Drawmer 1961The design of the 1961 allows the user to control the amount of 'warmth' by deciding how hard to drive the tubes giving a sound as 'clean' as the best discrete solid state designs or as 'hot' as the 'hottest' classic tube designs. The 1961 and 1960 Can be 'interlinked' to provide, in effect, a two channel vacuum tube mixing console, - the perfect mastering or post audio 'sweetening' tool.Include:Input level : A variable input level of -20dB to +20dB ensures compatibility with a wide range of input source material and enables the user to optimize signal level and drive the tubes 'soft' or 'hot' as required. LED bargraph displays give a clear indication of the input signal level.High Pass Filter : A variable 12dB/Octave roll-off filter adjustable from - 15Hz to 500Hz section enables the user to remove unwanted low frequencies and sub-sonic noise.Equalization : Each channel of the 1961 has four main equalizer sections with six carefully chosen overlapping frequencies and a separate tube stage for increased harmonic clarity. Each section also includes variable band width from 0.3 Octave to 3 Octaves and +18dB of Cut and Boost. BASS frequencies (Hz) 20, 32, 50, 80, 125, 200. LO-MID frequencies (Hz) 100,180, 250, 400, 650,1K. HI-MID frequencies (kHz) 0.5, 0.8,1.2, 2.0, 3.2, 5.0. TREBLE frequencies (kHz) 2.5, 4, 6,10,15, 25.Low Pass Filter : A variable 12dB/Octave roll-off filter adjustable from 2.5kHz to 56kHz enables the user to remove high frequency interference or to band limit excessively high levels of high frequencies.Output Stage : Two additional tube stages in the output section of each channel allow the user to achieve 'soft clipping' by adjusting the input level control whilst visually monitoring the effect upon the 'Soft' and 'O/L' (Overload) LED's.Bypass : In addition to a master bypass switch for each channel each of the parametric and shelving filters has its own separate bypass switch. This not only makes the 1961 very straight forward to set up, by allowing instant A-B comparison ,but also enables the tube output stages to be used to add tube coloration without EQ simply by leaving each channel switched to 'In' and each individual EQ sections switched to 'Out' The master bypass switch for channel bypasses all the filter sections as well as the output stage vacuum tube circuitry.Operating Level : Levels of -10dBu and +4dBu are selectable using a rear panel switch.Insert Connections : Insert point 1/4" jack connectors on the rear panel enable direct connection to the Side chain or Insert points of the Drawmer 1960 Mic Pre-Amp/ Vacuum Tube Compressor. The 1961 and 1960,when'interlinked', produce a powerful package for recording signals direct to tape; gain control, EQ and compression can be applied to both mic and line level signals without having to go via a mixing console.Inputs and outputs : The 1961 is provided with balanced inputs and outputs on XLR connections.Technical Specifications:Number of Channels 2Number of Bands 4Tube HybridFrequency Response 22Hz-42khz (-1dB)Freq Range High 2.5-25kHzFreq Range Hi-Mid 500-5,000HzFreq Range Mid No midFreq Range Lo-Mid 100-1000HzFreq Range Low 20-200HzBoost/Cut Range ±18Q Type VariableHigh Pass Filter YesLow Pass Filter YesBypass YesInputs 2 x XLROutputs 2 x XLRRack Spaces 2UHeight 3.5"Depth 9.84"Width 19"Weight 13.45 lbs
Drawmer 1968 Mercenary Editionhe 1968 Mercenary® Edition's gain reduction cell is the same FET compressor with variable tube output stages as the 1969 "M-E", giving it a rich euphonic tone with the speed and musical grace made famous by the 1969 Mercenary Edition.The "Big" switch feature on each channel provides the user front panel control to easily remove the low frequency component of the program material from control of the gain reduction cell, effectively boosting the bass output. A patchable side chain is available in conjunction to the "Big" switch offering the user complete flexibility frequency dependent ducking. The 1968 "M-E" also features 'side chain listen' capability granting the user the ability to perform precise and specific side chain control.The metering on the 1968 has also been expanded to meet the demands of modern tracking and 2 buss requirements. The VU meter can display either gain reduction or output levels while a sophisticated LED warning system has been implemented to warn the user as they approach the maximum operating level.The 1968 "M-E", is a unit that was designed to be capable of being driven hard, which is the reason for the "+10" meter re-scaling switch, yet one need not be a maniac to enjoy the musical qualities of what we think you will find to be one of the most musical compressors you can add to your arsenal of tools. Technical Specifications:Input Impdances: Line 20KΩMaximum Input Level: +20dBuOutput Impedance: 50ΩMaximum Output Level: +22dB (balanced)Bandwidth: < 10Hz to 22KHz -1dBUnity Gain Noise: Bypass -95dB, Line -85dBDistortion: @ 1KHzLine Input with Bypass selected: <0.1%Line Input with Normal Selected: <0.35%Attack Times: 2ms, 8ms, 15ms, 25ms, 30ms, 50ms
1970 - Dual FET Compressor & Pre-Amp
With a heritage inspired by the first pro audio "tool box" compressor, the illustrious Drawmer 1960, but with a greatly expanded feature set, the 1970 Dual F.E.T. Compressor and Pre-Amplifier is one of the most adaptable mic preamplifier/compressors on the market today, bringing vintage audio characteristics at an affordable price.
Whilst the feature set of the 1970 is similar to the Drawmer 1960, and the layout of the controls will add to the comparisons, the 1970 has been greatly improved and the EQ has been fine tuned to be more accurate than its stable-mate, with various improvements
The 1970 use the latest THAT Corporation technology in the 2 mic preamps to provide ultra clean, transparent and precise recordings that can be processed at a later stage using your favourite warming method, be it saturation, valve, transformer or tape. In addition each channel is capable of 66dB of gain, with switchable mic impedance for accurate mic matching to bring out the best from any microphone used. Phase reverse is also included.
From tracking instruments via the dedicated D.I. input, to recording vocals via the ultra clean mic pre's, recording a guitar cabinet with two microphones, or a singer playing guitar, or even stereo buss compression using the comprehensive linking and mix facilities, the 1970 is the perfect versatile tool for any studio or live event.
Features:
Two THAT Corporation ultra clean mic pre's with 66dB of gain with phantom power and switchable mic impedance for accurate mic matching
Separate Line & Mic input XLR's
1 pro quality instrument DI input with low and high EQ.
Can be used as 2 mono tracking compressors or 1 stereo buss compressor (avoiding image shifting) via the class leading comprehensive linking facilities.
FETs can be bypassed altogether to provide ultra clean outputs.
Standard controls such as Threshold, Ratio, Attack & Release, with 8 LED GR Metering on each band.
Rear panel Side-chain insert points provide even further control.
‘Big’ and 'Air' Modes Help to preserve the very deep lows and Enhance the sparkling highs.
Variable Wet/Dry Mix plus Output Gain knobs on both channels give a 'Parallel Compression' function without the need for external mixing devices, providing complete and effortless control over the amount of compression used and output levels.
Two backlit Analogue V.U. Meters with Switchable +10dB Rescale Mode.
Time delay relays on outputs for clean power up/down.
Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch.
Classic Drawmer build quality with rugged steel chassis and aluminium front panel.
Designed and Handmade by Drawmer in the UK.
1971 - Dual 4-Band Parametric EqualiserThe 1971 offers 2 channels of fully featured 4-band parametric EQ. It has the ability to perform subtle shaping for mastering purposes that require a delicate touch and easy recall, but is just as capable of tonal sculpting, adding the analogue warmth and character that is near impossible to emulate in the digital domain. The versatile design features dual channel precision stepped potentiometers, providing exceptional accuracy for fast and simple recall.Fully Parametric with Totally Variable Bandwidth.
The 1971 is a true ‘parametric’ equaliser, with the four bands having fully variable frequency controls and offer cut and boost of +/-12dB’s. However, unlike EQ’s with a no bandwidth adjustment, or a simple switch, the two mid bands have completely variable filter bandwidth controls enabling the user to focus in on very narrow sections of the audio spectrum or apply a broad natural sounding filter, or, of course, anything in between the two. This makes the 1971 incredibly versatile and capable of modifying everything from subtly fine tuning mixes to tone sculpting problematic recordings.Variable Low and High Cut Filters.
The 1971 includes fully variable low and high cut filters (10Hz-225Hz and 4kHz-32kHz respectively), ideal for tuning out undesirable signals. The beauty of being fully variable is that, unlike fixed frequency filters, it is easy to sweep both controls to find the perfect setting and remove sounds with pinpoint accuracy. This is especially useful when bracketing individual tracks.Switchable Slope Setting.
Very few analogue parametric equalisers have an adjustable slope on the low and high band filters, and is yet another feature of the 1971 that allows you to take control of your audio. The filter slopes of the 1971 have been chosen for their musicality - allowing you to adjust the focus of the audio at the bottom and top ends of your recording but not so harsh as to be a very noticeable brick wall filter. At the bottom end filter slopes of 6, 9 and 12dB per octave plus a Peak setting are available, and at the high end 6 and 12dB’s per octave.The Peak setting adds a narrow bell shape to the 12dB per octave low band filter at the knee frequency just before it rolls off. Especially useful on kick drums, it magnifies and gives extra weight to the hit whilst still filtering out any subsonic junk and without muddying the lower mid. It’ll give your kick an added sense of power and precision.Crush
A feature that is unique to the 1971 is the CRUSH button. A switchable option available on each band, it adds a fixed time constant, auto gain makeup compressor, whilst also giving a wider rounder bandwidth. In addition it introduces some musically pleasing harmonics. The effectiveness of the Crush button will vary depending on the frequency band that it is used in and also on the instrument that it is applied to. Use it in the lower frequencies to fatten up the kick, tom or snare drums, bass guitar and other elements of the rhythm section. In the mid frequencies it will help to warm the mix and enhance the presence. It will thicken the guitars and add punch to the percussion, increase the attack of a piano, as well as help to bring out the raspiness in a vocal, for example. At the high frequencies it will bring out the shimmer of cymbals and brighten the string instruments.The effect is progressive, so as more boost is added to the band the CRUSH effect is more apparent. Use the switch to listen to A/B comparisons to hear the effectiveness of the feature.FeaturesVintage-style dual four band Parametric Equalisation which takes it’s inspiration from 1970’s-era analogue gear.Delivers classic sonic clarity and control at an affordable price.Indented and accurate potentiometers, providing precision for quick and simple recall.Variable low and high cut filters allow you to perfectly tune out any undesirable signals.Fully variable bandwidth provides absolute control for the parametric mid bands.Switchable slope plus low peak settings allows you to adjust the focus and magnify the bottom end.Switchable Crush on each band provides Fattness, Presence and Shimmer.True hardware bypass for for each band and also the unit provides accurate A/B comparisons.Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch.Classic Drawmer Build Quality with Rugged Steel Chassis and Aluminium Front Panel.Designed and manufactured by Drawmer in the UK.Technical SpecificationsInput Impedance: 20k Ohms or greaterMaximum Input Level: +21 dBuInput Gain: +/- 15 dBLow Cut: 10Hz - 240 HzLow Band: 35 Hz - 700 Hz, Slope: 6 dB,9 dB,12 dB, Peak, Cut/Boots: +/- 12 dBLow-Mid Band: 60 Hz - 2.1 kHz, Bandwidth: 0.33 - 3.3 octaves, Cut/Boots: +/- 12 dBHigh-Mid Band: 450 Hz - 13.7 kHz, Bandwidth: 0.33 - 3.3 octaves, Cut/Boots: +/- 12 dBHigh Band: 1.2 kHz - 20 kHz, Slope: 6 dB, 12 dB, Cut/Boots: +/- 12 dBHigh Cut: 4 kHz - 31 kHzOutput Impedance: < 100 OhmsMaximum Output Level: +21dBu into 10k Ohms LoadOutput Gain: +/- 15 dBFrequency Response: 20Hz to 20kHz +/-0.5dBCrosstalk: < -90dB @ 1kHzDistortion (THD+N): 0.003%Power Requirements: 230Volt or 115V at 50-60hZ, 15VADimensions (W x H x D): 482 x 88 x 270mmWeight: 4.2 kg
Features:
Two THAT Corporation ultra clean mic pre's with 66dB of gain in 6dB steps, plus +/-12dB’s trim at the output.
Separate Line & Mic input XLR's on the rear plus a pro quality instrument DI input on the front panel.
Can be used on a multitude of sources including instruments and all type of microphones in the studio from low to high end, plus ribbon mics.
Switchable Mic Impedance for accurate mic matching and also mic tone sculpting.
A wealth of features not found on other preamps make it ease to capture difficult to record sources.
Unique Lift feature for boosting very low signals without the loud signals clipping.
Fully variable LoCut and HiCut filters to tune into signals and remove unwanted sounds.
Shape switches are included to control bass and treble using a subtle tilt EQ.
Phantom Power and Phase Reverse.
Two backlit Analogue V.U. Meters with Switchable +10dB Rescale Mode.
Time delay relays on outputs for clean power up/down.
Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch.
Classic Drawmer build quality with rugged steel chassis and aluminium front panel.
Designed and Handmade by Drawmer in the United Kingdom.
The 1973 is a multi-band compressor with the versatility, control and ability to shape sound that no full band compressor could ever provide and at an affordable price.
Expanding on the renowned range of dynamics processors Drawmer introduce an affordable Three Band Stereo FET Compressor that every engineer will completely appreciate - the 1973. The culmination of 30 years of development and experience, the 1973 combines the functionality and control of the world class Drawmer S3 with the familiarity and quality of the illustrious 1960 and 1968, providing three bands of transparent, intuitive compression for the price of a conventional single full band compressor.
How does the 1973 differ from a full band compressor? In essence, the 1973 comprises a set of crossover filters that splits the audio signal into three frequency bands, each split signal then passes through its own compressor and is independently adjusted, after which the signals are recombined and the final Wet/Dry mix and levels can be adjusted. The advantage is that one band's compression has no affect on the others.
What's so good about a three band compressor anyway? The 1973 can pull off amazing feats that a single-band compressor could never accomplish. For example, it can easily prevent an acoustic guitar, cello, or double bass from sounding boomy on low notes without thinning the highs.
Are you recording a vocal track that sounds too shrill? The timbre can easily be altered without eliminating detail and clarity. Adding heavier compression in the bass band can add to the thickness and richness of the voice, in the mid band raspiness is controlled, whilst compression to the high band can give sizzle and definition to an otherwise bland voice. In addition, sibilance can easily be tamed.
In a mastering situation, having independent control over each band can resolve a problem mix, pulling out individual instruments, brightening the brilliance/air or making the bottom end of a mix sound huge while simultaneously avoiding "pumping" or "breathing" artifacts and increasing headroom.
Features:
Standard intuitive controls such as Threshold, Gain, Switched Attack & Release with Gain Reduction Metering on Each Band.
Fast Reacting Soft Knee F.E.T. Design with excellent Left/Right Tracking across the Full Range of compression.
Variable Wet/Dry Mix plus Output Gain Knobs give a 'Parallel Compression' function without the need for external mixing devices, providing Complete and Effortless Control over the amount of compression used and Output Levels.
Variable Band Split Filters at a 6dB Per Octave slope with Switch-able Mute and Bypass on Each Band make 'Tuning In' to a Frequency Simple.
‘Big’ and 'Air' Modes Help to preserve the Very Deep Lows and Enhance the Sparkling Highs.
Two Analogue V.U. Meters with Switchable +10dB Meter Rescale Modes and a Switchable ‘Peak’ mode to Display Fast Transients Not Normally Seen on Conventional V.U.s.
Dedicated Gain Reduction Meters On Each Band.
Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch.
Classic Drawmer Build Quality with Rugged Steel Chassis and Aluminium Front Panel.
The vintage-style fully stereo 1974 four band Parametric Equaliser provides exceptional analogue musicality and sonic clarity, taking it's inspiration from 1970's-era gear. It has the ability to perform subtle shaping for mastering purposes that require a delicate touch and easy recall, but is just as capable of tonal sculpting, adding the analogue warmth and character that is near impossible to emulate in the digital domain.
Get immersive with the stereo operation, with one set of controls for both channels. The versatile design features dual channel precision stepped potentiometers, providing exceptional accuracy for fast and simple recall. The fully variable bandwidth allows you to control the parametric mid bands, making adjustments as surgically precise or as broad and natural sounding as you could ever require. Fully adjustable low and high cut filters are also included, ideal for tuning out undesirable signals at the frequency extremes. It also features a switchable slope allowing you to alter the focus at the high and low frequencies plus a low peak setting that magnifies the bottom end. The 1974 is perfect for tonal shaping, staying true to the sound of the 70s and ideal for any musician.
Genuine Stereo Operation with Indented and Accurate PotentiometersThe genuine stereo linked operation of the 1974 makes adjustment quick and extremely simple using just one set of controls to alter both channels. The 1974 uses precision potentiometers, each one being matched for left/right accuracy to within fine tolerances by our trained technicians, so that both channels operate identically, and also have indented operation, providing exceptional accuracy for fast and simple recall.
Fully Parametric with Totally Variable BandwidthThe 1974 is a true 'parametric' equaliser, with the four bands having fully variable frequency controls and offer cut and boost of +/-12dB's. However, unlike EQ's with a no bandwidth adjustment, or a simple switch, the two mid bands have completely variable filter bandwidth controls enabling the user to focus in on very narrow sections of the audio spectrum or apply a broad natural sounding filter, or, of course, anything in between the two. This makes the 1974 incredibly versatile and capable of modifying everything from subtly fine tuning mixes to tone sculpting problematic recordings.
Variable Low and High Cut FiltersThe 1974 also includes fully variable low and high cut filters, ideal for tuning out undesirable signals. The low cut (otherwise known as High Pass Filter) having a range of 10Hz-225Hz and the high cut (otherwise known as Low Pass Filter) 4kHz-32kHz. The beauty of being fully variable is that, unlike fixed frequency filters, it is easy to sweep both controls to find the perfect setting and remove sounds with pinpoint accuracy.
Switchable Slope SettingVery few analogue parametric equalisers have an adjustable slope on the low and high bands. The filter slopes of the 1974 have been chosen for their musicality. At the bottom end slopes of 6, 9 and 12dB per octave plus a Peak setting are available, and at the high end 6 and 12dB's per octave. The Peak setting is quite a unique feature in that it adds a narrow bell shape to the 12dB per octave low cut filter at the knee frequency just before it rolls off.
Features
Vintage-style four band Parametric Equalisation which takes it's inspiration from 1970's-era analogue gear.
Delivers classic sonic clarity and control at an affordable price.
Genuine stereo operation with one set of controls for both channels.
Indented and accurate potentiometers, providing precision for quick and simple recall.
Variable low and high filters allow you to perfectly tune out any undesirable signals.
Fully variable bandwidth provides absolute control for the parametric mid bands.
Switchable slope plus low peak settings allows you to adjust the focus and magnify the bottom end.
True hardware bypass for accurate A/B comparisons.
Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch.
Classic Drawmer Build Quality with Rugged Steel Chassis and Aluminium Front Panel.
Designed and manufactured by Drawmer in the UK.
The 1976 3 band stereo saturation and width processor has been designed to inject character, colour & life into your recordings and live sound in a style endemic of the classic equipment of the 1970's. The completely analogue saturation of the 1976 will provide the realism that plug-ins can only aspire to, replacing the harsh, sterile digital sound with fullness, softness and warmth. Why emulate saturation when you can have the real thing?
Inspired by the highly acclaimed saturation and width features of our DC2476 Digital Mastering Processor the 3 bands of independent saturation of the 1976 have been designed to add the pleasing imperfections that are so endemic in classic gear. Saturation is ideal for adding fullness to your music, taking your music from a cold, bleak landscape to a warm, bright vista.
In addition, however, unlike conventional saturation products the 1976 also features 3 bands of stereo width control to really bring out the depth and add real presence to your mix, and all with a single, yet comprehensive set of controls that provide genuine stereo operation.
Saturation in music production is something that can really enrich the sound in mixes by adding a subtle form of distortion that adds pleasant-sounding harmonics and character to the music. The 1976 allows you to add this character in a completely analogue, natural way. With 3 bands of independent saturation the 1976 can pull off amazing feats that single-band saturation could never accomplish.
Without stereo widening the mix won't jump out of the speaker and grab your listener, this is where the 3 bands of the 1976 can be used to enhance the extra dimension to take the mix from a flat wall of sound to a 3D immersive experience. The 1976 makes it super easy to control the width with just the single stereo controls of the low, mid and high bands. The benefit of having independent width control for each of the bands is to allow the high frequencies to be spread across a wider soundstage without affecting the low frequency end.
Features
Powerful 3 Band all Analogue Saturation for adding warmth to both your digital and analogue sounds.
Designed to Inject character to your audio reminiscent of 1970's era gear and remove the sanitized harshness that digital recordings suffer from.
3 band fully adjustable Stereo Width provides controllable depth and presence to you mix.
Fully Variable Crossover controls between the bands allows you to tune in to signals for different amounts of independent saturation across the full frequency range.
Genuine stereo operation with one set of controls for both channels.
Can operate in Stereo and Mono.
The Mono switch helps highlight problems within the stereo mix.
Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch.
Classic Drawmer Build Quality with Rugged Steel Chassis and Alluminium Front Panel.
Designed and manufactured by Drawmer in the UK.
If you're looking to add vintage characteristics and analog musicality to your recordings then look no further than the 1977, Drawmer's most comprehensive channel strip to date.
The 1977 gives you the clarity of an ultra clean preamplifier, the precision of the three band parametric equaliser, the silkiness of the soft knee compressor and added to this the ability to dial in as much warmth as you desire via the 3 types of variable harmonic saturation.
The pristine preamplifier not only incorporates mic, line and instrument D.I. with 66dB of stepped gain, allowing you to make ultra clean, transparent and precise recordings, sweeten up dull audio or perfect your guitar sound, but also mic matching via switched impedance that brings out the best of every mic in your studio. Whether high-end, ribbon or even your dullest mic you will be able to find it's sweet spot.
The 1977 incorporates a true 'parametric' equaliser, with three bands of fully variable frequency control and cut and boost of +/-12dB's and, in addition, a fully variable bandwidth control of the mid band, making it incredibly versatile and capable of modifying everything from subtle fine tuning to tone sculpting problematic recordings, and, of course, anything in between.
A full featured compressor allows you to control the dynamics of your recordings and our trademark 'Big' and 'Air' modes help to preserve the very deep lows and enhance the sparkling highs that lesser compressor's remove. The compressor section also incorporates variable harmonic Saturation with a choice of 3 styles, that will allow you to warm up your recordings with complete precision.
The output section includes a wet/dry mix for parallel processing that allows you to easily dial in how much EQ and compression is used via a single knob. Finally the 1977 has an output fade control to either add fade outs or to boost the level to match high end audio interface audio input levels, along with a large backlit VU meter for accurate monitoring.
The result of all these features is a modern take on vintage gear that gives you an incredible degree of control over the clarity, tone and warmth of your recordings, helping you to capture perfect audio every time.
Features:
A THAT Corporation ultra clean mic preamplifier with 66dB of gain with phantom power and switchable mic impedance for accurate mic matching.
Separate Line & Mic input XLR's and pro quality instrument DI input with through output. Plus an XLR for the dedicated ultra clean direct pre-amp output and also for the overall output.
FETs can be bypassed altogether to provide ultra clean outputs. A variable high pass filter control removes any rumble and allows you to tighten up the bottom end.
Phase reverse.
Vintage-style three band full parametric EQ which takes it's inspiration from 1970's-era analogue gear, with variable frequency, +/-12dB cut and boost and variable bandwidth. Switchable slopes plus low peak settings allows you to adjust the focus and also magnify the bottom and top ends.
Compressor includes standard controls and also 'Big' and 'Air' Modes Help to preserve the very deep lows and enhance the sparkling highs.
Rear panel Side-chain insert point provides even further control.
3 types of variable Saturation adds vintage warmth.
The order of the EQ and Compressor can be swapped and also each can bypassed to allow for comparisons.
Variable Wet/Dry Mix plus Output Gain knobs give a 'Parallel E.Q. and Compression' function without the need for external mixing devices, providing complete and effortless control over the amount of equalisation and compression used and output levels.
A backlit Analogue V.U. Meter with Switchable +10dB Rescale Mode.
Time delay relays on the output for clean power up/down.
Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch.
Classic Drawmer build quality with rugged steel chassis and aluminium front panel.
Designed and Handmade by Drawmer in the UK.
1978 - Stereo FET Buss Compressor
The 1978 is a Buss Compressor like no other - compression with character, controlled distortion, tonal shaping, wet/dry mixing - others have tried but have never managed to build a compressor that is this versatile and yet intuative. It's never been easier to get that elusive characteristic sound that sets mixes apart from the rest. 1978 glues the mix, brings out the bass, controls the highs, adds warmth, distortion, smoothen, widen, sound less digital more analogue - and at a price that's right for even the smallest studio.
The Drawmer 1978 builds on the success of the award winning 1973 multiband FET compressor and adorns an unparalleled array of controls to give complete mastering over mixes, and all in a deceptively simple 1U frame.
In addition to the usual Ratio, Threshold, Attack and Release controls, the 1978 features four character switches offering a wide range of compression flavours, as well as a variable saturation control to add harmonic distortion to the signal. Side chain functionality is also included with side chain insert points on both channels and a very comprehensive and flexible Side Chain EQ section which offers LF and HF controls with a choice of specific shapes and frequencies for precise frequency-conscious compression such as de-essing. A wet/mix control also allows you to blend the processed signal with the dry for parallel compression.
A fast reacting Dual colour backlit VU Meter is employed to provide a visual indication of the amount of saturation added. Time delay relays are incorporated into the outputs to provide clean power-up and down with no pops or bangs, and a low hum toroidal linear power supply. The Drawmer 1978 is a truly flexible compressor made in the UK with high-quality components.
Features
Stereo FET compressor in a 1u rack mount housing.
Familiar Threshold, Ratio, Attack and Release controls.
4 character switches to give a multitude of compression flavours
Variable Saturation control to dial in harmonic distortion
Comprehensive side chain EQ giving simultaneous control of frequency and level of filtering for the low and high bands.
Wet/Dry mix control and output level.
Dual colour backlit VU meters act as a visual indication for the amount of saturation.
Time delay relays on outputs for clean power up/down
Internal Low Hum Toroidal Linear Power Supply With Voltage Selector Switch
Designed and manufactured by Drawmer in the UK.
The 4x4R is a 4 in/16 out mic/line signal splitter. Its extremely high audio quality, robust build make it the ideal tool to provide multiple outputs for live sound, broadcast coverage, sports events, live recording, press conferences, corporate events and any situation where distribution of high quality audio is required. It incorporates 4 studio grade mic/line pre-amps, each providing up to 66dB of gain and 16 balanced output stages, each with the option of transformer isolation and comprehensive linking facilities.INPUTS
4 STUDIO GRADE MIC/LINE PRE-AMPS
INDEPENDENT INPUT BARGRAPH METERING
66dB OF VARIABLE GAIN
48V PHANTOM POWER
MIC/LINE SWITCHING
HEADPHONE MONITORING FACILITY
OUTPUTS
4 OUTPUTS PER CHANNEL
OPTIONAL TRANSFORMER ISOLATION
LINKING
CAN BE CONFIGURED AS:
1 IN/16 OUT, 2 X1 IN/ 8 OUT, 1 IN/12 OUTAND1 IN/4 OUT ASWELL AS 4 X4 IN/4 OUT
The CMC3 Compact Monitor Controller consolidates the feature sets of Drawmer's 3 most popular monitor controllers: Whilst retaining the famed accurate, and transparent audio quality of the MC2.1, it has the precision and control of the MC3.1 and the low profile, compact design of the CMC2. It is equally at home in a serious home studio as in a professional recording facility. There is one thing that should always be absolutely guaranteed - that you can rely on the accuracy of your monitor controller. Drawmer monitor controllers do not flavour, colour, warm, improve or brighten the signal, the active circuit has been designed to faithfully produce the audio signal whilst removing many of the problems that a passive circuit will bring. For all Drawmer monitor controllers it is imperative that what you record is exactly what you hear.
Accurate & TransparentWith the same Drawmer pedigree as the MC2.1, the CMC3 circuit is just as transparent and accurate. It has been designed to remove the limitations that a passive circuit brings, such as the ability to increase the volume for quiet passages and improved mix checking, without adding the artifacts that lesser quality active circuits introduce. PrecisionThe CMC3 supports 3 sets of stereo monitors, plus a dedicated mono speaker/sub-woofer output, each can be switched individually and simultaneously and in any order, especially useful for A/B comparisons. The sub-woofer can be used with multiple speakers, or turned off altogether.
The volume control utilizes a parallelled custom quad pot for excellent channel matching and smooth feel, as does the secondary preset volume control on the front. This provides repeatable calibrated output level for the monitors, so that at the flick of a switch the engineer can hear the mix at the same predetermined volume, time after time, without having to meticulously adjust controls. Multiple ConnectionsThe CMC3 is very well connected with 4 stereo inputs in total: 1x SPDIF digital input (24 bit/192kHz), using the same DAC chipset as the established MC3.1 monitor controller, 2 stereo balanced jack inputs, plus a 3.5mm jack with variable level control for Smartphones/MP3 Players.
In addition, it has a 2 professional quality headphone outputs with a separate amplifier and level control, that provide the same audio quality and mix checking as the CMC3 does through the speakers. Talkback is also included with internal or external microphone, level control and audio routing to a dedicated mono output jack & headphones. Advanced Mix CheckingThe comprehensive mix checking facilities of the CMC3 include dim, mono, phase reverse, left and right cut as well as an easy access mute switch, allowing to check the quality of recordings: tune into the mix to hear any unwanted artefacts, test the effectiveness of the stereo mix, check for phase cancellation, listen to the stereo difference. Features that many monitor controllers lack. CompactThe CMC3 packs a lot of features into a small unit. The whole package is presented in a very low profile desktop enclosure of just 3.5 cm high with a footprint of 27 x 16 cm.Tough & SecureWhilst being smart and stylish the rugged, all steel enclosure will withstand the knocks and bumps of the studio, and, coupled with the high quality components used, the CMC3 is built to last. In addition, a Kensington security slot provides protection from thieves.
Features:
Ultra low noise and transparent circuit design.
Source switches can be active in any combination. 4 Inputs in Total - 1x Digital SPDIF (192 kHz / 24 Bit) & 2 on balanced analogue 1/4" jacks & 1 3.5mm Front Panel Aux jack for Smartphones/MP3-Players.
3x Speakers Plus a Mono Sub can be switched individually & simultaneously or give A/B comparisons.
Timed relay protection on all speaker outputs to prevent power up/down bangs.
Volume can be set via the Variable Front Panel Knob or a Preset Control. Each has parallelled custom quad pots for excellent channel matching and smooth feel.
2x Headphone Amplifiers with Individual Level Controls with easy access to the jacks on the front.
Front Panel 3.5mm AUX Input & Level Control for connecting MP3 player, smartphone or tablet etc.
Built In Talkback with Level Control, Internal or External Microphone, and Internal Routing to a Mono Output Jack & Headphones.
Comprehensive Mix Checking facilities Include Dim, Phase Reverse and Mono, Left and Right Cut as well as an easy access Mute switch.
Kensington security slot (also called a K-Slot or Kensington lock).
Very low profile desktop enclosure with a footprint of just 27x16cm.
Stylish and Rugged Enclosure will withstand the knocks of the studio.
Designed and manufactured by Drawmer in the UK.
The CMC7 is a compact 8 channel / 7.1 / 5.1 surround volume controller and cost-effective alternative to the more complex and feature rich MC7.1. In order to maintain it's compact proportions and to keep the product budget friendly the CMC7 does away with controls that can often be found within your workstation software and concentrates on essential features such as ease of use and the quality of the signal path, ensuring that the audio is transparent and accurate across all channels and operation intuitive.
Whether it is producing audio for film or television, or transporting the listener directly into the venue of an all-encompassing orchestral piece, one thing is sure, the number of users that wish to listen to audio within a surround setting has been growing and will continue to do so. There has been an ever-increasing number of surround products coming to market, not only blue ray players and home cinema but also on mobile and media devices. For example, Apple devices have been capable of reproducing 7.1 surround since iOS 9.3. Therefore, it is likely that at some point every artist and engineer will consider trying surround sound, or fear being left behind. The budget friendly CMC7 allows you to do this without the large financial outlay that other setups will produce.
Accurate & Transparent
Coming from the same stable as the MC2.1, MC3.1 and MC7.1 you can be sure of the same high quality for the Drawmer CMC7 Surround Monitor Controller. The circuit is just as transparent and accurate. It's controls have the same quality feel and operation and the huge volume knob provides excellent channel matching, and smooth feel.
You hear exactly what you've recorded!
Surround Sound
The 8 inputs and outputs are provided via two balanced 25 pin d-sub connectors wired to the Tascam standard making connecting easy. It allows for 8 independent channels, 5.1, 7.1, quadraphonic, DTS®, Dolby Digital EX,THX Surround EX™, DTS-HD™, Dolby Atmos®, etc, the setup is up to the user.
With the Stereo Mix switch active the surround mix can be bounced down to a 2.1 signal in the front left and right monitors and sub-woofer, to test the quality of the recording when in stereo. In addition, it has a professional quality stereo headphone output with a separate amplifier and level control, that provides private mix checking, a DIM switch reduces output by 20dB and a MUTE switch is also available to cut the output completely.
Precision
The circuit design of the CMC7 ensures that the channel matching of all 8 channels is consistent throughout the full range of the volume control. Other manufaturers of surround controllers use multi-ganged potentiometers to achieve the levels of the 8 channels, this is especially true of passive surround controllers, this simplifies the circuit but leads to discrepancies in the level of each channel, especially at the lower and upper volumes, where accurate channel matching can vary wildly.
Compact
The CMC7 packs a lot of features into a small package. With a footprint of just 18x16cm and a very low profile the CMC7 won't hog your desk space like some other controllers do. And if your on the move it's small enough to pop into a bag to take anywhere.
Tough & Secure
Whilst being smart and stylish the rugged, all steel enclosure will withstand the knocks and bumps of the studio, and, coupled with the high quality components used, the CMC7 is built to last. In addition, a Kensington security slot provides protection from thieves.
Can you trust the audio that your current monitor controller is providing? Is it colouring the sound? For all Drawmer monitor controllers it is imperative that what you record is exactly what you hear. There is one thing that should always be absolutely guaranteed - that you can rely on the accuracy of your monitor controller.
Es gibt eine Vielzahl von Anwendungen für die Übertragung von symmetrischen Audiosignalen in Mono und Stereo von einer einzelnen Quelle an verschiedene Bestimmungsorte: Mehrzonenbeschallungssysteme, Live-Sportübertragungen, Rundfunkstudios, Regieräume und viele weitere Anwendungen, in denen Signale in hervorragender Audioqualität über lange Kabelwege verteilt werden müssen. Der Drawmer DA-6 ist ein Verteilverstärker mit sechs Stereo-Kanälen (oder zwölf Mono-Kanälen) und besitzt symmetrische XLR Ein- und Ausgänge, die optional mit hochwertigen Übertragern ausgerüstet werden können, wenn entfernt liegende Verstärker und Aufnahmegeräte von separaten Netztteilen betrieben werden. Der Stereo-Eingang verfügt über individuelle L/R Pegelsteller mit einer LED-Balkenanzeige und ermöglicht das korrekte Ausbalancieren von einem Stereo- oder zwei Mono-Signalen. Jeder der sechs Stereo-Ausgänge besitzt weitere Regler für L/R-Pegel sowie einen Mono/Stereo Schalter, über den gewählt werden kann, ob pro Kanal ein Stereo- oder zwei Mono-Signale ausgespielt werden. Dank dieser Eigenschaft lassen sich mit dem DA-6 diverse Kombinationen zwischen 1 x Stereo-In auf 6 x Stereo-Out bis hin zu 1 x Mono-In auf 12 x Mono-Out realisieren. Die Ausgangssektion besitzt einen Kanalselektor, mit dem der L/R Ausgangspegel jedes Kanals ausgewählt und auf der LED-Balkenanzeige angezeigt werden kann. Zusätzlich kann der jeweils ausgewählte Kanal über den Kopfhöreranschluss abgehört werden. Über die rückseitigen AUX-Link Stereo-Klinkenbuchsen lassen sich mehrere DA-6 miteinander verbinden, um weitere Kanäle zu verteilen. Features: [ 1-6 oder 2-12 Verteiler [ XLR Ein- und Ausgänge [ individuelle Pegelsteller [ LED-Balkenanzeige für Ein- und Ausgang [ Monitorsektion [ hohe Audioqualität [ speist lange Kabelwege [ kaskadierbar [ optionaler Übertrager ISTX pro Kanal Technische Daten [ Eingangsimpedanz: 15kOhm [ Eingangspegel (max.): +23,5dBu [ Ausgangsimpedanz: 33Ohm [ Ausgangspegel (max.): +22,5dBu [ Rauschabstand: -95dB [ Verzerrung: < 0,008% [ Frequenzgang: 18Hz-32kHz -1dB [ Spannungsversorgung: 115V oder 230V, 30 W [ Abmessungen: 19", 1HE [ Gewicht: 4,05 kg
Drawmer DL 241XLRThe DL241XLR also provides a full Attack/Release Compressor with variable Threshold and Ratio. The DL241XLR can limit the peak level of the output signal, and provides comprehensive bar graph displays for easy function monitoring. A fully balanced hard-wire bypass connects input to output so the signal can pass through the unit with no power applied. And that's just the beginning. New comers to the audio world will find that the DL241XLR not only fulfills all their compression needs but is easy to learn and operate, while more seasoned veterans won't be bored to tears by limited controls and functions. But whatever you finally decide is its best feature, the DL241XLR will probably be an integral part of your set-up for a long time! Features:• 2 channel, 1 rack unit Auto/Manual Gate/Compressor/Limiter• Manual attack and release control• Proprietary "Programme Adaptive" soft gate (envelope follower)• Proprietary auto compressor with slope based attack and envelope following release• Zero overshoot limiter (+20dB)• Intergrated circuit VCA• Proprietary log level detector (not RMS)• Extensive metering• -10/+4 XLR individually selectable on each channel
”Auto Compressor” Modus Hard und Soft Knee Modi Auto Attack und Release Hardware Bypass Funktion 19” / 1HE Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
The D-Clock is a dual input/twenty output word clock distributor with a 16 character blue LCD display providing a reference measurement of the incoming sample rate. Both AES/EBU and BNC word clock inputs feature a zero latency loopthrough output with switchable high impedance to maintain the correct level of the digital signal for onward distribution. The D-Clock displays incoming sample frequencies up to 768 kHz to an accuracy of 2ppm (parts per million) with two further modes - sample frequency with ±ppm error and sample frequency with % pull up/down for video users. 2 in/20 out Clock Measurement and Distribution Amplifier Inputs: BNC with zero latency loopthrough AES with with zero latency loopthrough Outputs: BNC loopthrough / AES loopthrough 20 BNC clock outputs 33½ impedance 3 sample rate measurement LCD modes accurate to 2ppm Universal voltage filtered mains power input Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
Es ist allgemein bekannt, dass ein erstklassiger, hochstabiler Master Clock Generator eine der wichtigsten Komponenten für hochwertige digitale Aufnahmen in modernen Tonstudios und Produktionsumgebungen ist. Oft sind dies jedoch komplizierte Geräte mit zahlreichen zusätzlichen Funktionen, die für diesen Einsatzzweck absolut überflüssig sind. Anders die M-Clock Lite: Die Aufgabe des Gerätes ist die Bereitstellung einer einfach zu bedienenden, hochwertigen Master Clock, die mit sämtlichen bestehenden und zukünftig zu erwartenden Taktfrequenzen kompatibel ist. Die Genauigkeit der M-Clock Lite liegt bei +/- 1ppm und erfüllt damit die AES Grade 1 Spezifikationen. Features: Taktraten von 44.1 bis 384kHz bei äußerst niedrigem JitterWord Clock Eingang10 Word Clock Ausgänge, acht auf der Rück- und zwei auf der FrontseiteHochwertige Verarbeitung AES Grade 1 Genauigkeit der Clock +/- 1ppmTechnische Daten: Eingänge: 1x Word Clock (33 Ohm)Ausgänge: 10x BNC Word Clock (33 Ohm)Sampleraten: 44.1, 48, 88.2, 96, 176.4, 192, 352.8 384kHzSpannungsversorgung: 85 V - 250 V, 15 WGewicht: 1,7 kg
DS101 - Noise Gate for the 500 SeriesThe Industry-Standard High-End Noise-Gate comes to the 500 Series!The DS101 is the first noise gate designed specifically for the 500 Series rack system and takes its place alongside the Drawmer family of industry standard Noise Gates, such as the DS201, DS501 and DS404. Anyone familiar with those units will immediately be at home with the DS101.Based on a single-channel of the DS201 the DS101 is a sophisticated noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, such as variable high and lowpass filters for “frequency conscious gating.”Other features include comprehensive envelope control, attack, hold, decay, and range, plus a whole host of other features, all adding up to one amazing processor.When placed side by side in a 500 series rack two or more gates can be linked using the new infra red triggering mechanism employed on the DS101. This means that any number of gates can be linked with each having their own envelope shaping whilst the trigger pulse passes through unchanged, this opens up a whole world of “envelope follower” effects limited only by your imagination.Features- Fully featured noise gate based on the industry standard DS201.- Takes up a single 500 series slot.- Proprietary Hysteris or “trigger stabilization” to prevent “chatter” around the threshold.- Fully variable high pass and low pass filters for “frequency conscious” gating.- Comprehensive envelope control, attack, hold, decay, and range.- External triggering via key input or the new IR trigger pulse from another DS101.- “Key Listen” facility.- Extremely fast attack time, to preserve the natural attack of the sound.- Linkable - up to ten units in one rack space - with individual envelope shaping.- Drawmer “traffic lighting” metering.- Can be used for “Gating” or “Ducking”.- Low noise design.Technical Specifications- Connectors: Multiport Connector (500 series)- Input Impedance: 20K Ohms- Maximum Input Level: +17dB- Output Impedance: 50 Ohms (Bal) 100 Ohms (Unbal)- Maximum Output Level: +17dBu- Frequency Response: 22Hz to 43KHz- Distortion: 0.01%- Signal to Noise Ration: -92dB- Dimmensions: One 500 Series slot / 37.8mm(W) x 133.4mm(H) x 170.0mm(D)- Weight: 0.38 kg
1980 hat Ivor Drawmer das DS201 entwickelt, das erste frequenzabhängige Noise Gate der Welt. Und dieses Gate hat die Bedeutung sowohl im Studio wie auch auf der Bühne komplett neu auf den Kopf gestellt. Er machte die zusätzlichen Parameter Attack, Hold und Release bekannt, die ein auf die Vorstellungen des Tontechnikers zugeschnittenes Modellieren des Signals ermöglichen. Das DS201 verwandelte das Noise Gate von dem was es früher war - ein einfacher EIN/AUS Schalter - in ein mächtiges Produktions-Werkzeug. Der Schlagzeug-Sound wurde durchwegs besser und Effekte wie Gated Reverb oder Gated Room Ambience wurden erstmals möglich. Es ermöglichte Tontechnikern in Konzerthallen den Drums den notwendigen EQ und Druck zu verpassen, ohne dass es zu Ranging oder Feedback kam.Bis heute sind das DS201, DS404 und DS501 unbestritten die Industriestandards für Noise Gates auf der ganzen Welt.
Die KickBox4x4 ist ein universell einsetzbarer Mic/Line Signalsplitter mit 4 Eingängen und 16 Ausgängen. Ihre herausragende Audioqualität, robuste Bauweise und Transportfähigkeit machen die Kickbox 4x4 zum idealen Werkzeug zur Bereitstellung mehrerer Ausgänge bei Live-Events, Rundfunkübertragungen, Pressekonferenzen und in allen Situationen, in denen hochwertige Audiosignale verteilt werden müssen.
Das Gerät besitzt vier hochwertige Mic/Line-Vorverstärker in Studioqualität mit bis zu 66dB Gain sowie sechzehn symmetrische Ausgangsstufen, die optional mit Übertragern nachgerüstet werden können. Des weiteren gestatten vier Balkenanzeigen ein optimales Einpegeln der Vorverstärker. Das Gerät wird serienmäßig in einem robusten Transportkoffer mit abnehmbarem Deckel ausgeliefert. Features: [ 4 hochwertige Mic/Line Vorverstärker [ Balkenanzeige pro Kanal [ 66dB variabler Gain [ 48V Phantomspeisung [ Mic/Line Umschaltung [ Abhörfunktion für Kopfhörer [ 4 Ausgänge pro Kanal [ Ausgangsübertrager optional (KickBox4x4/TO) [ flexible Konfiguration, kompakt, leicht [ vielfältige Einsatzbereiche: Pressekonferenzen, Live Splits, Rundfunk [ robuster wasser- und staubdichter Transportkoffer Technische Daten: [ Eingangsimpedanz: 1k Ohm (Mikrofon), 4,1k Ohm (Line) [ Eingangspegel (max.): +21dBu [ Ausgangsimpedanz: 50 Ohm [ Ausgangspegel (max.): +21dBu [ Rauschabstand: -128dB (Mikrofon), 100dB (Line) [ Verzerrung: < 0,005% [ Frequenzgang: 13,4Hz-46kHz -1dB [ Spannungsversorgung: 115V oder 230V, 20VA [ Abmessungen: 305mm (B) x 144mm (H) x 270mm (T) [ Gewicht: 3,8 kg
Der LA12 ist ein rauscharmer Verteilverstärker mit breitem Frequenzgang und geringem Übersprechen, der speziell für die Vervielfältigung von Kassetten in Echtzeit entwickelt wurde. Als effiziente, preiswerte und gleichzeitig qualitativ äußerst hochwertige Lösung eignet sich der LA12 bestens für diesen Anwendungszweck. Features: Stereo-Eingang mit Master-Gain und Balance-Regelung wölf Stereo-Ausgänge mit individueller Ausgangspegel-Regelung Aux-Stereoausgang, zur Verbindung mit weiteren LA12, für weitere Stereo-AusgängeArbeitspegel von -20dB - +10dBmaximale Durchgangsverstärkung +20dBhochwertige Cinch-Buchsen für eine einfache InstallationTechnische Daten: Eingangsimpedanz: 22k Ohm Eingangspegel (max.): +10dBu Ausgangspegel (max.): -40dB bis +10dBu Rauschabstand: -100dB Verzerrung: < 0,015%Frequenzgang: 5Hz bis 25kHz -1dBSpannungsversorgung: 115V oder 230V, 7 WAbmessungen: 19", 1HEGewicht: 3,4 kg
939,00 €*
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