Distortion is one of the most beloved of all musical effects. Frank Zappa once said, “The disgusting stink of a too-loud electric guitar; now that’s my idea of a good time.” I’m willing to bet that Zappa’s fondness for this sound was in large part due to the distortion that occurs when things get turned up too loud and subsequently start to “stink.” There’s something guttural and downright naughty about distortion that makes it almost universally appealing . . . I say “almost” because distortion is not always seen as favorable when we’re recording.
First, let’s define “distortion.” Distortion is when a circuit goes from linear (accurately tracking the incoming audio signal) to nonlinear (distorting or modifying the original audio signal).
When we’re recording music, distortion is usually seen as something to be avoided (unless that’s the sound you’re after, of course). Beginning audio engineers are taught on day one to avoid clipping, which is a kind of distortion that results when a device — say, a preamp — runs out of headroom and the signal can’t go any higher. In other words: every device, whether a preamp, EQ, compressor, or plug-in, has an output limit usually determined by the circuit design. It happens in hardware when you run out of voltage or, in the case of digital, bits. When a device’s maximum output level (MOL) is exceeded, amplitude distortion occurs. This amplitude distortion is commonly called “clipping” because if you look at a sine wave that is overdriving a circuit, the top and bottom of the signal look like they are clipped off. (Note: this is how sine waves can be turned into square waves.) Regardless of what we call it, clipping is a kind of distortion that we generally don’t want baked into our tracks.
However, clipping isn’t the only type of distortion. There are other forms that, when used wisely, have a very pleasing musical effect during recording. In fact, many coveted pieces of studio gear are desirable precisely because of the unique harmonic distortion and intermodulation distortion or saturation they apply to a signal. It gives them a sonic fingerprint. Baking distortion of any kind into a track can be a risky move, but it’s why seasoned engineers are in demand. Their knowledge of what gear (and which kinds of distortion) to utilize in any given situation is incredibly valuable. It’s part of what separates amateurs from professionals. So, let’s look at 12 legendary pieces of studio gear that give us some wonderful distortion/saturation during the tracking stage.
- Universal Audio 1176
- Empirical Labs Distressor
- Neve 1073
- Chandler Limited REDD.47
- Fairchild 660 & Fairchild 670
- Manley Variable Mu
- Pultec EQP-1A
- API 512c
- Neve 33609/N
- Universal Audio LA-2A
- Moog Moogerfooger MF-101
- Eventide H910 Harmonizer
Universal Audio 1176
You probably knew this one would be first. First released in the late ’60s, the Universal Audio 1176LN Classic Limiting Amplifier has remained fundamentally unchanged, and it’s been used on countless hit songs and records. It’s been a studio staple on drum and bass tracks virtually from the moment it was introduced, and its “All Buttons In” mode is famous for imparting some seriously colorful crunch to any signal that passes through. It’s also got what is colloquially referred to as the “Dr. Pepper” setting (attack at 10 o’clock, release at 2 o’clock, and a 4:1 ratio) due to how this setting resembles the Dr. Pepper soft drink’s vintage logo (10, 2, and 4). Vintage 1176 units are hard to come by these days, but fortunately for us, Universal Audio makes an excellent reproduction: the Universal Audio 1176LN Classic Limiting Amplifier. For software devotees, the Universal Audio UAD 1176 Classic Limiter Collection Plug-in offers a few different iterations of this iconic compressor.
Empirical Labs Distressor
The Empirical Labs EL8 Distressor compressor/limiter is an incredibly versatile piece of gear that’s capable of emulating several different compression styles, including “Opto,” “Brit,” “Nuke,” and more. However, it has become most famous for being another compressor that pushes drums to the limit in an incredibly musical way. Its Nuke mode does exactly what you’d expect it to, and its ability to add second- or third-order harmonic distortion to a signal results in a very warm, vintage sound. If the company’s EL8-XS Distressor with British Mode and Image Link stereo pair is beyond your budget, then you might check out their new Pump 500 Series compressor, which channels the spirit of the Distressor into a smaller, more budget-friendly 500 Series package. There’s also the excellent Empirical Labs Arousor Rev 3.0 plug-in, which gets very close to the sound of the Distressor in a plug-in form.
Neve 1073
If you looked up the term “British EQ” in the dictionary, then you wouldn’t be surprised if there was a picture of the Neve 1073 next to it. Ever since it was introduced in 1970, the Neve 1073 channel amplifier has been found in many of the world’s top recording studios. Today’s Neve 1073SPX microphone preamp and EQ features the proprietary AMS Neve Marinair specification transformers on both the input and output stages. These sound great no matter what, and the 1073SPX’s Class A circuity adds some subtle even-order harmonic distortion almost by default. But some really special harmonic magic gets added when the 1073SPX is overdriven. Plus, BAE makes the excellent BAE 1073MP rackmount microphone preamp with power supply, which is a product based on the original Neve design.
Chandler Limited REDD.47
Named after the original EMI REDD.51 console in a studio facility that you may have heard of — Abbey Road — the Chandler Limited REDD.47 tube microphone preamp emits vintage character like no other mic pre around. It’s designed to re-create the characteristics of the aforementioned console, and its custom-wound transformer plus dual-stage amplification (input gain and separate output gain) accomplish that goal handily. Simply turn it on, and you’re instantly greeted with musical distortion; drive it, and you’re going to be treated to even more of the same. For those of you who think it’s possible to “have too much of a good thing,” you may change your tune after hearing what the Chandler Limited REDD.47 has to offer.
Fairchild 660 & Fairchild 670
Among the most coveted (and most expensive) pieces of outboard gear ever are the mono Fairchild 660 and the stereo Fairchild 670. They are legendary due to their rarity and contributions to music. They’re both all-tube variable-mu compressor/limiters that sound fantastic when driven thanks to having no less than 20 tubes in them. Actually, their 20-tube, 14-transformer (and 67-pound!) construction makes them sound great even when not driven — so great, in fact, that many engineers throughout history have simply turned the units on and passed signals through them without applying any compression settings whatsoever, just to get the special harmonic saturation that they naturally impart. While the likelihood of acquiring an actual hardware unit is akin to winning the lottery, you can still get all their tubey goodness in the form of this wonderful Universal Audio UAD Fairchild Tube Limiter Collection Plug-in.
Manley Variable Mu
If you prefer outboard gear to plug-ins but don’t want to wait until Lady Luck gives you the chance to hear/buy a Fairchild, then the Manley Variable Mu Stereo Compressor Limiter with T-Bar modifications is the next best thing. What does this mod do? Well, it essentially lets you choose between two types of Variable Mu: the modern post-1996 model when Manley started using the 5670 dual-triode vacuum tube or the vintage pre-1996 model when Variable Mu units were using the 6386 dual-triode vacuum tube, the latter of which being the same tube used by the Fairchild 670 in the ’50s! The tubes used now are 6BA6 tubes, similar to the original 6386. Actually, many engineers believe that this version of the Variable Mu is overall superior to a Fairchild thanks to its M-S capabilities, highpass sidechain, and enhanced versatility that the T-Bar mod brings.
Pultec EQP-1A
Another all-tube beauty: the vacuum tubes of the Pultec EQP-1A Tube Program Equalizer‘s audio path give it a rich and harmonically complex quality that is unique among EQ units. The EQP-1A also uses passive electronic components like transformers, capacitors, inductors, and resistors that enable it to make its famous simultaneous boost and cut EQ moves without ever sounding grating or jarring. The frequency adjustment points of the EQP-1A are also different than most other EQ units and thus contribute to its unique sound-sculpting abilities. An actual hardware unit costs a pretty penny (and rightfully so), but Universal Audio once again comes to the rescue by including the EQP-1A in their excellent UAD Pultec Passive EQ Plug-in Collection.
API 512c
Quite possibly the biggest bang-for-its-buck item on this list is the API 512c 500 Series microphone preamp. The name “API” is synonymous with punch, and considering the 512c’s diminutive lunch-box frame, it’s truly impressive how much of a wallop this unit dishes out! The 512c is a direct descendant of API’s first modular mic predesigned by Saul Walker in the late ’60s, and it definitely channels that legendary API console sound thanks to its lack of integrated circuits (ICs). Plus, many studio engineers over the years have found that the 512c also has a musical sound when pushed to the edge. Be warned, though: the 512c uses the famous API 2520 operational amplifier, which is renowned for its low distortion and inherent noise. This means that if you’re going to push the 512c, then you’ll need to push it hard . . . but the results are often well worth it.
Neve 33609/N
The “Discrete” in the Neve 33609/N Discrete stereo compressor/limiter comes from this unit’s use of discrete transistors as opposed to ICs. In other words, its transistors, capacitors, and other electronic components aren’t all housed together on a single semiconductor material (e.g., a microchip). This separation of components gives the 33609/N a very warm sound, which is further enhanced by its transformer-based input and output stages. Like the Neve 1073, the Neve 33609/N features Class A circuitry that sounds fantastic as soon as you turn it on but really gives your signals some extra mojo when you start to drive it. With stereo capability as well as an individual compressor and limiter on each channel, the Neve 33609/N has been a hallmark for mixing and mastering music ever since the 1980s. If the price of a hardware unit gives you pause, then check out this faithful and budget-friendly Arturia Comp Diode-609 compressor plug-in.
Universal Audio LA-2A
You might be surprised to see the world’s most famous opto compressor on this list. Another one of those “impossible to make sound bad” pieces of gear, the Universal Audio Teletronix LA-2A Classic Leveling Amplifier has long been known for having some of the smoothest, most transparent compression around. It’s a mainstay for vocal recording chains and also features prominently on transient-heavy material at slower tempos where its program-dependent style of compression tames transients but still allows a natural sound. However, as it turns out, the LA-2A sounds pretty darn good when driven, too! While its harmonic distortion might not be as noticeable as some other list entries, I still think that electric guitars, basses, and synths can often benefit from pushing an LA-2A. No matter which version of it you use (see the Universal Audio UAD Teletronix LA-2A Leveler Collection Plug-in), the LA-2A’s blend of easy-to-use controls plus versatility have made it one of the industry’s most esteemed pieces of gear.
Moog Moogerfooger MF-101
You may think I’m cheating by placing an effects pedal on this list, but hear me out! The Moog Moogerfooger MF-101 isn’t a saturation/distortion pedal; or rather, it isn’t a pedal that most folks tend to associate with those effects. The Moogerfooger MF-101 is an analog lowpass filter pedal that is primarily meant to smooth and enrich an audio signal by doing what you’d expect a LPF to do: filter out high frequencies above the cutoff frequency. It also employs a low-frequency oscillator and an envelope follower, which enable rhythmic and filter cutoff modulation, respectively. However, what I feel warrants the MF-101’s place on this list are its controls for resonance and drive. Resonance emphasizes frequencies near the cutoff point, and its drive control imparts anywhere from subtle to surprisingly aggressive grit. Unfortunately, the actual Moogerfooger pedals have been discontinued, but Moog offers brilliant emulations in this Moog Moogfooger effects plug-ins bundle.
Eventide H910 Harmonizer
Another piece of gear that I might get in trouble for putting on this list is the Eventide H910 Harmonizer. This was the one of the first (if not the first) devices in history to offer real-time pitch-shifting capabilities without altering the duration of a sound. It also offered micro pitch shifting, which introduced very short delays into a signal that created subtle and realistic pitch-shifting effects. This effect also introduced some unique analog artifacts that thickened and enriched the harmonic content of a signal in a similarly distorted-/saturated-sounding way. Check out this Eventide H910 Harmonizer Plug-in Suite, start playing around with the controls, and it won’t be long before you hear what I’m talking about!
Don’t Be Afraid to Get Dirty
Most engineers are taught to record tracks as cleanly as possible and only apply distortion, saturation, or other effects in post production. On the other hand, an immense number of great recordings throughout history owe much of their classic sounds to the “happy accidents” that arose during the recording process. One approach isn’t better than the other, and I strongly encourage you to experiment with both. If you’re ever unsure about how to color your sounds, then feel free to give your Sweetwater Sales Engineer a call at (800) 222-4700!