereo Link and Band Emphasis - Combination
Distressor Block Diagram
Block diagram for the EL8 with the Stereo Image Link Mod. The Brit Mod is not shown.
6
1
3
2
2
3
1
HP In/Out
Band Emphasis
Input
Gain.
In/Out
Balanced In
80 Hz High
Pass Filter
Active Outputs
Master
Bypass
Control Voltage
Unit shown with all
Sections In Bypass
Sidechain
HP Filter
Dif Amp
VCA
Distortion
Generator
Link Select
Detector Circuit
Main Audio Path
To Front Panel
Bargraph.
Image Link Mod
Switch (EL8X)
Link In
Link Out
Link Sum
Detector and
Envelope Gen
Output
Amp
DC Link
Audio Link
In/Out In/Out
1/4" Phone
1/4" Phone
Link
Output
Gain
DC Link
BACK TO TABLE OF CONTENTS

Distressor Recall Sheet
Write in the Input and Output levels, Attack and Release times, and color in any LED’s that are lit to indicate section status.
TRACK/INST. Session: Date:
Notes:
INPUT
20:11:1 2:1
Opto
RATIO
GAIN REDUCTION
3:1 4:1
PASS
BY
10:16:1
142326 20 17 12 10 9 8 7 6
RATIO
1% THD
REDLINE
NUKE
Link
HP
Dist 3 Dist 2
HP
543 12ATTACK OUTPUT
Empirical
Labs
POWER
Stereo
Image Link
British
Mode (1:1)
TRACK/INST. Session: Date:
Notes:
INPUT
20:11:1 2:1
Opto
RATIO
GAIN REDUCTION
3:1 4:1
PASS
BY
10:16:1
142326 20 17 12 10 9 8 7 6
RATIO
1% THD
REDLINE
NUKE
Link
HP
Dist 3 Dist 2
HP
543 12ATTACK OUTPUT
Empirical
Labs
POWER
Stereo
Image Link
British
Mode (1:1)
TRACK/INST. Session: Date:
Notes:
INPUT
20:11:1 2:1
Opto
RATIO
GAIN REDUCTION
3:1 4:1
PASSBY
10:1
6:1
142326 20 17 12 10 9 8 7 6
RATIO
1% THD
REDLINE
NUKE
Link
HP
Dist 3 Dist 2
HP
543 12ATTACK OUTPUT
Empirical
Labs
POWER
Stereo
Image Link
British
Mode (1:1)
BACK TO TABLE OF CONTENTS

Basic Wiring
Wiring is straightforward. Connect AC line cord to 3 prong jack, plug in XLR or phone plug ins and
outs, and you're wired. Both input jacks are differential but at the output, only the XLR is differential
(balanced). The output phone jack tip is wired to pin 2 of the XLR out, and therefore is in phase with
that pin. The only possible problem is if you attach one of the XLR output pins 2 or 3 to ground. A
separate amplifier drives each of these pins, so grounding one of them will short the associated
amplifier out. Therefore if you only use only pin 2 on your output cable, leave pin 3 floating
(unconnected) and vice-versa. However, the Distressor will be un-harmed if you temporarily short an
output pin. The phone jack ins and outs will be out of phase with pin 3 since the unit is wired pin 2 hot
from the factory (see note below). Pin 1 should almost always be grounded on the XLR cables.
Note: It is possible to change the wiring of the connectors inside since they are hand wired. A user can
therefore make XLR pin two or three hot in relation to the phone jacks. Always unplug unit before
making any changes. Our company cannot be responsible for damage to unit or electric shock to
anyone trying such a modification.
Stereo Operation
Stereo operation requires only two things, - 1) Two short stereo (TRS) 1/4" phone cables are plugged
from Stereo Link input of one unit to Link output of second unit and vice versa, and that 2) the unit has
the Link function selected on the front (the RED "Link "LED in the detector mode should be on), or the
Stereo Image Link Switch is on if provided on the unit (EL8-X). It is usually best to match all front
panel settings on the two "left and right" units to maintain imaging. However, unlike most units, the user
has the option to treat the left and right channels differently.
An example of this may be when one channel has a heavy low frequency source (such as a tom drum)
that is causing both sides to pump. You could put the side without the L.F. source into DET HP mode
to prevent that side from excessively modulating, allowing you to set the release a little faster on the
side with the boomy tom. Sometimes for room mics, keeping the units unlinked actually makes them
sound more stereo. This is due to unique left and right ambient envelopes widening the stereo image.
See “Stereo Image Link Mod” on page 13 for a method of linking two EL8-X’s to prevent image shifting.
Distressor "Pet" Tricks
1) To set quick +4 tape levels, try setting output at 8 and "drive" input knob until compression
occurs. For -10 equipment, try 6.5 on the output. For ADAT's try 6 to 7 output level.
2) You can elevate distortion levels by going to "link" with stereo links unplugged (on rear).
Obviously, the unit will not work in stereo now. "Link" sums 2 inputs, and with one missing, the
distortion generator will receive a hotter signal since the detector is seeing half of what it would
normally see in true stereo operation. Try this on bass guitar in Dist 3 mode for extra grunge.
3) It is also possible to sidechain process. Take the "Link Out" of a unit, go to an EQ (and/or
preamp), then return it to the "Link In" of the same unit. Then put the unit into link to further affect the
compression in a more frequency dependent unit. The sidechain must not have appreciable delay nor
be out of phase since the "link" signal gets mixed back in with the normal detector signal and the delay
would cause "combing" of the frequency response, resulting in irrational compression behavior.
4) Submixing in a compressed signal with a dry (uncompressed) signal can be extremely useful on
percussion and other sources. On snare, a “submixed” compressed signal will bring up the ring and
body if the release is set extremely quickly. This submix method is often called “Multing” or “Splitting”.
5) Here is an interesting bass instrument trick for the EL8-X version or a Distressor with the BRIT
MOD. You can emulate a “tube-y” type saturation by turning on the Brit Mod, Nuke, attack 1 – 2,
release 0 – 5, 10 – 20dB of compression. This will saturate each low frequency note making it sound
distorted, and if adjusted right, much like a bass amplifier. One could bring the Bass track in on two
channels, one processed with the above “BRIT” setting, and one “dryer” and cleaner. The engineer
could then mix the “AMP” sound with the “DIRECT” bass sound, to his taste.
9
The Detector Modes
The detector is the part of the compressor circuit (or software) that figures out how much and how fast
to turn down a signal. The actual audio you finally hear is not passed through this circuitry, only
adjusted by it. In fact, you can put entirely different audio into the Stereo Link input that will affect the
main audio coming out, but not be heard itself. See block diagram below and stereo hookup in this
manual.
There are three additional modes that affect the detector part of this unit.
Detector Modes To switch between the "Detector" modes, press the button labeled “Detector”.
The LED's above the switch will cycle through eight states. In order of occurrence:
1) Norm - No detector LED's lit. Standard compressor operation.
2) HP High-pass - (Green LED) cuts low frequencies in detector to stop L.F. modulation.
3) Band Emphasis - (Yellow LED) emphasized 6kHz band makes unit overreact to harsh
mids.
4) HP and Band Emphasis - Combination of 2 and 3 above.
5) Stereo Link - (Red LED) - Puts unit in Stereo operation mode to respond with 2nd unit.
6) Stereo Link and HP - Combination.
7) Stereo Link and Band Emphasis - Combination
Distressor Block Diagram
Block diagram for the EL8 with the Stereo Image Link Mod. The Brit Mod is not shown.
6
1
3
2
2
3
1
HP In/Out
Band Emphasis
Input
Gain.
In/Out
Balanced In
80 Hz High
Pass Filter
Active Outputs
Master
Bypass
Control Voltage
Unit shown with all
Sections In Bypass
Sidechain
HP Filter
Dif Amp
VCA
Distortion
Generator
Link Select
Detector Circuit
Main Audio Path
To Front Panel
Bargraph.
Image Link Mod
Switch (EL8X)
Link In
Link Out
Link Sum
Detector and
Envelope Gen
Output
Amp
DC Link
Audio Link
In/Out In/Out
1/4" Phone
1/4" Phone
Link
Output
Gain
DC Link
BACK TO TABLE OF CONTENTS

The Audio Modes
To switch between the "Audio" modes, press the button labeled Audio. The LED's above the switch will
cycle through 6 states. In order of occurrence:
1) Norm - (No LED's lit) Low distortion and full frequency range.
2) HP - High-pass (Green LED) Smoothly cuts low "mud" audio frequencies.
3) Dist 2 - (Yellow LED) Emphasized 2nd harmonic distortion.
4) Dist 2 & HP - Combination of 2 and 3 above.
5) Dist 3 - (Red LED) 3rd harmonic emphasized.
6) Dist 3 & HP - Combination of 2 and 5 above.
The High-pass mode (HP)
The first mode cycled to after normal is HP (or High-pass). With the HP LED on, the unit rolls off low
"sub" frequencies below 80 Hz in the audio. It is a very smooth Bessel filter, about 3 dB down at 65Hz
and -12 @ 30Hz. Its final slope is 18 dB per octave but is below all but the very exceptionally low vocal
tones. Rolling "subs" off of a singers mic is an excellent use for this filter. This can also be selected
along with either Dist 2 or Dist 3 modes as explained below.
It’s not only a compressor but a ... "Distortion Generator"
The Distressor is a modern digitally controlled analog device that attempts to offer some of the "musical
non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. The old,
sought after vintage gear is not anywhere near as accurate (or linear) as devices made today, but
certain "faults" or non-linearities are exactly the reason some sell today at 10 times their original value.
They color the sound with distortion and frequency response shaping. Getting the frequency response
flat to 20kHz and having distortion below .5% used to be an achievement. Today, a 35 cent op amp is
flat to 3 MHz and produces distortion below .002%. Getting things accurate in the digital age is
relatively cheap and easy. But getting the expert user to think a piece of gear is "musical" and fun to
use is something else.
The Distortion Modes
By using a design that allows pinpoint control of nonlinear analog devices, the Distressor is trimmed to
produce three controllable distortion modes:
1. Normal (Clean) No induced distortion. THD hovering between .025 and .3%
2. Dist 2 THD hovering between .05 and 3% Emphasized 2nd Harmonic
3. Dist 3 THD hovering between .1% and 20% 3rd Harmonic increased.
Dist 2 Mode
It is well known that the triode distortion in tube circuits produces lots of 2nd and 3rd harmonics, in
somewhat varying ratios. These lower order harmonics form "the octave" and "the octave and a fifth"
to the fundamental musical tones. They are actually "musical" distortion. Harmonics well above the
2nd and 3rd are usually considered more harsh and unmusical, and therefore should be lower in
amplitude (<-60 dB) to keep with our line of thinking. Second harmonic is considered to be the
warmest and most "consonant" harmonic distortion and is usually very hard to hear, especially on
single tracks. The Dist 2 mode on the Distressor emphasizes the 2nd harmonic (octave), especially
while compressing.
Dist 3 mode & the Distortion indicators
This mode emphasizes the third harmonic. This is basically caused by nonlinear gain that results with
the top and the bottom of waveforms being flattened out. Analog tape saturates in this manner. The
3rd harmonic is induced in the Distressor by increasing VCA output level. We have provided distortion
indicator lights that come on most frequently in Dist 3 mode. A yellow LED light indicates .25% THD
and the red "redline" LED indicates 3% THD or more. Though not always an exact indication of the
distortion, these LED's are an excellent guide to where the user is in the "Grunge Department" and can
help to avoid turning the music into an "overwell" mess. You will find that the harmonic distortion is
generally more obvious on overall mixes and complex programs. On individual instruments,
sometimes 3% distortion sounds "fat" and "analog" and isn't heard as distortion at all.
5
Troubleshooting
* No sign of life - Check power cord for firm connection. If still no life open top cover by removing all
top screws and check fuse toward rear next to transformer. If it is blown, pry it out and replace it with
extra fuse provided in fuse holder toward front of chassis. If fuse is OK, make sure your Voltage select
switch is set to current wall outlet voltage (115, 230 VAC).
* Unit keeps blowing fuses - Probably has short or power supply problem. Try to make sure there is
nothing trapped under the PC board, shorting to the metal case. Attentive visual inspection is still the
most effective troubleshooting tool available. Check internal voltage select switch for proper settings
(115/230).
* Unit is on but not doing anything - The unit may be bypassed or in 1:1 mode. If bypassed, you
need to press the "BY-PASS" button so red LED goes off. The 1:1 mode may be inaudible but the
input and output levels will still affect it. Try another ratio for compression.
* Bargraph shows gain reduction but very little or none is actually occurring -The unit is probably
severely out of adjustment. We use very stable trim pots and high quality components, but it is
possible that long term component aging or failure may require factory re-calibration. Right now you will
have to return the Distressor to factory for re-calibration. In the future there will be local dealers and/or
service centers to help.
* Distorted output - If there is severe, un-musical distortion, chances are you're hard clipping. Check
that the output cable is properly wired and any unused output pins (2 or 3) on XLR are floating (left
unconnected). Shorting an output pin will not harm the unit but can show up as distortion in the output
driver. The distortion this unit is meant to impart is harmonic and should not sound like crackly
distortion caused by hard clipping. Long attack times can clip transients in lower ratios when Dist 2 or
3 are employed. If the attacks are too fast (towards 0), low frequency clipping and unpleasant
distortion can occur. Try slowing up the attack or release.
* No output level - Make sure there is audio getting to unit, and that the input and output levels are
turned up.
* Unit pops or unnaturally pumps with low frequencies at ultra fast attacks when compressing 20 dB
or more - Possibly caused by the high-pass (HP) in the detector engaged, and not controlling the low
frequency amplitude in the VCA, causing offset pumping. Turning up attack (to 5 or above) will often
eliminate the effect. Remember that this unit has an extremely fast attack time that can show up as
pumping or crackling on low frequency laden material. You can control this with a slower attack, or a
slower decay. Also, try enabling and disabling the "HP" in the detector.
* Unit seems noisy - The dynamic range of the Distressor is greater than CD (16 bit) quality. However,
if you are compressing a noisy signal, the noise is pushed up along with the soft signals. If you have
20 dB of gain reduction on a room mic that has a 90 dB S/N, the noise floor will be raised 20 dB in
quiet areas, bringing the noise floor up to 70 dB. Since the Distressor is capable of lots of compression
without sounding unnatural, you can often bring noise or hiss up undesirably. Remember your current
input level, and then ensure that the noise is coming from outside the unit by turning the input knob off
(to 0). All noise should disappear. Try gating before compressing.
* Unit forgets where it was when power was shut off - Non-Volatile cap backup may have become
defective. Please call factory for information on replacement.
* Unit quits working when Bypassed – Pins 2 & 3 may be reversed on one of the XLR cables.
* Unit only works in Bypass – Input or Output are turned to 0, or input and output wiring is reversed.
* The Stereo Link in the Detector doesn’t seem to have an affect. User may have a radically
different source in the left and right channels. Consider installing the Stereo Image Link (see p13).
A note on Bypass and the Multiplexed Controls
A hardwired bypass relay enables the user to compare processed and unprocessed signals accurately.
When comparing the original signal from the processed signal, matching the output level with bypassed
signal makes it very easy to hear the processing changes. Bypassing can cause audio “clicking”.
To change ratio, audio, and detector modes, press the associated button and cycle through the
options. These step function controls are sometimes inconvenient when trying to compare two
settings, but if there was a control switch for every selection offered on the Distressor, there would be
15 switches on the front panel instead of four. We considered it very important to fit it all in the single
height 1.75" cabinet - and 15 switches just won't go. The color encoded, indicator LED's were arranged
in an easy to read pattern, with Red LEDs usually indicating radical or distorted settings.
10
BACK TO TABLE OF CONTENTS

The Audio Modes
To switch between the "Audio" modes, press the button labeled Audio. The LED's above the switch will
cycle through 6 states. In order of occurrence:
1) Norm - (No LED's lit) Low distortion and full frequency range.
2) HP - High-pass (Green LED) Smoothly cuts low "mud" audio frequencies.
3) Dist 2 - (Yellow LED) Emphasized 2nd harmonic distortion.
4) Dist 2 & HP - Combination of 2 and 3 above.
5) Dist 3 - (Red LED) 3rd harmonic emphasized.
6) Dist 3 & HP - Combination of 2 and 5 above.
The High-pass mode (HP)
The first mode cycled to after normal is HP (or High-pass). With the HP LED on, the unit rolls off low
"sub" frequencies below 80 Hz in the audio. It is a very smooth Bessel filter, about 3 dB down at 65Hz
and -12 @ 30Hz. Its final slope is 18 dB per octave but is below all but the very exceptionally low vocal
tones. Rolling "subs" off of a singers mic is an excellent use for this filter. This can also be selected
along with either Dist 2 or Dist 3 modes as explained below.
It’s not only a compressor but a ... "Distortion Generator"
The Distressor is a modern digitally controlled analog device that attempts to offer some of the "musical
non-linearities" exhibited by the older tube, class A discrete, and magnetic tape mediums. The old,
sought after vintage gear is not anywhere near as accurate (or linear) as devices made today, but
certain "faults" or non-linearities are exactly the reason some sell today at 10 times their original value.
They color the sound with distortion and frequency response shaping. Getting the frequency response
flat to 20kHz and having distortion below .5% used to be an achievement. Today, a 35 cent op amp is
flat to 3 MHz and produces distortion below .002%. Getting things accurate in the digital age is
relatively cheap and easy. But getting the expert user to think a piece of gear is "musical" and fun to
use is something else.
The Distortion Modes
By using a design that allows pinpoint control of nonlinear analog devices, the Distressor is trimmed to
produce three controllable distortion modes:
1. Normal (Clean) No induced distortion. THD hovering between .025 and .3%
2. Dist 2 THD hovering between .05 and 3% Emphasized 2nd Harmonic
3. Dist 3 THD hovering between .1% and 20% 3rd Harmonic increased.
Dist 2 Mode
It is well known that the triode distortion in tube circuits produces lots of 2nd and 3rd harmonics, in
somewhat varying ratios. These lower order harmonics form "the octave" and "the octave and a fifth"
to the fundamental musical tones. They are actually "musical" distortion. Harmonics well above the
2nd and 3rd are usually considered more harsh and unmusical, and therefore should be lower in
amplitude (<-60 dB) to keep with our line of thinking. Second harmonic is considered to be the
warmest and most "consonant" harmonic distortion and is usually very hard to hear, especially on
single tracks. The Dist 2 mode on the Distressor emphasizes the 2nd harmonic (octave), especially
while compressing.
Dist 3 mode & the Distortion indicators
This mode emphasizes the third harmonic. This is basically caused by nonlinear gain that results with
the top and the bottom of waveforms being flattened out. Analog tape saturates in this manner. The
3rd harmonic is induced in the Distressor by increasing VCA output level. We have provided distortion
indicator lights that come on most frequently in Dist 3 mode. A yellow LED light indicates .25% THD
and the red "redline" LED indicates 3% THD or more. Though not always an exact indication of the
distortion, these LED's are an excellent guide to where the user is in the "Grunge Department" and can
help to avoid turning the music into an "overwell" mess. You will find that the harmonic distortion is
generally more obvious on overall mixes and complex programs. On individual instruments,
sometimes 3% distortion sounds "fat" and "analog" and isn't heard as distortion at all.
5
Troubleshooting
* No sign of life - Check power cord for firm connection. If still no life open top cover by removing all
top screws and check fuse toward rear next to transformer. If it is blown, pry it out and replace it with
extra fuse provided in fuse holder toward front of chassis. If fuse is OK, make sure your Voltage select
switch is set to current wall outlet voltage (115, 230 VAC).
* Unit keeps blowing fuses - Probably has short or power supply problem. Try to make sure there is
nothing trapped under the PC board, shorting to the metal case. Attentive visual inspection is still the
most effective troubleshooting tool available. Check internal voltage select switch for proper settings
(115/230).
* Unit is on but not doing anything - The unit may be bypassed or in 1:1 mode. If bypassed, you
need to press the "BY-PASS" button so red LED goes off. The 1:1 mode may be inaudible but the
input and output levels will still affect it. Try another ratio for compression.
* Bargraph shows gain reduction but very little or none is actually occurring -The unit is probably
severely out of adjustment. We use very stable trim pots and high quality components, but it is
possible that long term component aging or failure may require factory re-calibration. Right now you will
have to return the Distressor to factory for re-calibration. In the future there will be local dealers and/or
service centers to help.
* Distorted output - If there is severe, un-musical distortion, chances are you're hard clipping. Check
that the output cable is properly wired and any unused output pins (2 or 3) on XLR are floating (left
unconnected). Shorting an output pin will not harm the unit but can show up as distortion in the output
driver. The distortion this unit is meant to impart is harmonic and should not sound like crackly
distortion caused by hard clipping. Long attack times can clip transients in lower ratios when Dist 2 or
3 are employed. If the attacks are too fast (towards 0), low frequency clipping and unpleasant
distortion can occur. Try slowing up the attack or release.
* No output level - Make sure there is audio getting to unit, and that the input and output levels are
turned up.
* Unit pops or unnaturally pumps with low frequencies at ultra fast attacks when compressing 20 dB
or more - Possibly caused by the high-pass (HP) in the detector engaged, and not controlling the low
frequency amplitude in the VCA, causing offset pumping. Turning up attack (to 5 or above) will often
eliminate the effect. Remember that this unit has an extremely fast attack time that can show up as
pumping or crackling on low frequency laden material. You can control this with a slower attack, or a
slower decay. Also, try enabling and disabling the "HP" in the detector.
* Unit seems noisy - The dynamic range of the Distressor is greater than CD (16 bit) quality. However,
if you are compressing a noisy signal, the noise is pushed up along with the soft signals. If you have
20 dB of gain reduction on a room mic that has a 90 dB S/N, the noise floor will be raised 20 dB in
quiet areas, bringing the noise floor up to 70 dB. Since the Distressor is capable of lots of compression
without sounding unnatural, you can often bring noise or hiss up undesirably. Remember your current
input level, and then ensure that the noise is coming from outside the unit by turning the input knob off
(to 0). All noise should disappear. Try gating before compressing.
* Unit forgets where it was when power was shut off - Non-Volatile cap backup may have become
defective. Please call factory for information on replacement.
* Unit quits working when Bypassed – Pins 2 & 3 may be reversed on one of the XLR cables.
* Unit only works in Bypass – Input or Output are turned to 0, or input and output wiring is reversed.
* The Stereo Link in the Detector doesn’t seem to have an affect. User may have a radically
different source in the left and right channels. Consider installing the Stereo Image Link (see p13).
A note on Bypass and the Multiplexed Controls
A hardwired bypass relay enables the user to compare processed and unprocessed signals accurately.
When comparing the original signal from the processed signal, matching the output level with bypassed
signal makes it very easy to hear the processing changes. Bypassing can cause audio “clicking”.
To change ratio, audio, and detector modes, press the associated button and cycle through the
options. These step function controls are sometimes inconvenient when trying to compare two
settings, but if there was a control switch for every selection offered on the Distressor, there would be
15 switches on the front panel instead of four. We considered it very important to fit it all in the single
height 1.75" cabinet - and 15 switches just won't go. The color encoded, indicator LED's were arranged
in an easy to read pattern, with Red LEDs usually indicating radical or distorted settings.
10
Fuses, Operating Voltage & Non-Volatile
Memory
Caution: Always unplug unit before removing cover!
Fuse
I
In nt th he ec ca as se eo of fa ab bl lo ow wn nf fu us se e, ,p pu ul ll lo ou ut tt th he ep po ow we er rp pl lu ug gf fr ro om mt th he eA AC Co ou ut tl le et t, ,o op pe en nu un ni it t, ,a an nd de en ns su ur re ef fu us se e
c
cl lo os se es st tt to or re ea ar ro of ft th he eD Di is st tr re es ss so or ri is sb bl lo ow wn n. .N No ot te e: :T Th he ef fu us se ec cl lo os se er rt to ot th he ef fr ro on nt tp pa an ne el li is sa as sp pa ar re ef fu us se ea an nd di is s
n
no ot tc co on nn ne ec ct te ed dt to oa an ny yt th hi in ng g. .A As sm ma al ll ls sc cr re ew wd dr
ri iv ve er rm ma ay yb be eh he el lp pf fu ul l. .G Ge en nt tl ly yp pr ry yo ou ut to on ne ee en nd do of ft th he ef fu us se ea an nd d
t
th he en nt th he eo ot th he er r, ,r re ep pl la ac ci in ng gi it tw wi it th he ex xt tr ra af fu us se et th ha at ti is sl la ab be el le ed dn ne ea ar re er rf fr ro on nt to of fu un ni it t. .B Be ef fo or re ep pu ut tt ti in ng gc co ov ve er ro on n, ,
p
pl lu ug gi in nu un ni it t, ,k ke ee ep pi in ng gh ha an nd ds so ou ut to of ft th he eb bo ox x, ,e en ns su ur re et th ha at tt th he ef fu us se ed do oe es sn n' 't tb bl lo ow wa
ag ga ai in n, ,i in nd di ic ca at ti in ng ga ap po os ss si ib bl ly y
m
mo or re es se er ri io ou us sp pr ro ob bl le em m( (s se ee et tr ro ou ub bl le es sh ho oo ot ti in ng g) ). .I If fu un ni it tt tu ur rn ns so on nO OK K, ,u un np pl lu ug gu un ni it t, ,r re ep pl la ac ce es sp pa ar re ef fu us se ei in n
f
fr ro on nt ti if fa av va ai il la ab bl le e, ,s sc cr re ew wd do ow wn nt to op pc co ov ve er ra an nd dr re et tu ur rn nt th he eu un ni it tt to on no or rm ma al lu us se e. .F Fo or rr re ef fe er re en nc ce e, ,a an ny yf fu us se ef fr ro om m
.
.3 3t to o. .6
6A As sh ho ou ul ld db be es sa af fe e, ,b bu ut t. .5 5A A( (1 1/ /5 5A A) )i is sw wh ha at ti is ss sp pe ec ci if fi ie ed da an nd du us se ed da at tf fa ac ct to or ry y. .
Line Voltage Select
C
Ch ha an ng gi in ng gt th he ev vo ol lt ta ag ge ef fo or r2 23 30 0o or r1 11 15 5o op pe er ra at ti io on na al ls so oi in nv vo ol lv ve es su un np pl lu ug gg gi in ng gt th he eu un ni it ta an nd dr re em mo ov vi in ng gt to op p
c
co ov ve er r. .I In ns si id de eo on nt th he er ri ig gh ht t( (a as st th he ef fr ro on nt to of ft th he eu un ni it tf fa ac ce es sy yo ou u) ), ,i is sa as sw wi it tc ch hw wi it th h1 11 15 5o or r2 23 30 0V Vs sh ho ow wi in ng go on n
i
it ts sf fa ac ce e. .S Se el le ec ct tt th he ed de es si ir re ed dv vo ol lt ta ag ge eb by ys sl li id
di in ng gt th he es sw wi it tc ch hu un nt ti il li it ti in nd di ic ca at te es st th ha at tv vo ol lt ta ag ge ea an nd dy yo ou u' 'r re ed do on ne e. .
R
Re ep pl la ac ce ec co ov ve er ra an nd ds sc cr re ew ws s. .
Non-Volatile Memory
A
Ag go ol ld dc ca ap pa ac ci it to or ri in ns si id de ew wi il ll ls st to or re ef fr ro on nt tp pa an ne el ls se et tt ti in ng gs sf fo or ra at tl le ea as st tf fo ou ur rw we ee ek ks s. .
Upgrades
T
Th he er re ea ar re es se ev ve er ra al le el le em me en nt ts si in ns si id de et th he eD Di is st tr re es ss so or rt th ha at tw we er re ed de es si ig gn ne ed dt to ob be e" "m mo od di if fi ia ab bl le e" ". .A Al lt th ho ou ug gh hw we e
c
ca an nn no ot tg gu ua ar ra an nt te ee ei it ta at tt th hi is st ti im me e, ,E Em mp pi ir ri ic ca al lL La ab bs sm ma ay yr re el le ea as se ei in nf fo or rm ma at ti io on na an nd dh ha ar rd dw wa ar re eo op pt ti io on ns st th ha at tw wi il ll l
a
al ll lo ow wo ow wn ne er rs st to oa al lt te er rt th he ec cu ur rv ve es sa
an nd do ot th he er ri im mp po or rt ta an nt tp pe er rf fo or rm ma an nc ce ep pa ar ra am me et te er rs so of ft th he ei ir rD Di is st tr re es ss so or ri in n
a
ad dd di it ti io on nt to ot th he ec cu ur rr re en nt tl ly ya av va ai il la ab bl le eS St te er re eo oI Im ma ag ge eL Li in nk ka an nd dB Br ri it ti is sh hM Mo od d( (1 11 17 76 6“ “A Al ll lB Bu ut tt to on ns sI In n” ”) ). .M Mo os st to of f
t
th he es se em mo od di if fi ia ab bl le ee el le em me en nt ts sw wi il ll lp pr ro ob ba ab bl ly yn no ot ti im mp pr ro ov ve et th he ep pe er rf fo or rm ma an nc
ce e, ,b bu ut tw wi il ll lo of ff fe er ro ot th he er ra al lt te er rn na at ti iv ve e
s
si ig gn na al lp pr ro oc ce es ss si in ng gv va ar ri ia at ti io on ns s. .I It tm ma ay yb be ep po os ss si ib bl le ef fo or ru us se er rt to os sa af fe el ly ym mo od di if fy yt th he eD Di is st tr re es ss so or ra an nd dc cr re ea at te e
u
un ni iq qu ue es se et ts so of fc cu ur rv ve es sa an nd df fi il lt te er ro op pt ti io on ns s. .I If fy yo ou uh ha av ve es se en nt ti in na ap pr ro op pe er rl ly yf fi il ll le ed do ou ut tw wa ar rr ra an nt ty yc ca ar rd d, ,w we ew wi
il ll l
k
ke ee ep py yo ou ua ap pp pr ri is se ed do of ft th he es se ed de ev ve el lo op pm me en nt ts s. .
D
Do on no ot ta at tt te em mp pt tt to om mo od di if fy yo or rm ma ak ke ea ad dj ju us st tm me en nt ts st to oy yo ou ur rD Di is st tr re es ss so or ru un nt ti il ly yo ou uh ha av ve en no ot ti if fi ie ed dE Em mp pi ir ri ic ca al lL La ab bs s
a
an nd db be ee en ns se en nt tt th he en ne ec ce es ss sa ar ry yi in nf fo or rm ma at ti io on n. .T Th he er re ea ar re ea an nu um mb be er ro of fc cr ri it ti ic ca al la ad dj ju us st tm me en nt ts st th ha at tc ca
an nn no ot tb be e
m
ma ad de ep pr ro op pe er rl ly yw wi it th ho ou ut tt th he ec ca al li ib br ra at ti io on nt to oo ol ls sw we eh ha av ve eh he er re ea at tt th he ef fa ac ct to or ry y. .A An ny ys si ig gn no of fi in nt te er rn na al la ad dj ju us st tm me en nt t
b
by yt th he eu us se er rw wi il ll lv vo oi id dy yo ou ur rw wa ar rr ra an nt ty yw wi it th ht th he ee ex xc ce ep pt ti io on no of fc ch ha an ng gi in ng gt th he ef fu us se es s, ,o or rl li in ne ev vo ol lt ta ag ge es se el le ec ct ti io on n. .
E
Em mp pi ir ri ic ca al lL La ab bs sI In nc c. .t ta
ak ke es sn no or re es sp po on ns si ib bi il li it ty yf fo or rt th he es sa af fe et ty yo of fa an ny yo on ne eo op pe en ni in ng gt th he eD Di is st tr re es ss so or rf fo or ra an ny y
r
re ea as so on n. .T Th he er re ea ar re ed da an ng ge er ro ou us sv vo ol lt ta ag ge es sp pr re es se en nt tw wh he en nu un ni it ti is sp pl lu ug gg ge ed di in n. .R Re ef fe er ru un ni it tt to op pr ro op pe er rl ly yq qu ua al li if fi ie ed d
s
se er rv vi ic ce ec ce en nt te er ro or rr re et tu ur rn nt to of fa ac ct to or ry y. .
S
Se ee et th he eB Br ri it ti is sh hM Mo od da
an nd dS St te er re eo oI Im ma ag ge eL Li in nk kI In nf fo or rm ma at ti io on no on np pa ag ge es s1 12 2a an nd d1 13 3. .
11
The Ratios and their Curves
Each "ratio mode" of the Distressor sets both the threshold and the ratio, in the standard sense of the
word. This was done to provide an easy to set, yet versatile group of curves. The 1:1 mode provides no
compression, but allows the audio to pass through the "warming" circuits of the unit (we'll get to the
distortion modes in a moment). Ratio's 2 through 6 are general purpose curves great for tracking. The
2:1 and 3:1 ratios are "parabolic" knees - very gentle curves that won't typically go into hard limiting and
therefore, also won't provide absolute overload protection. Ratios 4:1 and 6:1 have steeper knees and
are good general purpose curves that gradually move towards hard limiting, "nailing" the signal in its
place. The ratio of 6:1 is very useful for vocals, bass, and acoustic instruments. It has an easy slope at
first until after the knee, where an increasing ratio "musically" limits the peaks of the signal before
damage is done. The 6:1 and 10:1 Opto ratios employ shorter knee limiting, reminiscent of some old
classics from the 60's and 70's (see Classic Emulation).
"Nuke" is a different story. The "Nuke" ratio was developed for room mics, but we have since found it
useful in many areas. "Nuke" has a medium threshold but when the signal hits it, a nuclear blast won't
budge the output level. It is brick wall limiting, keeping any normal signal within 1 dB or so. Just patch
in a room mic while recording drums (or other instruments) and slam the meters. Try attack on 4 and
release on 2. The release curve of "Nuke" is logarithmic, meaning it lets off quickly at first and then
slows. This release curve is a big part of the Distressor's sound. Experiment with the release times -
this guy can release really fast without too much crackling, even on bass. 20:1 can be used similarly to
"Nuke". Each of these curves again has their own feel to them, with the release slopes slightly altered,
and the knees falling in slightly different places. Most exceptional are the 2:1, 10:1 and Nuke ratios,
which employ special detector circuitry.
Just what is a soft knee?
A "soft knee" is a compression curve where the first few dB of gain reduction occur at very low ratios,
gradually increasing as the signal increases (gets louder). This makes the onset of compression very
hard to detect. The knee usually extends for a few dB and gradually flattens out toward a final ratio. All
curves with the exception of 20:1 and "Nuke" have dominant knees. The 2:1 ratio has a knee that can
be as long as 30 dB, depending on attack and decay settings.
Classic Emulation
Since the unit is based on the oldest compressor topology, the unit can be made to sound very similar
to older classics. The nonlinear nature of the older gain control elements of opto-couplers, FET's,
pentode (or triode) tube bias or "mu" modulation, etc., can be closely emulated if proper settings are
used. A special "Opto" mode has been provided in the 10:1 ratio.
Some Examples:
* To simulate the opto-VCA models of old (the LA-2A, LA-3A, LA-4A), try 10:1 "Opto" ratio, with attack
on 10, release on 0, Det HP on. Adjust input and outputs to your taste. Keep the attack above 4 to
keep the OPTO flavor. Faster attacks will give you a more aggressive sound. Remember our LED
metering deflects much faster than the old VU's so don't be afraid to hit the unit quite hard (10-20 dB of
compression on peaks). To emulate tubes, try Dist 2 & 3 mode, but let your ears be your guide.
* For a classic “Over E-Z” type sound, try ratios 2:1 thru 6:1, att 9, release 2, clean mode.
* 1176LN 6:1, Att 0 - 3.5, rel 1 - 10.5. Use ratios 3:1, 4:1, 6:1, 20:1 to emulate 4 1176LN ratios. Clean
mode is appropriate (Dist 2 or 3 off). Remember that the 1176LN attacks extremely fast and you must
keep attack under 4 max. A familiar sound is 6:1, att2, rel 4.
* Old Fairchild IGFET - 6:1 att 3-5, rel 2 - 7 (start with att 4 and rel 4)
Due to the transformerless design, you will maintain a low transient intermodulation distortion, but will
get the warming grunge of 2nd and 3rd harmonic distortion, if distortion modes are enabled. Also,
unlike some of the older units, the Distressor is uniform and predictable from one unit to the next.
Precise factory calibration assures that if you go from one Distressor to another, these settings will all
sound the same.
Empirical Labs would like to thank Universal Audio for not only creating classic audio gear, but for
kindly allowing us to refer to their model numbers. As they say “Once a classic, always a classic.”
4
BACK TO TABLE OF CONTENTS

Example settings
G
Ge en ne er ra al ll ly y, ,i it ti is sd di if ff fi ic cu ul lt tt to om ma ak ke et th he eu un ni it ts so ou un nd du un nn na at tu ur ra al ld du ue et to oi it ts sv vi in nt ta ag ge et to op po ol lo og gy y. .T Th he er ra at ti io oa an nd d
r
re el le ea as se et ti im me es sa ar re et th he em mo os st tc cr ri it ti ic ca al ls se et tt ti in ng gs s. .A Ag ga ai in n, ,a ar ro ou un nd d5 5o on nt th he er re el le ea as se ek kn no ob bi is sa ag go oo od ds st ta ar rt ti in ng g
s
sp po ot t. .T Th he ea at tt ta ac ck ki is sv va ar ri ia ab bl le ef fr ro om m5 50 0u uS
St to o3 30 0m mS S. .T Th he er re el le ea as se ei is sv va ar ri ia ab bl le ef fr ro om m5 50 0m mS St to o3 3s se ec co on nd ds s. .F Fo or r
p
pe er rc cu us ss si iv ve em ma at te er ri ia al l, ,i if fy yo ou un ne ee ed dt to oa ad dd da at tt ta ac ck k, ,a ad dd da at tt ta ac ck k. .T Th ha at ti is s, ,s sl lo ow wt th he ea at tt ta ac ck kb by yt tu ur rn ni in ng gt th he ek kn no ob b
c
cl lo oc ck kw wi is se et to ow wa ar rd ds s1 10 0. .C Co on nv ve er rs se el ly y, ,i if fy yo ou un ne ee ed dt to og ge et tr ri id do of fs so om me ep pi ic ck kn no oi is se e, ,o or
ro ov ve er rt tr ra an ns si ie en nt ts so ou un nd ds s, ,
t
th he ef fa as st ta at tt ta ac ck ka an nd dr re el le ea as se ei is st th he ew wa ay yt to og go o. .W Wi it th ht th he es se et to oo ol ls s, ,a an ne en ng gi in ne ee er rc ca an nm mo ol ld dt th he ee en nv ve el lo op pe eo of f
s
so ou un nd ds si in na av ve er ry yc co on nt tr ro ol ll le ed dm ma an nn ne er r, ,a ad dd di in ng go or rs so of ft te en ni in ng ga at tt ta ac ck k, ,s su us st ta ai in ni in ng g, ,s sm mo oo ot th hi in ng ga an nd de ev ve en ni in ng gu un nt ti il l
t
th he es so ou un nd ds sf
fi it ti in nt to ot th he em mi ix xa as sd de es si ir re ed d. .
V
Vo oc ca al ls s- -T Tu ur rn no of ff fa al ll ld di is st to or rt tm mo od de es si if fy yo ou u' 'r re eg go oi in ng gt to ot ta ap pe e, ,h ho ow we ev ve er rt th he eH Hi ig gh h- -p pa as ss s( (H HP P) )i in nb bo ot th ht th he e
d
de et te ec ct to or ra an nd da au ud di io op pa at th hs sm ma ay yb be eu us se ef fu ul l. .S Se et tr ra at ti io ot to o6 6: :1 1o or rl le es ss s, ,a at tt ta ac ck k5 5, ,r re el le ea as se e4 4. .A Ad dj ju us st ti in np pu ut tt to o
p
pr ro od du uc ce ea an ny yw wh he er
re ef fr ro om m3 3t to o1 17 7d dB Bo of fc co om mp pr re es ss si io on n. .S So om me et ti im me es st th he eb ba an nd de em mp ph ha as si is ss se et tt ti in ng gi is se ef ff fe ec ct ti iv ve e
f
fo or rt th ho os se ed dy yn na am mi ic c, ," "p pi ie er rc ci in ng g" "v vo oc ca al lp pa as ss sa ag ge es s. .O On nm mi ix xd do ow wn ns s, ,D Di is st t2 2c ca an na ad dd da aw wa ar rm me ed dg ge et to ov vo oc ca al ls s. .
T
Th he e" "O Op pt to o" "m mo od de ei in n1 10 0: :1 1i is sg gu ua ar ra an nt te ee ed dt to og gi iv ve ey yo ou ua ac cl la as ss si ic cc co om mp
pr re es ss si io on nc cu ur rv ve e. .T Tr ry y1 10 0: :1 1, ,w wi it th ha at tt ta ac ck k
o
on n1 10 0, ,r re el le ea as se eo on n0 0. .S Se ep pa ar ra at te ed de et te ec ct to or rc ci ir rc cu ui it tr ry yw wi il ll lb be ee en na ab bl le ed d. .
A
Aw we el ll lk kn no ow wn np pr ro od du uc ce er rg ga av ve eu us sa an no ot th he er rm mo or re ea ag gg gr re es ss si iv ve ev vo oc ca al lc co om mp pr re es ss so or rs se et tt ti in ng g: :R Ra at ti io o6 6: :1 1, ,A At tt ta ac ck k
2
2. .5 5- -3 3, ,5 5, ,R Re el le ea as se e0 0– –2 2, ,A Au ud di io om mo od de es sH HP
P& &D Di is st t2 2. .I In ns so of ft tp pa as ss sa ag ge es s, ,n no oc co om mp pr re es ss si io on ns sh ho ou ul ld do oc cc cu ur r
w
wh hi il le eo on nl lo ou ud dp pa as ss sa ag ge es s1 17 7– –2 20 0d dB B. .T Th hi is ss se et tt ti in ng gw wa as su us se ed df fo or rt tr ra ac ck ki in ng ga as sw we el ll la as sm mi ix xi in ng g. .
B
Ba as ss s- -4 4: :1 1, ,6 6: :1 1t tu ur rn na at tt ta ac ck ko on n5 5, ,r re el le ea as se e4 4. .T Th he ed di is st to or rt ti io on na au ud di io om mo od de es ss so ou un nd dg gr re ea at to on nb ba as ss s, ,b bu ut t
c
ca au ut ti
io on ns sh ho ou ul ld db be eo ob bs se er rv ve ed di if fy yo ou ua ar re eg go oi in ng gt to ot ta ap pe e/ /H HD D. .Y Yo ou uc ca an nn no ot tu un n- -d di is st to or rt t. .I If fy yo ou uh ha av ve ea av ve er ry y
"
"c cl la ac ck ky y" "b ba as ss sp pl la ay ye er r, ,s so om me et ti im me es st th he eb ba an nd de em mp ph ha as si is si in nt th he ed de et te ec ct to or rj ju us st tf fl la at tt te en ns st th ha at ts st tu uf ff fo ou ut t. .U Us se ef fa as st t
a
at tt ta ac ck ka an nd dr re el le ea as se et ti im me es st to ok ke ee ep p" "c cl la ac ck ks s" "f fr
ro om mp pu um mp pi in ng g. .A Al ls so o, ,t tr ry y" "O Op pt to o" "m mo od de e. .
E
El le ec c. .g gu ui it ta ar r- -A Aw wi id de er ra an ng ge eo of fs se et tt ti in ng gs sc ca an nb be eu us se ed d. .T To og ge et tr ri id do of fe ed dg gy ya at tt ta ac ck ks s, ,u us se eq qu ui ic ck ka at tt ta ac ck k, ,
m
me ed di iu um mr re el le ea as se e. .T To os sm mo oo ot th ho ou ut ts so ol lo os s, ,t tr ry yt th he eb ba an nd de em mp ph ha as si is si in nt th he ed de et te ec ct to or rt to op pu ul ll lu up pt th he el lo ow we er r, ,s so of ft te er r
n
no ot te es sa an
nd dp pu us sh hb ba ac ck ka an nd ds su us st ta ai in nt th he eh hi ig gh he er r, ,a an nd do of ft te en n, ,t th hi in nn ne er rn no ot te es s. .T Tr ry y" "O Op pt to o" ". .
A
Ac co ou us st ti ic cg gu ui it ta ar r- -W We e' 'v ve eb be ee en nt to ol ld db by ya ac co ou up pl le eo of fe en ng gi in ne ee er rs st th ha at tt th he eD Di is st tr re es ss so or ri is so on ne eo of ft th he eb be es st t
s
so ou un nd di in ng gu un ni it ts sf fo or ra ac co ou us st ti ic ct th he ey y' 'v ve ee ev ve er rh he ea ar rd d. .U Us se e6 6: :1 1, ,[ [7 7, ,2 2, ,5 5, ,7 7] ]s se et
tt ti in ng gs s( (i i. .e e. .I In np pu ut t7 7, ,A At tt ta ac ck k2 2, ,
R
Re el le ea as se e5 5, ,O Ou ut tp pu ut t7 7) ). .H Hi ig gh h- -p pa as ss s( (H HP P) )i is so of ft te en nu us se ef fu ul li in nb bo ot th hd de et te ec ct to or ra an nd da au ud di io om mo od de es s. .T Th he ef fa as st ta at tt ta ac ck k
w
wi il ll lg ge et ty yo ou ua a" "g gl la as ss sy y" "f fu ul ll ls so ou un nd ds si in nc ce et th he ep pi ic ck kn no oi is se ew wi il ll lb be ea at tt te en nu ua at te ed da an nd dt th he es su us st ta ai in nl le en ng gt th he en ne ed d. .
P
Pi ia an no
o/ /K Ke ey ys s- -S St ta ar rt tw wi it th hq qu ui ic ck ka at tt ta ac ck k( (0 0- -4 4) )a an nd dm me ed di iu um mr re el le ea as se e( (4 4- -6 6) ). .A Ac co ou us st ti ic cp pi ia an no os so of ft te en nn ne ee ed dl le es ss s
a
at tt ta ac ck kt to of fi it ti in nt to oa am mi ix x, ,b bu ut tt th he er re ea ar re em mi il ll li io on ns so of fe ex xc ce ep pt ti io on ns s. .B Br ru uc ce eH Ho or rn ns sb by yi is sh hp pi ia an no os sa ar re eo of ft te en nr re ea al lo or r
s
sa am mp pl le es so of fr re ea al lp pi ia an no os sw wi it th hm me ed di iu um ma at tt ta
ac ck ka an nd dm me ed di iu um mr re el le ea as se e, ,g ge et tt ti in ng gt th ha at t" "b bi it te e" "f fo ol ll lo ow we ed db by y
s
su us st ta ai in ne ed db bo od dy y. .T Tr ry ya at tt ta ac ck k5 5, ,r re el l5 5. .O Op pt to om mo od de ei is sv ve er ry yn ni ic ce eh he er re e, ,t to oo o. .S So om me e- -
t
ti im me es sb br ri it tt tl le eh hi ig gh hn no ot te es sc ca an nb be ee ex xt tr ra ac co om mp pr re es ss se ed db by yu us si in ng gt th he e" "b ba an nd de em mp ph ha as si is s" "d de et te ec ct to or rm mo od de e. .
D
Dr ru um ms s- -S St ta ar rt tb by yk
ke ee ep pi in ng gt th he ea at tt ta ac ck ko ov ve er r3 3t to ok ke ee ep pt tr ra an ns si ie en nt ts s. .P Pl la ay yw wi it th hd de ec ca ay yt to og ge et tm mo or re eo or rl le es ss s" "i in n
y
yo ou ur rf fa ac ce e" "s so ou un nd ds s. .B Be ec ca au us se eo of ft th he ew wi id de er ra an ng ge eo of fa at tt ta ac ck k, ,t th he eD Di is st tr re es ss so or rp pu ut ts st th he ed dr ru um m" "p pe er rc cu us si iv ve en ne es ss s" "
m
mu uc ch hm mo or re ei in nt to ot th he ee en ng gi in ne ee er r' 's sc co on nt tr ro ol lt th ha an nt th he eo ol ld de er r, ,c cl
la as ss si ic cu un ni it ts s. .
S
Sn na ar re es s/ /K Ki ic ck ks s/ /T To om ms s- -T Tr ry y[ [3 3: :1 1t to o6 6: :1 1, ,6 6, ,5 5, ,5 5, ,6 6] ]. .S Sh ho or rt te en nd de ec ca ay yi if fy yo ou un ne ee ed dt to ob br ri in ng gu up p" "a af ft te er r
r
ri in ng g" ". .I If fa at to om mh ha as st to oo om mu uc ch ha at tt ta ac ck k, ,t tu ur rn na at tt ta ac ck kd do ow wn nb be et tw we ee en n0 0- -4 4. .I If fc cr ra ac ck kl li in ng gf fr ro om mL L. .F F. ., ,m mo od du ul la at ti io on n
o
oc cc cu ur rs s, ,p pl la ay yw wi it th hl lo on ng ge er ra at tt ta ac ck ko or
rr re el le ea as se et ti im me es s, ,o or rD De et tH HP P. .S Si in nc ce ey yo ou uc ca an nl lo oa ad dc co om mp pr re es ss si io on no on nw wi it th ho ou ut t
s
so ou un nd di in ng gf fu un nn ny y, ,w wa at tc ch h" "m mi ic cl le ea ak ka ag ge e" "w wh hi ic ch hc ca an nb be ec co om me ea ap pr ro ob bl le em m. .K Ki ic ck kd dr ru um ms ss so ou un nd dg gr re ea at tu us si in ng g
O
Op pt to om mo od de e( (1 10 0: :1 1, ,a at tt ta ac ck ko on n1 10 0, ,r re el le ea as se e0 0) )a an nd dD De et tH HP Po on n. .
R
Ro oo om mm mi ic cs s- -F Fo or rr ra ad di ic ca al lt tr
re ea at tm me en nt t, ,t tr ry y2 20 0: :1 1o or r" "N Nu uk ke e" ", ,[ [1 10 0, ,6 6, ,2 2. .5 5, ,6 6] ]. .T Th he e" "N Nu uk ke e" "r ra at ti io ow wa as s
o
or ri ig gi in na al ll ly yd de ev ve el lo op pe ed df fo or rr ro oo om mm mi ic cs s, ,b bu ut tw we eh ha av ve es si in nc ce ef fo ou un nd di it tu us se ef fu ul li in nm ma an ny ya ar re ea as s. ." "N Nu uk ke e" "a an nd d2 20 0: :1 1
a
ar re ep pr re et tt ty ym mu uc ch hb br ri ic ck kw wa al ll ll li im mi it ti in ng g, ,k ke ee ep pi in ng ga an ny yn no or rm ma al ls si ig gn na al lw wi it th hi in n1 1d dB Bo
or rs so o. .J Ju us st tp pa at tc ch hi in na ar ro oo om m
m
mi ic ct th ha at ti is s1 10 0- -2 25 5f fe ee et tf fr ro om md dr ru um ms s( (o or ro ot th he er ri in ns st tr ru um me en nt ts s) )a an nd ds sl la am mt th he em me et te er rs s. .T Tr ry ya at tt ta ac ck ko on n5 5a an nd d
r
re el le ea as se eo on n3 3. .F Fi if ft te ee en nt to ot tw we en nt ty yd dB Bo of fc co om mp pr re es ss si io on ni is ss st ta ar rt ti in ng gt to os so ou un nd da ab bo ou ut tr ri ig gh ht tf fo or rt th he eJ Jo oh hn nB Bo on nh ha am m
t
th hi in ng g, ,b bu ut td do on n' 't tb be ea
af fr ra ai id dt to or ru un nt th he eg ga ai in nr re ed du uc ct ti io on nm me et te er rs sr ri ig gh ht to of ff fs sc ca al le e. .Y Yo ou uw wi il ll lf fi in nd dt th he eo ou ut tp pu ut ta al li it tt tl le e
l
lo ow we er rt th ha an nt th he eo ot th he er rr ra at ti io os si in n" "N Nu uk ke e" ". .B Be et tt te er rh ha av ve eq qu ui ie et tm mi ic cp pr re ea am mp ps st to oo o- -a as s2 20 0d dB Bo of fc co om mp pr re es ss si io on nc ca an n
b
br ri in ng gt th he en no oi is se ef fl lo oo or ru up pb by y2 20 0d dB B. .T Th he er re el le ea as se es sh ho ou ul ld db
be eq qu ui ic ck k( (< <3 3) )f fo or rt th he el la ar rg ge es st ts so ou un nd d, ,b bu ut ts sl lo ow we er r
r
re el le ea as se es sc ca an no of ft te en nb be ee ef ff fe ec ct ti iv ve ew wh he en nm mi ix xe ed di in nw wi it th ht th he er re es st to of ft th he ek ki it t. .R Ro oo om ma am mb bi ie en nc ce ec ca an nb be em ma ad de et to o
"
"s sw we el ll lu up p" "o on nt th he et to om ma an nd ds sn na ar re er ri in ng gs sl la at te er r, ,f fi il ll li in ng gi in nb be eh hi in nd dt th he ec cl lo os se em mi ic cs s. .I If fy yo ou uw wa an nt tt to oa ad dd d" "g gr
ru un ng ge e" ", ,
e
ex xp pe er ri im me en nt tw wi it th hD Di is st t2 2a an nd dD Di is st t3 3. .
3
3
The Distressor "British Mode" Option
Another Upgrade & Option for your Distressor!
Basic Description -
-T
Th he eo or ri ig gi in na al lc co on nc ce ep pt to of ft th he e" "B Br ri it ti is sh hM Mo od de e" "c ca am me ef fr ro om ma an nu un nu us su ua al ls se et tt ti in ng go on n
t
th he ec cl la as ss si ic cU UR RE EI I1 11 17 76 6L LN Nl li im mi it te er r. .T Th he eu un ni it tw wa as sd de es si ig gn ne ed dt to oh ha av ve eo on nl ly yf fo ou ur rr ra at ti io os s, ,e ea ac ch hr ra at ti io ob be ei in ng g
e
en ng ga ag ge ed db by ys se el le ec ct ti in ng go on ne eo of ff fo ou ur rb bu ut tt to on ns s. .H Ho ow we ev ve er r, ,a as se ea ar rl ly ya as s1 19 98 80 0(
(o or rb be ef fo or re e) ), ,r re en ne eg ga ad de er re ec co or rd di in ng g
e
en ng gi in ne ee er rs s, ,a al lw wa ay ys so on nt th he el lo oo ok ko ou ut tf fo or rs so om me et th hi in ng ga al li it tt tl le em mo or re e" "o ov ve er rt th he et to op p" ", ,f fo ou un nd dt th ha at ty yo ou uc co ou ul ld dm ma ak ke e
a
al ll lf fo ou ur rb bu ut tt to on ns ss st ta ay y" "i in n" "i if fy yo ou up pr re es ss se ed dt th he em mj ju us st tr ri ig gh ht t. .W Wh ha at tr re es su ul lt te ed dw wa as sa av ve er ry y, ,v ve er ry ya ag gg gr re es ss si iv ve e
s
so ou un nd
dt th ha at th ha ad ds so om me ee el le em me en nt ts so of ft th he eu un ni it ts s2 20 0: :1 1r ra at ti io o, ,b bu ut tw wi it th ha an nu un nu us su ua al lk kn ne ee ea an nd dn ne ew we en nv ve el lo op pe e
s
sh ha ap pe e. .S So om me ew wh he er re ea al lo on ng gt th he el li in ne e, ,s so om me eo on ne ec ca al ll le ed di it ta a" "B Br ri it ti is sh hM Mo od de e" "a an nd dt th he en na am me eh ha as ss st tu uc ck k. .I It ti is sa al ls so o
c
ca al ll le ed d" "a al ll lb bu ut tt to on ns si in n" "a an nd ds so om me eo ot th he er ri in nt tu ui it ti iv ve en na
am me es s. .
T
Th he eD Di is st tr re es ss so or rh ha as st th he ea ad dv va an nt ta ag ge eo of fb be ei in ng ga ab bl le et to oa ap pp pl ly yt th hi is s" "a ag gg gr re es ss si iv ve e" "n na at tu ur re en no ot to on nl ly yt to ot th he en ne ew w
B
Br ri it ti is sh hr ra at ti io o( (1 1: :1 1) )b bu ut ta al ls so ot to oa al ll lt th he er ra at ti io os ss si in nc ce ea as se ep pa ar ra at te es sw wi it tc ch hi is si in ns st ta al ll le ed d, ,w wh hi ic ch hc ca an nb be ee en na ab bl le ed d
w
wi it th ha an ny yr ra at ti io o. .O On ne es sh ho ou ul ld dk ke ee ep
pi in nm mi in nd dh ho ow we ev ve er r, ,t th ha at ta an na at tt ta ac ck kw we el ll lb be el lo ow w3 3o or r4 4i is sr re eq qu ui ir re ed dt to o
m
ma ai in nt ta ai in nt th he e1 11 17 76 6L LN Nc ch ha ar ra ac ct te er r. .I If fy yo ou ug go oa ab bo ov ve ea an na at tt ta ac ck ko of f3 3y yo ou uw wi il ll la al ls so oi in nc cu ur ra ar ri is se ei in ns so om me e
g
gr ru un ng ge e( (d di is st to or rt ti io on n) )a an nd ds se ee et th he eT TH HD Di in nd di ic ca at to or rl li ig gh ht ts sc co om me eo on na al lo ot tm mo or re e. .
How to use the new British Mode Option for the first time
P
Pu ut tt th he eu un ni it ti in nt th he e1 1: :1 1r ra at ti io oa an nd dt tu ur rn no on nt th he eB Br ri it ti is sh hM Mo od de eS Sw wi it tc ch h( (f fl li ip pi it tu up pa an nd dt th he eL LE ED Ds sh ho ou ul ld db be el li it t) ). .
T
Th ha at te en na ab bl le es si it t. .T To os so ou un nd dl li ik ke et th he e1 11 17 76 6t th he eo on nl ly yc co on ns st tr ra ai in nt ti is st to ok ke ee ep pt th he ea at tt ta ac ck kw we el ll lu un nd de er r4 4o on nt th he e
D
Di is st tr re es ss so or rs s- -t th he ei ir ra at tt ta ac ck kc ca an ng go om mu uc ch hl lo on ng
ge er rt th ha an nt th he e1 11 17 76 6. .N No ow wy yo ou uw wi il ll lf fi in nd dt th ha at tt th he eu un ni it th ha as sa an ne ew w
a
at tt ti it tu ud de e! !T Th he ea at tt ta ac ck ka an nd dr re el le ea as se ew wi il ll lg ge en ne er ra al ll ly yb be em mo or re ea ag gg gr re es ss si iv ve ea an nd dt th he eu un ni it tw wi il ll lg ge et ti in na an nd do ou ut to of ft th he e
w
wa ay yv ve er ry yq qu ui ic ck kl ly y. .I In nt te er re es st ti in ng gl ly y, ,t th he eu un ni it tw wi il ll lb be es sl li ig gh ht tl ly yl le es ss sc co ol lo or re ed dw wh he en nn no
ot tc co om mp pr re es ss si in ng g. .
Tips
U
Us se et th hi is sr ra at ti io ot to o" "s sk ki im m" "p pe ea ak ks s. .T Th hi is sm me ea an ns st th ha at tm mo os st to of ft th he et ti im me ei it tm ma ay yn no ot tb be ed do oi in ng ga an ny yt th hi in ng g, ,b bu ut tw wh he en n
i
it td do oe es s" "h hi it t" "t th he es si ig gn na al l, ,i it tw wi il ll ls sm mo oo ot th hl ly yp pu us sh hb ba ac ck kt th he es si ig gn na al la an nd dt th he en ng ge et tr ri ig gh ht to ou ut to of ft th he ew wa ay ya ag ga ai in n. .I If f
y
yo ou ua ar re eh hi it tt ti in ng gt th he eG Ga ai in nR Re ed du uc ct ti io on na al
ll lt th he et ti im me ew wi it th ht th he eB Br ri it ti is sh hm mo od de eo on n, ,y yo ou ua ar re eg go oi in ng gt to ob be er re ea al ll ly y
"
"s sq qu ua as sh hi in ng g" "t th he es si ig gn na al l. .O On nt th he eo ot th he er rh ha an nd d, ,t th he eD Di is st tr re es ss so or rw wi il ll ls so ou un nd df fa ai ir rl ly ys su ub bt tl le ew wh he en nc co om mp pr re es ss si in ng ga al ll l
t
th he et ti im me ei in n2 2: :1 1m mo od de e, ,e es sp pe ec ci ia al ll ly yw wi it th ha as sl lo ow we er ra at tt ta ac ck k( (> >5 5) ). .O On nc ce ea ag ga ai in n, ,r re em
me em mb be er rt th ha at tt th he e1 11 17 76 6' 's s
n
no or rm ma al la at tt ta ac ck kr ra an ng ge ef fa al ll ls sb be el lo ow wt th he e3 3o on nt th he eD Di is st tr re es ss so or r’ ’s sA At tt ta ac ck kk kn no ob b, ,s so oa ag ga ai in n, ,o on nc ce ey yo ou ug go oa ab bo ov ve e4 4i in n
t
th he eB Br ri it ti is sh hM Mo od de e, ,y yo ou ua ar re en no ol lo on ng ge er rg go oi in ng gt to og ge et ta as st ta an nd da ar rd d1 11 17 76 6s so ou un nd d. .
A
Al ls so o, ,d du ue et to ot th he en na at tu ur re eo of ft th he ea ad dd de ed dc ci ir rc cu ui it tr ry ya an
nd dc co om mp pl le ex xn no on n- -l li in ne ea ar ri in nt te er ra ac ct ti io on n, ,t th he ec cu ur rv ve es so of ft th he e
B
Br ri it ti is sh hM Mo od de ec ca an nv va ar ry yb by y+ +- -. .5 5d dB Bf fr ro om mu un ni it tt to ou un ni it t. .W We em me en nt ti io on nt th hi is sb be ec ca au us se ea as sw we eh ha av ve es sa ai id d, ,a al ll lt th he e
o
ot th he er rD Di is st tr re es ss so or rc cu ur rv ve es sm ma at tc ch hu un ni if fo or rm ml ly yf fr ro om mu un ni it tt to ou un ni it t. .T Th he er re ef fo or re e, ,a af fr ra ac ct ti io on no of fa ad dB Bi is
sm me ea an ni in ng gf fu ul l
h
he er re eo on nl ly yc co om mp pa ar re ed dt to ot th he ee ex xt tr re em me ea ac cc cu ur ra ac cy yo of ft th he es st ta an nd da ar rd dD Di is st tr re es ss so or rr ra at ti io os s( (t th he eo or ri ig gi in na al l7 7r ra at ti io os s
s
sh hi ip pp pe ed dw wi it th ha al ll lD Di is st tr re es ss so or rs s) ). .
British Mode Tricks
�
� V Vo oc ca al ls s! !- -T Th hi is si is sa ag gr re ea at tf fi in na al lc co om mp pr re es ss si io on nd du ur ri in ng gm mi ix xd do ow wn n. .W Wh he en nn no ot tw wo or rk ki in ng gi it ti is sv ve er ry y
t
tr ra an ns sp pa ar re en nt t, ,b bu ut tw wh he en na av vo oc ca al lp po op ps so ou ut ta an nd dh hi it ts st th he ec co om mp pr re es ss si io on n, ,t th he eB Br ri it ti is sh hm mo od de ew wi il ll lg ge et ti in na an nd do ou ut to of f
t
th he er re eq qu ui ic ck kl ly ya an nd ds sm mo oo ot th hl ly y. .W Wh he en ny yo ou ua ar re er re ea al ll ly yc
co om mp pr re es ss si in ng ga al lo ot t, ,b br re ea at th hs sa an nd db ba ac ck kg gr ro ou un nd dn no oi is se es sw wi il ll l
b
be ec co om me ev ve er ry yl lo ou ud d( (p pu us sh he ed du up p) ). .T Th he er re ei is sn no ot tm mu uc ch hy yo ou uc ca an nd do ow wi it th ht th hi is se ex xc ce ep pt tg ga at te eb be ef fo or re ec co om mp pr re es ss si io on n
m
ma ay yb be eo or r, ,m mu ut te eo or re er ra as se et th he en no oi is se es sa an nd db br re ea at th hs so ou ut tt th ha at ty yo ou ud do on n' 't tw wa an nt tt to oh he ea ar r. .R Re em me em mb be er rt
th ha at t
b
br re ea at th hs sa ar re en na at tu ur ra al la an nd dc ca an na ad dd da al lo ot to of fe ex xc ci it te em me en nt ts so om me et ti im me es s, ,s so od do on n' 't tg ga at te eo or re er ra as se et th he em mb by yd de ef fa au ul lt t. .
I
If fy yo ou uc ca an n, ,b ba ac ck ku up pa av vo oc ca al lt tr ra ac ck kb be ef fo or re ey yo ou us st ta ar rt tt tr ry yi in ng gt to op pu un nc ch ho ou ut tb br re ea at th hs sa an nd dn no oi is se es se et tc c. .
�
� D Dr ru um ms sc ca an nb be em ma ad de et to od di is st to or rt tw wi it th hl lo on ng ga at tt ta
ac ck kt ti im me es si in nt th he eB Br ri it ti is sh hM Mo od de e. .T Th he ey yc ca an na al ls so ob be eg gi iv ve en na a
w
wh ho ol le en ne ew wc ch ha ar ra ac ct te er rd du ue et to ot th he ea ag gg gr re es ss si iv ve ea at tt ta ac ck ka an nd dr re el le ea as se es sh ha ap pe e. .T Tr ry yi it to on nl li iv ve er ro oo om mm mi ic cs sa as sw we el ll l
a
as sc cl lo os se eo or ro ov ve er rh he ea ad dm mi ic cs s. .
�
� R Re ev ve er rs se ee ef ff fe ec ct t. .W Wi it th hB Br ri it tM Mo od de ee en na ab bl le ed d, ,a an nd dr ra at ti io os se et tt to oN NU UK KE
E, ,s se et ta at tt ta ac ck kt to o2 2, ,a an nd ds st ta ar rt tw wi it th ht th he e
r
re el le ea as se ea ar ro ou un nd d6 6. .5 5, ,a an nd d2 20 0– –3 30 0d dB Bo of fc co om mp pr re es ss si io on n. .A Ad dj ju us st tr re el le ea as se ec ca ar re ef fu ul ll ly ya an nd da as sw we el ll li in ng g“ “r re ev ve er rs se e” ”
a
af ff fe ec ct tc ca an ns so om me et ti im me es sb be ea ac ch hi ie ev ve ed d. .A An ne ex xa ac ct tr re el le ea as se et ti im me ei is sc cr ri it ti ic ca al ld de ep pe en nd di in ng go on nt te em mp po oa an nd dp pa at tt te er rn n. .
1
12 2
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Stereo Image Linking for the Distressor
Basic Description -
-T
Th he eo or ri ig gi in na al lD Di is st tr re es ss so or rs st te er re eo ol li in nk ki im mp pl le em me en nt ta at ti io on nu us se ed da as su um mm mi in ng ga an nd d
p
ph ha as se ed de et te ec ct ti io on nm me et th ho od dw wh hi ic ch ha al ll lo ow we ed ds st te er re eo oi im ma ag ge es sh hi if ft ti in ng g. ." "I Im ma ag ge es sh hi if ft ti in ng g" "o oc cc cu ur rs sw wh he en nt th he e
i
in nt te er rc ch ha an nn ne el lb ba al la an nc ce e( (t th he er re el la at ti iv ve ev vo ol lu um me eb be et tw we ee en nL Le ef ft ta an nd dR Ri ig gh ht tc ch ha an
nn ne el ls s) )c ch ha an ng ge es sd du ur ri in ng g
c
co om mp pr re es ss si io on n. .A Al lt th ho ou ug gh hk kn no ow wn nf fo or ri it ts sp ph ha as se ec co or rr re ec ct ti io on n, ,a an nd di it ts s" "t th hi ic ck ke en ni in ng g" "o on no op pe en nr ro oo om mm mi ic cs sa an nd d
o
ot th he er rs st te er re eo os so ou ur rc ce es s, ,t th he eo or ri ig gi in na al lD Di is st tr re es ss so or rp ph ha as se el li in nk ka ap pp pr ro oa ac ch hh ha as ss so om me et ti im me es sb be ee en na ap pr ro ob bl le em mo on n
s
st te er re eo op pr ro og gr ra am mm ma at te
er ri ia al l, ,w wh he er re et th he ep pr ro od du uc ce er r/ /e en ng gi in ne ee er rs sw wa an nt tt to om ma ai in nt ta ai in na ab bs so ol lu ut te el le ef ft t/ /r ri ig gh ht tb ba al la an nc ce ea at t
a
al ll lt ti im me es s. .
W
Wi it th ht th he en ne ew w" "S St te er re eo oI Im ma ag ge eL Li in nk k" "o op pt ti io on n, ,t th he eD Di is st tr re es ss so or ru us se er rn no ow wh ha as st th hr re ee el li in nk ko op pt ti io on ns s- -t th he e
o
or ri ig gi in na al l" "p ph ha as se e" "l li in nk k, ,t th he en ne ew wI Im ma ag ge eL Li in nk ka an nd dt th he ec
co om mb bi in na at ti io on no of ft th he et tw wo o, ,p ph ha as se ea an nd di im ma ag ge el li in nk ki in ng g. .T Th hi is s
h
ha as sn ne ev ve er rb be ef fo or re eb be ee en no of ff fe er re ed do on na an ny yc co om mp pr re es ss so or rs so or rl li im mi it te er rs s. .T Th he er re ec ca an nb be ev ve er ry ys sl li ig gh ht td di if ff fe er re en nc ce es si in n
t
th he em me et te er ri in ng gb be et tw we ee en nt th he et tw wo ou un ni it ts s. .D Du ue et to ot th he eh hi ig gh hr re es so ol lu ut ti io on no of ft th he eD Di is st tr re es ss so or r' 's sm me
et te er ri in ng g, ,1 1/ /1 10 0t th hd dB B
c
ca an nm ma ak ke ea an nL LE ED Do on no on ne eu un ni it tg go oo on no or ro of ff fe ea ar rl li ie er rt th ha an nt th he eo ot th he er ru un ni it t' 's s. .S Sl li ig gh ht tm me et te er ri in ng gm mi is sm ma at tc ch hi is st to o
b
be ee ex xp pe ec ct te ed d. .A Al ls so o, ,d do on n' 't tr re ea ad dj ju us st tk kn no ob ba al li ig gn nm me en nt t- -t th he eo ou ut tp pu ut tp po ot ts se es sp pe ec ci ia al ll ly y. .T Th he ey ya ar re eo of ft te en no of ff fs se et t
a
ar ro ou un nd d" "0 0" "t to oa al ll lo ow wf fo
or r" "d de ea ad ds sp po ot ts s" "a at tt th he el lo ow we er re ex xt tr re em me es s. .
How to use the new Stereo Image Link Option for the first time
Y
Yo ou um mu us st tn no ow wu us se et tw wo os st te er re eo op ph ho on ne ep pl lu ug gs si in nt th he el li in nk kc ca ab bl li in ng g. .T Th hi is sm me ea an ns ss st ta an nd da ar rd dT TR RS Sp ph ho on ne ep pl lu ug gs s. .
T
Th he ey ya ar re es su up pp pl li ie ed dw wh he en ny yo ou up pu ur rc ch ha as se et th he eo op pt ti io on n. .P Pl lu ug go on ne eu un ni it t' 's sL Li in nk kO Ou ut tt to ot th he eo ot th he er r' 's sL Li in nk kI In n, ,a an nd d
v
vi ic ce ev ve er rs sa a. .B Bo ot th hu un ni it ts sm mu us st th ha av ve et th he e" "S St te er re eo oI Im
ma ag ge eL Li in nk k" "s sw wi it tc ch ho on n( (b bo ot th hs sw wi it tc ch he es ss sh ho ou ul ld db be ei in nt th he eu up p
p
po os si it ti io on na an nd dt th he eL LE ED Ds ss sh ho ou ul ld db be el li it t) ). .T Th he ee en ng gi in ne ee er rm mu us st ts st ti il ll lm ma at tc ch ht th he eu un ni it ts s' 'f fr ro on nt tp pa an ne el lc co on nt tr ro ol ls s
u
us su ua al ll ly y, ,b bu ut tt th he eu un ni it ts sw wi il ll ln no ow wa al lw wa ay ys sm ma at tc ch hi in nt th he ei ir rg ga ai in nr re ed du uc ct ti io on na am mo ou un nt t- -e el li im mi in na at ti
in ng gi im ma ag ge es sh hi if ft t. .
T
Th he em mo os st ti im mp po or rt ta an nt tt th hi in ng gt th he eu us se er rm mu us st td do oi is sm ma at tc ch ht th he el le ef ft ta an nd dr ri ig gh ht ti in np pu ut ta an nd do ou ut tp pu ut tl le ev ve el ls s. .I If fn no o
c
ch ha an ng ge ei is sg go oi in ng gt to ob be em ma ad de et to ot th he el le ef ft t/ /r ri ig gh ht tb ba al la an nc ce e, ,u us si in ng ga at to on ne et to os se et tt th he el le ef ft tr ri ig gh ht tI I/ /O Ol le ev ve el ls si is sv ve er ry y
d
di ir re ec ct ta an nd du us se ef fu ul l. .S Se ee eb
be el lo ow w. .
Setting I/O levels -I
It t’ ’s ss su ug gg ge es st te ed dt th ha at ty yo ou us se et tb bo ot th hu un ni it ts st to ot th he ei ir rg ge en ne er ra al le ex xp pe ec ct te ed ds se et tt ti in ng gs s, ,
w
wi it th hS St te er re eo oI Im ma ag ge el li in nk ke en ng ga ag ge ed d, ,a ap pp pl ly ya an ni id de en nt ti ic ca al lt to on ne et to ob bo ot th hD Di is st tr re es ss so or rs s, ,a an nd da ad dj ju us st tt th he ei in np pu ut ts s
n
ne ea ar rl ly yt th he es sa am me e, ,t th he en n" "t tw we ea ak k" "t th he eo ou ut tp pu ut ts ss so ot th ha at tt th he eo ou ut tp pu ut tl le ev ve
el ls sa ar re ei id de en nt ti ic ca al l. .U Us se et th he em me et te er rs so on n
y
yo ou ur rb bo oa ar rd do or rr re ec co or rd de er rs s. .T Th hi is sw wi il ll le en ns su ur re et th ha at tt th he ei in nt te er rc ch ha an nn ne el ll le ev ve el ls sr re em ma ai in ns su un nc ch ha an ng ge ed d. .A Al ls so o, ,w wi it th ht th he e
n
ne ew wl li in nk ki in ng g, ,i it ti is sn no ot ta as sc cr ri it ti ic ca al lt to oe ex xa ac ct tl ly ym ma at tc ch he ei it th he er rt th he ei in np pu ut to or ro ou ut tp pu ut ts s, ,s si in nc ce et th he eg ga ai in nr re ed du
uc ct ti io on n
b
be et tw we ee en nt th he et tw wo oc ch ha an nn ne el ls si is sl lo oc ck ke ed d, ,a an nd dt th he er re ef fo or re eo on nc ce et th he eo ov ve er ra al ll lt th hr ro ou ug gh hp pu ut tl le ev ve el ls sa ar re em ma at tc ch he ed d, ,
t
th he ey yw wi il ll lr re em ma ai in nt th ha at tw wa ay y. .H Ho ow we ev ve er r, ,t th he eu un ni it ts sc ca an nr re es sp po on nd dm mo or re et to ot th he el lo ou ud de er rc ch ha an nn ne el li if ft th he ei in np pu ut tl le ev ve el ls s
a
ar re en no ot tm ma at tc ch he ed d. .
Stereo Image Link Tricks
�
� F Fi ir rs st t, ,t th he er re ei is sn no ol li im mi it tt to oh ho ow wm ma an ny yu un ni it ts sc ca an nb be el li in nk ke ed d- -i in nt th he eo or ry y. .H Ho ow we ev ve er r, ,y yo ou um mu us st ta av vo oi id dl lo on ng g
l
li in nk kc ca ab bl le es ss si in nc ce et th he ey yw wi il ll lc ca au us se en no oi is se ea an nd dd de eg gr ra ad da at ti io on no of fo op pe er ra at ti io on n. .T To ow wi ir re eu up pm mo or re et th ha an nt tw wo ou un ni it ts s, ,g go o
f
fr ro om mt th he el li in nk ko ou ut tp pu ut to of ft th he e1 1s st tu un ni it t' 's sl li
in nk kt to ot th he en ne ex xt tu un ni it ts sl li in nk ki in np pu ut t, ,t th he en nt ta ak ke et th ha at tu un ni it ts sl li in nk ko ou ut tt to ot th he e
n
ne ex xt to on ne es si in np pu ut te et tc c. .F Fi in na al ll ly y, ,t ta ak ke et th he el la as st tu un ni it ts sl li in nk ko ou ut ta an nd df fe ee ed di it tb ba ac ck kt to ot th he ef fi ir rs st tu un ni it ts sl li in nk ki in n. .Y Yo ou um mu us st t
u
us se es st te er re eo op ph ho on ne ep pl lu ug gs sf fo or rt th he e" "S St te er re eo oI Im ma ag ge eL Li in nk k" "t to ow wo or rk k. .
�
� T Tr ry yp
pu ut tt ti in ng gt th he el lo ow we er ru un ni it ti in nt to o1 1: :1 1m mo od de ew wi it th ha at tt ta ac ck ka an nd dr re el le ea as se eo on n1 10 0. .T Th he en ns st ti il ll lm ma at tc ch hi in ng gt th he eI I/ /O O
l
le ev ve el ls s, ,u us se et th he eu up pp pe er ru un ni it tt to os se el le ec ct tr ra at ti io oa an nd da at tt ta ac ck k/ /r re el le ea as se et ti im me es s. .T Th hi is sw wi il ll la al ll lo ow wa al lo on ng ge er ra at tt ta ac ck kt ti im me e
t
th he en no ot th he er rw wi is se ea av va ai il la ab bl le e, ,s si in nc ce et th he et to op pu
un ni it tm mu us st td dr ri iv ve eb bo ot th hu un ni it ts st ti im mi in ng gc ci ir rc cu ui it tr ry y. .T Th he ed do ow wn ns si id de ei is st th ha at t
t
th he eu un ni it ts sw wi il ll lo on nl ly yr re es sp po on nd dt to ot th he et to op pu un ni it ts ss si ig gn na al l, ,u un nl le es ss st th he eo or ri ig gi in na al ll li in nk ki is se en ng ga ag ge ed d( (s se ee eb be el lo ow w) ). .T Th he er re e
a
ar re ea af fe ew ww we el ll lk kn no ow wn nc co om mp pr re es ss so or rs st th ha at th ha av ve ea am ma as st te er r/ /s sl la av ve em mo od de et th ha at to
on nl ly yl lo oo ok ks sa at tt th he e" "m ma as st te er ru un ni it ts s" "
a
au ud di io o- -s so ot th hi is si is sn no ot tu un nh he ea ar rd do of f. .Y Yo ou um ma ay ys sw wi it tc ch ht th he eu un ni it ts sa an nd dh ha av ve et th he eb bo ot tt to om mo on ne ec co on nt tr ro ol lt th he et to op pu un ni it t
(
(w wh hi ic ch hi is si in n1 1: :1 1m mo od de e) ). .A Al ls so o, ,u us si in ng gt th he eo or ri ig gi in na al ll li in nk kw wi il ll ls su um mb bo ot th hc ch ha an nn ne el ls sp pa ar rt ti ia al ll ly y, ,s so ot th ha at tt th he er re ei is s
s
so om me er
re es sp po on ns se et to ot th he e" "s sl la av ve e" "u un ni it ts sa au ud di io o. .T Th hi is sl lo on ng ge er r( (s sl lo ow we er r) )a at tt ta ac ck kt ti im me ei is ss so om me et ti im me es sv ve er ry yu us se ef fu ul lo on n
p
pr ro og gr ra am mm ma at te er ri ia al l- -a al la aS SS SL Lt ty yp pe ec co om mp pr re es ss si io on n. .
� T Tr ry yn no ot tm ma at tc ch hi in ng gt th he eu un ni it ts sf fr ro on nt tp pa an ne el lc co on nt tr ro ol ls s- -w wh ho ol le en ne ew wr ra at ti io os sc ca an nb be eo ob bt ta ai in ne ed d. .F Fo or ri in ns st ta an nc ce e,
,
p
pu ut tt ti in ng gt th he el le ef ft tc ch ha an nn ne el lo on n2 2: :1 1a an nd dt th he er ri ig gh ht tc ch ha an nn ne el lo on nN Nu uk ke e( (p pr re et tt ty yr ra ad di ic ca al lb bu ut t. .. .) ), ,t th he en ns se et tt ti in ng gt th he el le ef ft t
a
an nd dr ri ig gh ht tl le ev ve el ls sd di if ff fe er re en nt tl ly y, ,y yo ou uc ca an ng ge et ta ac co om mb bi in na at ti io on no of ft tw wo or ra at ti io oc cu ur rv ve es s. .U Us su ua al ll ly yt th he el lo ow we es st t
a
at tt ta ac ck k/ /d de ec ca ay ys se et tt ti in ng gs sw wi il ll lo ov ve er rr ri id
de et th he eh hi ig gh he er rs se et tt ti in ng gs s, ,i i. .e e. .i if fo on ne ec ch ha an nn ne el lh ha as st th he ea at tt ta ac ck ks se et tt to o1 10 0a an nd d
t
th he eo ot th he er rt to o3 3, ,t th he eu un ni it ts sw wi il ll lg ge en ne er ra al ll ly yr re ea ac ct ta at tt th he ef fa as st te er r3 3s se et tt ti in ng g. .
� I If fn no oT TR RS Ss st te er re eo ol li in nk kc ca ab bl le es sa ar re ea av va ai il la ab bl le e, ,o on ne em ma ay yu us se ea ar re eg gu ul la ar rg gu ui it ta ar rc ca ab bl le et to oe en na ab bl le et th he en ne ew w
l
li in nk k. .B
Bu ut ty yo ou uo on nl ly yi in ns se er rt tt th he ec ca ab bl le ep pa ar rt tw wa ay yi in nt to ot th he er re ea ar rL Li in nk kc co on nn ne ec ct to or rs s- -s so ot th ha at to on nl ly yt th he er ri in ng gi is si in n
c
co on nt ta ac ct tw wi it th ht th he et ti ip po of fp ph ho on ne ep pl lu ug g. .T Th he en no or rm ma al lE EL L8 8l li in nk kw wi il ll lb be es sa ac cr ri if fi ic ce ed d, ,h ho ow we ev ve er r, ,s si in nc ce ei it tr re el li ie es so on nt th he e
t
ti ip po of ft th he el li in nk kc co on nn ne ec ct to or rs st to ob be ec co on nn ne ec ct te ed
d. .I It ti is sb be es st tn no ot tt to op pu ut tt th he eu un ni it ti in nn no or rm ma al ll li in nk k( (i in nt th he eD De et te ec ct to or r
a
ar re ea a) )s si in nc ce ei it tw wi il ll lm ma ak ke et th he eu un ni it to op pe er ra at te ew wi it th hm mo or re ed di is st to or rt ti io on nw wi it th ho ou ut tt th he et ti ip pc co on nn ne ec ct ti io on ns s- -t th he en na ag ga ai in n
t
th hi is sm mi ig gh ht tb be et th he ep pe er rf fe ec ct ts sp pi ic ce ef fo or ry yo ou ur rg gu um mb bo o! !1 13 3
Using the Distressor for the first time
H
Ho oo ok ku up pi is ss st tr ra ai ig gh ht tf fo or rw wa ar rd d. .E Ei it th he er rt th he eX XL LR R' 's so or rp ph ho on ne ep pl lu ug gs sc ca an nb be eu us se ed d. .I In nr re el la at ti io on nt to ot th he ep ph ho on ne ej ja ac ck k
t
ti ip ps s, ,p pi in n2 2i is sw wi ir re ed d" "h ho ot t" "o on nt th he eX XL LR R' 's s. .B Bu ut ti if fy yo ou u' 'r re eu us si in ng gt th he eX XL LR R' 's si in na an nd do ou ut t, ,i it td do oe es sn n' 't tm ma at tt te er rw wh hi ic ch h
p
pi in ni is sh ho ot t, ,a as sl lo on ng ga as sy yo ou u' 'r re ec ca ab bl li in ng gi
is si in np ph ha as se e. .I If fy yo ou uu us se ea as si in ng gl le ee en nd de ed dX XL LR Ro ou ut tp pu ut t, ,l le ea av ve eu un nu us se ed dp pi in n
f
fl lo oa at ti in ng g! !T Th he eg gr ro ou un nd dp pi in n( (p pi in n1 1o on nX XL LR R) )s sh ho ou ul ld d, ,o of fc co ou ur rs se e, ,a al lw wa ay ys sb be ec co on nn ne ec ct te ed d. .C Co on nn ne ec ct ti in ng ga al ll li in np pu ut t
p
pi in ns si is sp pr re ef fe er rr re ed d, ,b bu ut tt th he eu un ni it tw wi il ll lo op pe er ra at te ef fi in ne ei if fu un nu us se ed dp pi in ns sa ar re en n' 't tt ti ie ed
dt to og gr ro ou un nd d. .H Ho oo ok ku up pd di ir re ec ct ti io on ns s
a
ar re ea al ls so ol lo oc ca at te ed do on nt th he er re ea ar rp pa an ne el lo of fu un ni it t, ,n ne ea ar rt th he ec co on nn ne ec ct to or rs s. .S Se ee ew wi ir ri in ng gs se ec ct ti io on no on np pa ag ge e9 9f fo or r
g
gr re ea at te er rd de et ta ai il ls s. .
Where to start - 5 5 5 5
S
St ta ar rt tw wi it th h6 6: :1 1r ra at ti io oa an nd ds se et ta al ll lf fo ou ur rk kn no ob bs st to o5 5, ,t th he em mi id dw wa ay yp po os si it ti io on n. .T Th hi is si is sa ag gr re ea at ts st ta ar rt ti in ng gp pl la ac
ce ef fo or r
a
an ny yt th hi in ng g. .P Pu us sh ht th he er ra at ti io ob bu ut tt to on nu un nt ti il lt th he eL LE ED D' 's sc cy yc cl le et to ot th he e6 6: :1 1r ra at ti io o( (Y Ye el ll lo ow wL LE ED D) ). .A Ad dj ju us st ti in np pu ut tt to od dr ri iv ve e
i
in nt to om mo or re ec co om mp pr re es ss si io on n. .T Th he eh ha ar rd de er ry yo ou ud dr ri iv ve e, ,t th he em mo or re ek kn ne ee ey yo ou u' 'l ll lh hi it t, ,a an nd dt th he eg gr re ea at te er rt th he er ra at ti io ow wi il ll lb be e. .
O
On nl ly y1 1L LE ED Ds sh ho ou ul ld db be el li it t- -t
th he e6 6: :1 1L LE ED D( (n no ot tc co ou un nt ti in ng ga an ny yb ba ar rg gr ra ap ph hL LE ED D' 's s) ). .I If fy yo ou un ne ee ed dm mo or re eo ob bv vi io ou us s
c
co om mp pr re es ss si io on n, ,p pu us sh hr ra at ti io ob bu ut tt to on nt to op pr ro og gr re es ss st to oh hi ig gh he er rr ra at ti io os s. .I If fy yo ou uw wo ou ul ld dl li ik ke el lo ow we er rr ra at ti io os s, ,t th he ev ve er ry yl lo on ng g
k
kn ne ee es so of f2 2: :1 1, ,3 3: :1 1, ,4 4: :1 1a ar re es si il lk ky ys sm mo oo ot th h. .T Th he e2 2: :1 1r ra at ti io oh ha as sa a+ +1 15 5d dB
Bk kn ne ee e, ,w wh he er re et th he er ra at ti io og gr ra ad du ua al ll ly y
i
in nc cr re ea as se es s! !U Un ni it tw wi il ll ls sc cr ro ol ll la ar ro ou un nd d" "N Nu uk ke e" "b ba ac ck kt to ot th he es se el lo ow we er rr ra at ti io os s, ,b bu ut ti if fy yo ou um mu us st tc cy yc cl le et th hr ro ou ug gh h1 1: :1 1
w
wh hi il le eu un ni it ti is si in nu us se e, ,d do oi it tq qu ui ic ck kl ly ys si in nc ce ec co om mp pr re es ss si io on nw wi il ll lb be et tu ur rn ne ed d" "o of ff f" "a an nd dt th he es si ig gn na al lw wi il ll ls sw we el ll lt to oi it ts
s
p
pe ea ak ki in np pu ut tl le ev ve el ls s, ,p po os ss si ib bl ly yb be ec co om mi in ng gd da an ng ge er ro ou us sl ly yl lo ou ud d. .W Wa ai it ti in ng gf fo or ra ap pa au us se ei in nt th he ei in np pu ut tb be ef fo or re e
c
ch ha an ng gi in ng gr ra at ti io oi is sa as sa af fe et th hi in ng gt to od do o. .F Fo or ra aq qu ui ic ck k+ +4 4t ta ap pe el le ev ve el ls s, ,t tr ry ys se et tt ti in ng go ou ut tp pu ut tk kn no ob bt to o8 8. .
Distortion Settings
I
If fa al ll lt th he eL LE ED D' 's sa ar re eo of ff fi in nt th he e" "A Au ud di io o" "a ar re ea a, ,y yo ou ur rD Di is
st tr re es ss so or ri is so op pe er ra at ti in ng gi in ni it ts sc cl le ea an ne es st tm mo od de e. .
D
Di is st to or rt ti io on ns se et tt ti in ng gs ss sh ho ou ul ld db be eu us se ed dw wh he en ns su ub bt tl le ea an na al lo og gd di is st to or rt ti io on ni is sd de es si ir re ed d. .D Di is st t2 2m mo od de ep pr ro od du uc ce es s
"
"C Cl la as ss sA A" "t ty yp pe ew wa ar rm mt th h, ,p pr ro od du uc ci in ng gm mo os st tl ly y2 2n nd dh ha ar rm mo on ni ic cw wh he en nc co om mp pr re es ss si in ng g( (t tu ub be ed di is st to or rt ti io on ni is sk kn no ow
wn nf fo or r
i
it ts s2 2n nd dh ha ar rm mo on ni ic c) )a an nd dD Di is st t3 3a ad dd ds s3 3r rd da al lo on ng gw wi it th h2 2n nd dh ha ar rm mo on ni ic c. .D Di is st t3 3c ca an nl lo oo ok ka an nd ds so ou un nd dv ve er ry ys si im mi il la ar r
t
to ot ta ap pe ed di is st to or rt ti io on n- -i it tg gr ra ad du ua al ll ly yf fl la at tt te en ns so ou ut tt th he et to op pa an nd db bo ot tt to om mo of ft th he ew wa av ve ef fo or rm m. .I If fy yo ou uw wa an nt ta ad di ig gi it ta al l
s
si ig gn na al lt to os so ou un nd dl li ik ke ea an na an na al lo og gt ta ap pe
es si ig gn na al l, ,t tr ry y2 2: :1 1m mo od de ew wi it th hD Di is st t3 3e en ng ga ag ge ed d, ,a an nd dc co om mp pr re es ss s1 1- -3 3d dB B
(
(a as sd di is sp pl la ay ye ed do on nb ba ar rg gr ra ap ph h) ). .T Ta ap pe eg go oe es si in na an nd do ou ut to of fs sa at tu ur ra at ti io on nq qu ui ic ck kl ly y, ,s so of fa as st ta at tt ta ac ck ks sa an nd dd de ec ca ay ys sa ar re e
a
ap pp pr ro op pr ri ia at te e. .I If fy yo ou uw wa an nt tt to om ma ak ke ei it ts so ou un nd dl li ik ke eo ov ve er r- -s sa at tu ur ra at te ed dt ta ap pe e, ,y yo ou uc co ou ul ld
dt tr ry yo on ne eo of ft th he eh hi ig gh he er r
r
ra at ti io os sa an nd dd dr ri iv ve et th he ei in np pu ut tt to op pr ro od du uc ce e1 1- -5 5d dB Bo of fc co om mp pr re es ss si io on n. .W Wi it th ht th he eq qu ui ic ck kr re el le ea as se e, ,2 2n nd dh ha ar rm mo on ni ic c
w
wi il ll ls st ti il ll lb be es st tr ro on ng gi in nD Di is st t3 3m mo od de e. .M Mo or re et th ha an n3 3t to o5 5d dB Bo of fr re ed du uc ct ti io on nw wi il ll ls so ou un nd dl le es ss sl li ik ke et ta ap pe e, ,m mo or re el li ik ke e
c
co om mp pr re es ss si io on n. .
Advanced Detector functions
T
Th he en ne ew
wu us se er rm ma ay yw wa an nt tt to os st ti ic ck kw wi it th ha ab ba as si ic cs se et tu up pu un nt ti il lh he ef fe ee el ls sc co om mf fo or rt ta ab bl le e, ,b bu ut tw wi it th ht th he ep pu us sh ho of fa a
b
bu ut tt to on nh he ec ca an ne en na ab bl le es so om me ea ad dv va an nc ce ed ds si id de ec ch ha ai in nf fu un nc ct ti io on ns s. .W Wh hi il le et tr ra ac ck ki in ng gv vo oc ca al ls sf fo or ri in ns st ta an nc ce e, ,
s
so om me et ti im me es s" "p p' 's s" "a an nd d" "b b' 's s" "c ca an nh hi it tt th he em mi ic cw wi it th ha an na ai ir rb bl la as
st tt th ha at ts sh ho ow ws su up pa as sa ah hi ig gh ha am mp pl li it tu ud de e, ,l lo ow w
f
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2
2
BACK TO TABLE OF CONTENTS

DISTRESSOR
FEATURES
¾ Classic knee sound - With modern noise specs and improved performance. Really grabs.
¾ Programmable analog distortion/warmth - helpful in the pristine but unforgiving digital world.
Three audio modes providing user programmable, warm harmonic distortion. Emphasized tube-
like, 2nd harmonic in clean and Distort 2 mode. In Distort 3 mode, the distortion becomes
dominated by 3rd harmonic, more similar to tape.
¾ Distortion indicator lights - A 1% LED and a "Redline" (3%) LED. No hard clipping until a few
dB past "Redline".
¾ Advanced built-in sidechain EQ - High mid band emphasis prevents harsh, edgy guitars or
vocals from hurting innocent ears. Low cut keeps the low "sum & difference" frequencies from
pumping the upper frequencies of source material.
¾ Fool proof operation - Even though there are 384 possible settings (not counting knob settings),
it's almost impossible to get a bad sound. Keep all knobs on 5 or 6 (around middle) with ratio at
6:1 and you won't go wrong.
¾ Eight unique curves - From the 1:1 mode that simply warms up signal with low order harmonics
without intentional compression, to the "Nuke" setting - a brick wall limiting curve that shines on
live drum room mics. Each curve has its own personality, and release shape. Most exceptional is
the 10:1 "Opto" ratio which uses separate circuitry to emulate the oldest (and valued) "light
controlled" devices, such as the LA-2A etc. See manual to emulate other compressors of old.
¾ Discrete and integrated combination - the best of speed/linearity with repeatability. Hand tested
& selected components.
¾ Huge knobs with high resolution numbering - For easy readability and repeatable settings.
They also go to 10 1/2.
¾ Locked, calibrated, output level - Allows speed in setting tape and live mix levels.
¾ Stereo Strappable
¾ Switchable 115/230 volt operation - Extra fuse provided inside unit.
¾ Over designed power supplies - Runs cool, allowing cabinet to be sealed - without heat vents.
Long life components.
¾ Single height and light weight - Classic sound in a small, extremely reliable package.
¾ True bypass - Know what it's really doing. All contacts doubled up for maximum reliability. No
internal audio connectors.
¾ XLR and 1/4" phone ins and outs - XLR fully balanced, transformerless design, pin 2 hot.
Changeable by user to pin 3 hot!
¾ All metal film and Roederstein resistors in the audio path - top quality components. Many
military spec. parts.
¾ Interface and features found nowhere else.
¾ Hand wired, calibrated in USA. Shipping weight 12 Lbs.
SPECS
 Freq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in
distortion modes (Dist 2, Dist 3).
 Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal
to noise in distort 3 mode.
 Distortion ranges between .02% and 20% depending on distortion mode and release times set
on front panel.
 DC coupled output - High quality input caps.
 Time constants - Attack range 50uS - 30mS. Release range .05 sec to 3.5 seconds. Release
goes up to 20 seconds in 10:1 “Opto” mode.
 Power Consumption – Typical is 10 Watts, maximum is 14 Watts.
Empirical Labs - Something old, Something new
1
Customer Comments
Comments About the DISTRESSOR
"Every once in a while a product comes along with ‘classic’ written all over it. And in a
certain sense of the word, this product actually is a classic already." Mix Magazine
“Dear Empirical, I’m an LA based producer and an owner of a Distressor. The unit is really
awesome! I've used it on guitars, bass, room mics, vocals it works great on everything. I've
used it on records I've made with Beck, U2, Etta James, Hole and lots of others.”
Joe Chicarelli
“After buying a Distressor I had an epiphany. Having used software plug-ins for years I
often didn’t hear or understand the affects of various controls. After getting my Distressor,
and using it and hearing the obvious affects of the attack and release controls, I was able to
go back and use the Plug-ins with a new understanding.” (Email)
"One piece of gear I definitely recommend is a compressor called the Distressor. It's really
great for just about everything and if you had to use just one compressor you could
probably get away with just using that." Mitchell Froom
“I sold a couple of 1176's and have replaced them with the Distressors, which do a great job
of emulating the 1176's. Michael Wagener “(Ozzy Osbourne, Extreme, Metallica)
“In general, I really like where Dave Derr’s ear leads him; one of pro audios truly
independent thinkers, I’m a huge fan of the box (the Distressor): I use it for bringing up the
“goosh” on ambient sources, and for saturating snares, toms, and kicks.” George
Massenburg
Comments About the FATSO Jr
“In a word, the FATSO is a very good answer to what a lot of people loathe about digital
recording. It smoothes out the sharp, brittle edges to exactly the extent you choose, and
fills in the hairline cracks just right. I use one on almost every mix I do. I could easily use
one and possibly two more.” George Massenburg
“People used to have to hunt for old, expensive gear to get the kind of sounds that the
FATSO gives me.” Ed Cherney (The Rolling Stones, Bonnie Raitt, Bob Dylan, Eric Clapton,
Jackson Browne, Susan Tedeschi, Etta James, … et al)
Best new Signal Processor-EQ AES Awards - "Empirical Labs Fatso took this category,
despite the introduction of a variety of cool new processors. Who can resist the best
aspects of analog tape combined with great compression" EQ Magazine
"The winner of the highly -coveted, ‘I'm going to write you a check right after the show
award’ was picked up by Empirical Labs for its FATSO processor.’ Craig Anderton
LIL FREQ
“Hey Dave… so I got the box, plugged it in on an Etta James vocal that I was having
problems with… and it $#$%^&* rocks. This is a great box, my friend. I can see anybody
with a DAW wanting to use this thing. I am using the shelving, DS’ing and transformer out,
and I am just thrilled. Congratulations. It absolutely complements the digital crap that I am
forced to use…wooo hooo.” Ed Cherney
"I finally got to hear Empirical Labs’ Lil FrEQ, a monster that will destroy the way you think
about EQ. This single-channel unit has two shelving bands, tunable low cut, four parametric
bands, dynamic EQ for de-essing and direct box input—all noiseless and distortion free.
Best of all, its smooth processing is absolutely addictive. Sweet! " George Peterson (Mix
Magazine) 1
14 4( (R
Re ev v1 19 9) )
BACK TO TABLE OF CONTENTS

DISTRESSOR
FEATURES
¾ Classic knee sound - With modern noise specs and improved performance. Really grabs.
¾ Programmable analog distortion/warmth - helpful in the pristine but unforgiving digital world.
Three audio modes providing user programmable, warm harmonic distortion. Emphasized tube-
like, 2nd harmonic in clean and Distort 2 mode. In Distort 3 mode, the distortion becomes
dominated by 3rd harmonic, more similar to tape.
¾ Distortion indicator lights - A 1% LED and a "Redline" (3%) LED. No hard clipping until a few
dB past "Redline".
¾ Advanced built-in sidechain EQ - High mid band emphasis prevents harsh, edgy guitars or
vocals from hurting innocent ears. Low cut keeps the low "sum & difference" frequencies from
pumping the upper frequencies of source material.
¾ Fool proof operation - Even though there are 384 possible settings (not counting knob settings),
it's almost impossible to get a bad sound. Keep all knobs on 5 or 6 (around middle) with ratio at
6:1 and you won't go wrong.
¾ Eight unique curves - From the 1:1 mode that simply warms up signal with low order harmonics
without intentional compression, to the "Nuke" setting - a brick wall limiting curve that shines on
live drum room mics. Each curve has its own personality, and release shape. Most exceptional is
the 10:1 "Opto" ratio which uses separate circuitry to emulate the oldest (and valued) "light
controlled" devices, such as the LA-2A etc. See manual to emulate other compressors of old.
¾ Discrete and integrated combination - the best of speed/linearity with repeatability. Hand tested
& selected components.
¾ Huge knobs with high resolution numbering - For easy readability and repeatable settings.
They also go to 10 1/2.
¾ Locked, calibrated, output level - Allows speed in setting tape and live mix levels.
¾ Stereo Strappable
¾ Switchable 115/230 volt operation - Extra fuse provided inside unit.
¾ Over designed power supplies - Runs cool, allowing cabinet to be sealed - without heat vents.
Long life components.
¾ Single height and light weight - Classic sound in a small, extremely reliable package.
¾ True bypass - Know what it's really doing. All contacts doubled up for maximum reliability. No
internal audio connectors.
¾ XLR and 1/4" phone ins and outs - XLR fully balanced, transformerless design, pin 2 hot.
Changeable by user to pin 3 hot!
¾ All metal film and Roederstein resistors in the audio path - top quality components. Many
military spec. parts.
¾ Interface and features found nowhere else.
¾ Hand wired, calibrated in USA. Shipping weight 12 Lbs.
SPECS
 Freq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in
distortion modes (Dist 2, Dist 3).
 Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal
to noise in distort 3 mode.
 Distortion ranges between .02% and 20% depending on distortion mode and release times set
on front panel.
 DC coupled output - High quality input caps.
 Time constants - Attack range 50uS - 30mS. Release range .05 sec to 3.5 seconds. Release
goes up to 20 seconds in 10:1 “Opto” mode.
 Power Consumption – Typical is 10 Watts, maximum is 14 Watts.
Empirical Labs - Something old, Something new
1
Customer Comments
Comments About the DISTRESSOR
"Every once in a while a product comes along with ‘classic’ written all over it. And in a
certain sense of the word, this product actually is a classic already." Mix Magazine
“Dear Empirical, I’m an LA based producer and an owner of a Distressor. The unit is really
awesome! I've used it on guitars, bass, room mics, vocals it works great on everything. I've
used it on records I've made with Beck, U2, Etta James, Hole and lots of others.”
Joe Chicarelli
“After buying a Distressor I had an epiphany. Having used software plug-ins for years I
often didn’t hear or understand the affects of various controls. After getting my Distressor,
and using it and hearing the obvious affects of the attack and release controls, I was able to
go back and use the Plug-ins with a new understanding.” (Email)
"One piece of gear I definitely recommend is a compressor called the Distressor. It's really
great for just about everything and if you had to use just one compressor you could
probably get away with just using that." Mitchell Froom
“I sold a couple of 1176's and have replaced them with the Distressors, which do a great job
of emulating the 1176's. Michael Wagener “(Ozzy Osbourne, Extreme, Metallica)
“In general, I really like where Dave Derr’s ear leads him; one of pro audios truly
independent thinkers, I’m a huge fan of the box (the Distressor): I use it for bringing up the
“goosh” on ambient sources, and for saturating snares, toms, and kicks.” George
Massenburg
Comments About the FATSO Jr
“In a word, the FATSO is a very good answer to what a lot of people loathe about digital
recording. It smoothes out the sharp, brittle edges to exactly the extent you choose, and
fills in the hairline cracks just right. I use one on almost every mix I do. I could easily use
one and possibly two more.” George Massenburg
“People used to have to hunt for old, expensive gear to get the kind of sounds that the
FATSO gives me.” Ed Cherney (The Rolling Stones, Bonnie Raitt, Bob Dylan, Eric Clapton,
Jackson Browne, Susan Tedeschi, Etta James, … et al)
Best new Signal Processor-EQ AES Awards - "Empirical Labs Fatso took this category,
despite the introduction of a variety of cool new processors. Who can resist the best
aspects of analog tape combined with great compression" EQ Magazine
"The winner of the highly -coveted, ‘I'm going to write you a check right after the show
award’ was picked up by Empirical Labs for its FATSO processor.’ Craig Anderton
LIL FREQ
“Hey Dave… so I got the box, plugged it in on an Etta James vocal that I was having
problems with… and it $#$%^&* rocks. This is a great box, my friend. I can see anybody
with a DAW wanting to use this thing. I am using the shelving, DS’ing and transformer out,
and I am just thrilled. Congratulations. It absolutely complements the digital crap that I am
forced to use…wooo hooo.” Ed Cherney
"I finally got to hear Empirical Labs’ Lil FrEQ, a monster that will destroy the way you think
about EQ. This single-channel unit has two shelving bands, tunable low cut, four parametric
bands, dynamic EQ for de-essing and direct box input—all noiseless and distortion free.
Best of all, its smooth processing is absolutely addictive. Sweet! " George Peterson (Mix
Magazine) 1
14 4( (R
Re ev v1 19 9) )
BACK TO TABLE OF CONTENTS