Used as Chris's compression on the Drones tour

Visible in this photo of recording engineer Stephen Sedgwick in 13 Studios, taken from this October 21, 2014 interview by the The Polymath Perspective.

As far as studio processing goes, there presence of six Empirical Labs Distressors in the racks clearly shows that the product is a firm studio favourite. "The Distressors are great compressors and very versatile,” agrees Steve. "They are good on drums and vocals and for general recording."

The EL8 was used for Albarn's vocals on Gorillaz's "Charger", as mentioned by Sedgwick in this July 2017 Sound on Sound interview about the production of Humanz.

"I usually compress vocals with outboard, either using Empirical Labs Distressors or sometimes the Summit TLA 100A or Tube-Tech CL1B compressor." (...) "I recorded Damon’s rough vocals with a Neumann KMS105 condenser, which sounds pretty good and doesn’t pick up a lot of sound from the room, so it works great if there are other people around and he quickly wants to lay down some ideas. But when it came to recording his final vocal takes I used the Flea 47, which is a really great-sounding Neumann U47 clone. I usually recorded it via a Chandler LTD1 mic pre, and then either a Distressor or a Tube-Tech CL1B compressor."

Above & Beyond showcase the Empirical Labs EL8 Distressor in their Instagram post, noting its importance in their studio setup.

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends. It is visible in this photo from the same interview.

Vocals: Waves Renaissance & Digidesign de–essers, AMS reverb, Zoom 1202, Lexicon PCM81, Watkins Copicat, Empirical Labs Distressor, Federal, Gates, Fairchild 666, EAR 660, Neve 1176 & Awa G7201 compressors

"I used two Renaissance de–essers on Chris's voice that were doing different things, and then a stock Digidesign de-esser. That was it for the plug–ins I added on this session. The Sonnox Oxford and the Eoisis were not out yet at the time.

"The analogue things I did on the lead vocal are really interesting. As I said, I initially mixed the songs on my own, because the band was in England re–recording some songs, so I knew I might have to recall each song. But on this song I pretty much nailed it, apart from that Chris wanted the vocals to be more exciting and different. In the end the vocal had some AMS non–linear reverb on it, while the main sound came from an old Zoom 1202 reverb and a Watkins Copicat delay, plus a special patch that I created in the PCM81, which is a much bigger reverb. So it's a combination of things, but you don't really notice them, all you notice is that Chris is in a very present, big room. When I had found that combination 'Violet Hill' really became a song, it really came alive, because his voice was able to fight through all the stuff that was going on and make it personable. There's no reverb on the rest of the track, which is another reason why the lead vocal sounds so huge: it's not fighting another bunch of reverbs. If you send everything to reverb, you don't hear it, but if you send only one thing to reverb, it'll be huge.

"For the main part of the song I had a Distressor on the insert of the lead vocal, and I sent this to another five compressors: the Federal, the Gates, the Fairchild 666, the Neve 1176 and another Distressor in Nuke mode. They're all coming back individually on the board, and it was a matter of blending those compressors. As usual in my way of working, the compressors are there to give attitude and tone, and don't necessarily compress. For the end bit of the song, where it's just Chris and the piano, I used the Awa G7201 limiter/compressor. It's an Australian compressor and it has an incredible air and presence. It's a unique sound that you can clearly hear at the end, as it's the only effect on the vocal on that point. Finally, the church group background vocals are sent to the same combination of reverbs as the main vocals. No other effects, no EQ. It means that all the vocals in the main section blend together."

In this video detailing the production of "One", Axwell mentions that they're in Metropolis Studio in London. According to http://www.thisismetropolis.com/wp-content/uploads/2013/01/Studio-A.pdf, there are two Distressors in Studio A, where this video— and the production of "One"— took place.

In the photo "Studio A.." you can see two Distressor compressors in the middle rack of Justin Vernon's (Bon Iver) studio April Base

This can be seem 0:17 into this video.

In this video, you could see the distressor under the tg2

"Main Rack." Two Distressors can be seen, thrid and fourth from the bottom.

Used for the drums on Echoes, Silence, Patience & Grace, as stated by mix engineer Rich Costey in this March 2008 Sound on Sound interview.

Drums: Quad 8 310, Pultec EQP1, API 550a, Neve 33609, API 2500, Lexicon 960, Urei 1176, Smart C2, SPL Transient Designer, room mics

"I had just gotten some Quad 8 310 EQs before I began the Foo Fighters project, and I found that cranking the s[**]t out of the mid-range with the Quads helped the drums quite a lot. On most of the album the bass and snare drum went through the Quad 8s, with severe amounts of mid-range added. Quad 8 grew out of Electrodyne and was very popular in the 1970s, particularly with film companies. I obtained some channels that came out of the Motown Sunrise console and they're basically three bands of EQ and a mic pre and output level, and the Q gets tighter as you push it up. The Quad 8s are a little bit rounder and warmer-sounding than similar API modules. I also used the Pultec EQP1 and API 550a on the bass drum.

"I had a bunch of different side-chain compressors on the drums that would change from song to song. On some songs it would be the Smart C2, medium ratio and fast recovery, on others the Neve 33609, the Urei 1176, the API 2500 or the Empirical Labs Distressor, and the SPL Transient Designer on toms. You can use the SPL to lengthen the sound of the toms. I don't compress all the drums at the same time, I'll compress individual parts and mix the compressed sound in with the natural sound of the drums. There was relatively little compression implemented on the drums in this song, because the band didn't care for it. They wanted the drums to sound more raw.

"Throughout the album mix I might have used a bit of Lexicon 960 on the drums for reverb, but the room mics — amongst them a heavily compressed foldback microphone — were so good that I tended to use those. I tend to like room mics that are on the darker side. If they're too bright, you can't turn them up very loud because you then also get all kinds of messy cymbal noises. One other thing to note is the drums that come in after the intro of the song. When the whole band is slamming accents like that, you want to make the drums sound very aggressive, and this meant pushing room mics, pushing compression mics and so forth. As I said, there were a lot of rides."

In an interview, Wolfgang Gartner talks about his mastering process: "I decided to start mastering my own stuff last month and invested in some nice hardware to help do the job. My main tools now are... a pair of Empirical Labs Distressors with British Mode that occasionally work for mastering, but not always."

Original Q&A can be found here.

"I also like to use the Distressor on [Kendrick's] lead, because it adds some grit and presence at the top. So the RCompressor and S1 smooth and widen out his vocal sound, and the Distressor opens up the top end, making it crisp and allowing his vocals to cut through."