Drawmer

Drawmer MX40 Punch Gate
The MX40 Punch Gate is a high performance, simple to use 1U four channel noise gate that offers the same extraordinary sonic character, ingenuity, and high technical specification that have made Drawmer the world standard in gating technology. The MX40 is the first low cost, truly professional gate to offer the features and performance typical of much more expensive noise gates.The MX40 is the first Drawmer product to feature proprietary Peak Punch circuitry which adds unique dynamic enhancement to the leading edge of percussive material, adding true punch to the performance. The MX40 also includes Drawmer's Frequency Conscious System (first introduced with the DS201 Dual Gate), which tunes the gate to react only to a specific frequency band, dramatically improving gate operation. The MX40 packs four channels of high power Drawmer gating into a single rack space, with controls and indicators designed to make set up faster and easier. The Drawmer MX40 Punch Gate offers improved signal definition in complex mixes by isolating desired signal from unwanted background noise. It is especially important in sound reinforcement and the recording of short term sounds such as percussion. The MX40 Punch Gate Frequency Conscious System 'opens' the gate only when a signal exceeds the threshold you set within a specific and variable frequency band. This enables the gate to distinguish between a snare and a high hat, tom-toms versus bass drum etc. Drawmer's new Peak Punch circuitry further improves definition by dynamically enhancing the leading edge of transient signals immediately after gate opening, so percussive sounds 'punch' through the mix. The controls of the MX40 are designed to reduce typical lengthy and complex gate set upPush button options include Peak Punch On/Off, 'Frequency Trigger' On/Off, -20dB or -90dB Attenuation and Gate Bypass. The industry standard Drawmer red/yellow/green 'traffic light' LED display gives the user reliable indication of gate status. Special features include 'Key Listen' that enables the user to hear just the trigger signal for easier set-up. If Frequency Conscious operation (Frequency Trigger "On") is used, depressing Key Listen will enable the user to hear only the frequency band 'tuned' in on the Frequency Trigger rotary control. External Key allows the gate to be opened by an external signal. The MX40 can also be set so Channel One triggers all other gate channels, and 'Slave Link' links Channel One and Two together and/or Three and Four.Controls Three rotary controls are needed per channel: 'Frequency Trigger' sets the frequency band the gate reacts to.'Threshold' sets the level at which the gate opens. Release' determines how long before the gate closes after falling below the set Threshold level. Threshold: This rotary control sets the level at which the gate opens (or closes) and may be set anywhere between -60dB to +20dB....details

Drawmer MX50 De-Esser
The MX50 is a flexible, simple to set up dual De-Esser designed to fulfil the needs of the Recording Studio, Broadcast, Theatre and Live Sound Industries. Its classic application is to overcome the problems that can arise when sibilant sounds (S's and T's) are over-emphasised by the human voice, with such other applications as smoothing a stereo mix, reducing string noise on acoustic guitars or breath noise on flutes, even refining cymbal and hi-hat sounds. Processing is achieved by adjusting just two control parameters, Frequency and De-Ess. The fully variable Frequency control operates from 800Hz to 8KHz encompassing the full sibilant range, including 'hard' sounding harmonics and other side-effects which can be generated when treble frequencies are boosted or enhanced. This is followed by the variable De-Ess which acts as a 'more' control giving up to 20dB of gain reduction at the selected frequency. The human voice is one of the most diverse signals ever encountered by engineers because it contains such large variations in level and harmonic structure. Getting the desired vocal sound can sometimes prove difficult. Setting the E.Q. to give the vocal sufficient 'definition' and 'cut' in the mix can cause large sibilant peaks which often lead to severe distortion. The MX50 Vocal De-Esser solves these problems quickly and efficiently by reducing the level of the sibilant sounds while leaving the remainder of the signal unchanged.The MX50 has two modes of operation: Split Band de-essing Recommended for the majority of applications, this mode splits the audio spectrum into two bands with the split point being dictated by the position of the Frequency control. Only frequencies above the split point are attenuated. Full Band de-essing A useful alternative where unobtrusive minimal processing is required. This mode reduces the total signal level in response to sibilant peaks in the selected frequency band. Further features are also incorporated to improve ease of control and flexibility: Floating Threshold System: This intelligent Drawmer circuitry has a floating Threshold that adapts to the dynamics and level of the incoming material, eliminating the need for a manual Threshold control and creating more natural results. Air function: As sibilance rarely occurs above 10KHz this feature adds back high frequency 'gloss' in excess of 12KHz preserving upper harmonics and increasing the transparency of operation. Frequency: This control selects the frequency band in which the de-esser operates. In Split Band mode this control also determines the split point above which gain reduction will take place. The control is continuously variable from 800Hz to 8KHz and covers the full sibilant range. De-Ess: Adjusts the amount of gain reduction that will take place when a sibilant sound has been detected. Up to a maximum of 20dB may be applied. This control uses an intelligent Floating Threshold circuitry which removes...details

Drawmer MX60 Front End One
The MX60 Front End One is a unique mic/line/instrument input channel in a single rackspace providing high-quality Drawmer processing prior to tape/hard disc recording. Also ideally suited to project studio and live sound applications, the MX60 functions as a studio-grade mic preamp, Program Adaptive gate, de-esser, compressor, limiter, three-band EQ and multi-band tube saturation stage. Grass Roots - The MX60 draws its technology from the most successful of Drawmer products. The mic preamp features the same discrete component design found in the legendary Drawmer 1960, the de-esser is derived from the MX50, the VCA based compressor is similar to the MX30, while the peak limiter and gate can be tracked back to the DL241 compressor/limiter.ControlsInput Stage: The input stage may be switched to accept mic, line, or instrument level signals - the XLR mic input has switchable 48V phantom power and phase reverse, while the line input is on both a balanced +4dB TRS jack and an unbalanced -10dB jack. A high-impedance instrument jack is located on the front panel for use with electric guitars, basses, synths and drum machines.Program Adaptive Gate: Drawmer's proprietary Program Adaptive circuitry means that all the time constants are automatically optimised for the material being processed. This enables stable gating and eliminates 'chatter' around threshold. Controls via a single variable threshold and switchable fast/slow auto release.De-Esser: Floating threshold de-ess operation where the de-esser automatically and continually readjusts its own threshold level. The MX60 de-esser is almost completely automatic-all you have to do is select a switchable male or female setting and adjust the amount of de-essing required. Only the sibilant sounds are subjected to gain reduction so that the lisping effect of simpler de-essers is avoided.EQ: High and low shelving sections as well as fully parametric mid-range EQ with variable frequency, 'Q', and +/-18dB cut/boost.Compressor: High-quality VCA compressor based on that of the MX30 and DL241. Both the attack and release times are Program Adaptive leaving the user with only ratio, threshold and make-up gain to adjust.Tubesound: Multi-band 'tube saturation' allows you to create subtle warming, high frequency effects or out-and-out obvious effects via three separate, independently adjustable audio bands. Low settings on all bands enable replication of classic tube mic sounds.Output: The output stage includes a limiter with a preset threshold (+16dB) and a variable master fader with output bargraph metering which sets the overall output level from OFF to +15dB. A two-stage soft/hard limiting approach has been adopted with yellow and red LEDs signifying soft (approaching limit point) and hard limiting (hitting limit point)....details

Drawmer Six-Pack Multi-Channel Surround Dynamics
The Drawmer Six-Pack represents the industry's first dedicated multi-dynamics processor for surround mixing. The Six-Pack continues Drawmer's tradition of audio workhorse products which will continue to perform time and time again - even in a rapidly changing audio delivery environment.The Drawmer Six-Pack is a single 3U unit that will provide dynamics control in any format from mono to 5.1 surround. With six independent expander/gates, six independent auto or manual compressors, six zero overshoot limiters and an LFE channel plus the ability to link channels individually, the Drawmer Six-Pack makes surround dynamics easy. In the studio, any analogue audio source from mono to stereo to full surround can be handled in one unit. In live sound, outboard applications such as drum processing or vocals can be dealt with in one easy-to-use unit, with both auto and manual operation. Alternatively the unit can be re-configured at the push of a button to provide dynamic control and speaker protection without image-shift for the fast developing surround sound speaker rigs employed in the club dance scene. The design of each processing module is derived from the industry standard Drawmer DL241 Compressor to deliver transparent and predictable dynamic control. The six channels of processing are arranged vertically to occupy the minimum rack space. On Channel six the user has the option to switch in a 120Hz filter to create an LFE channel. This feature is also useful to derive an LFE from a previously recorded five channel only, full band surround mix. Instinctively laid out LED bargraph metering gives clear visual indication of all dynamic functions. Universal Linking facilities allow for the various configurations commonly used in multi-channel surround processing as well as the conventional stereo and single channel operation.•PEAK LIMITER - Programme Adaptive, variable Threshold, Zero Overshoot limiter variable from 0dB to +16dB. An LED display of limiter activity.•COMPRESSOR - Soft-Knee compressor with variable Threshold (-40dB to +20dB), Release (0.05 to 5 seconds), Ratio (1.2:1 to infinity), Attack (0.5 to 100mS) and Gain make-up (±20dB). Switchable auto/manual Attack and Release with LED status display.•EXPANDER/GATE - with variable Threshold control (-70dB to +20dB) and variable Release time from 0.05 to 1 second. Dual LED gate status display is provided.•METERING - Eight LED bargraph meters display gain reduction, input/output levels and single LEDs display Master/Link status and Bypass.•BYPASS - Each channel features switchable Bypass with LED status. A relay hard wire bypass system allows the unit to still pass audio when the power is off....details

Drawmer SP2120 Speaker Protector
Step 1: Insert key to unlock front panel and adjust VU meter preset until the peaks of the incoming audio illuminate the red endstop 0dB LEDs.Step 2: Adjust max output level preset until sound system volume reaches the maximum permitted SPL as specified by the installer or client. Remove key . . . and sleep soundly.The Drawmer SP2120 Speaker Protector offers both strict level control and tremendous peace of mind to the contractor, installer and venue in the knowledge that only the maintenance engineer and the venue manager hold a key. As its name suggests the 1U, two channel processor eliminates the possibility of 'unauthorized' excessive sound pressure levels on speaker systems which could result in damage to both chassis drivers and amplifier electronics. The unit also gives a wide variety of venues, such as clubs, theaters, pubs, schools, universities etc. the opportunity to comply with the local legislation regarding noise levels.The SP2120 front panel features an integral security lock to ensure that adjustments to maximum volume levels are implemented by key holders only. In 'unlocked' mode two front panel presets are exposed and available for adjustment by the installer. The first calibrates the 16 segment Left/Right bargraphs to the incoming audio and dictates the point at which 'protection' processing commences. The second sets the absolute volume level to which the sound system is allowed to perform. If the SP2120 receives increased signal levels, the transparent 'protection' circuitry is activated which maintains the specified system volume level without degradation in sound quality.The SP2120 greatly benefits from Drawmer's 25 years experience in designing industry standard dynamic processing devices. Its signal path combines a mixture of 'multiple time constant' circuitry and automatic gain control (AGC) which allow small overloads to sound louder - even though they're not. Its concept and development was encouraged by Drawmer distributors and installers dissatisfied with other protection systems currently available. These often take the form of a crude switch, either turning off the power or disconnecting the speakers, both of which are 'disruptive' in any event.The SP2120 is intended to be inserted in the sound system immediately prior to the amplifier stage....details

Drawmer DL 241XLR 2-Channel Compressor
The DL241XLR Dual Auto-Compressor incorporates many automatic functions allowing sound engineers to achieve optimum results in minimum set up time. But this Drawmer Compressor doesn't compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance. Facilities available on the DL241XLR include:Expander/Gate Drawmer's unique "Programmed Adaptive Expansion" circuitry allows effective single control operation' producing a fast smooth response and eliminating chatter' on or around threshold. This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal. The Expander/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position. Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action.Compressor A full Auto Attack/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control. The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression._Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241. Selecting the 'Auto' mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, often the case when processing a complete mix or a virtuoso bass guitar performance. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression.Peak Level Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level. When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary. The 'Zero Response Time' is essential to avoid unpleasant distortion when mastering for CD or sending any signal to digital equipment._'Zero Response Time' means that the DL241 provides complete protection from even the fastest and shortest signal 'spikes' (overloads), making the unit also ideally suited for speaker system protection in sound reinforcement applications.Metering Comprehensive b...details

Drawmer 1960 Mic Pre/Tube Compressor
Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console.The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear.Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the...details

Drawmer 1961 Vacuum Tube Equalizer
Designed to complement the widely acclaimed Drawmer 1960 Mic Pre-Amp Vacuum Tube Compressor, the 1961 Vacuum Tube Equalizer combines low-noise circuitry with no fewer than twelve active tube stages to provide two channels of exceptional equalization possessing unique 'personality'. Rather than employ a continuously variable resistor as a means of frequency control, the 1961 utilizes the same rotary 'step' switching system used in vintage designs . This enables the component values for each frequency band to be optimized for uncompromising performance across the entire audio spectrum and also makes setting up more accurate, particularly when treating stereo signals.The 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. Facilities available on the 1961 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...details

Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor
The 1969 Mercenary Edition, derived from a collaboration between two of the audio industry's most established names, Drawmer (UK) and Mercenary Audio (USA), Fletcher - Producer/Engineer, Mercenary Audio incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments. Retaining the concept of twin mic pre-amps, the 1969 uses 'Burr-Brown'op amps for a silkier sound - and a phase reverse switch available in instrument, mic and line modes increases versatility. The 1969 employs true stereo link operation with channel one's threshold, attack and release controls becoming master to both channels. Stereo link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100 Hz minimizing undesirable pumping during compression. Output gain make-up can be independently controlled on each channel....details

Drawmer Three-Sum Multi-Band Interface
The Drawmer Three-Sum Multi-Band Interface gives you the benefits of multi-band processing with the ability to apply different parameters to different sections of the audio bandwidth.Locking in your audio to any one specific multi-band unit can vastly reduce the creative options. The Drawmer Three-Sum opens up a whole new set of options, allowing sound engineers to split the audio into two or three bands and to apply a sonic signature to each part of the audio bandwidth.The Three-Sum employs a high-quality signal path culminating in a variable threshold, brick wall limiter section with bypass facility. To ensure transparency the limiter design is 'two stage', applying different processing to the H.F. content of the material. In applications where the dynamics of the material need to be retained to create an open sound, the limiter is essential for catching peaks.The THREE-SUM has been designed for use in high-end mastering and general recording applications, alternatively, it can transform a project studio, equipped only with 'single band' processors, into a serious multi-band facility....details

Drawmer DA6 Balanced Distribution Amplifier
The Drawmer DA-6 is a six channel stereo (or twelve channel mono) distribution amplifier featuring XLR balanced inputs and outputs with optional transformer balancing where remote amplifiers and recorders are fed from separate power supplies.The distribution of mono and stereo balanced audio signals from a single source to multiple destinations has many applications including multi-zone sound reinforcement installations, live sports events coverage, broadcast studios, video suites, duplication or indeed anywhere high quality audio has to be distributed to a number of locations down long cable runs.The stereo Input features individual left/right level controls with LED bargraph metering enabling the correct balancing of stereo material or two mono signals. Each of the six outputs incorporate further left/right level controls and a Mono/Stereo switch providing the selection of either one stereo output or two mono outputs per channel. This feature allows the DA-6 to function as either a 1 x stereo input/6 x stereo outputs or 2 x mono input/12 x mono output unit or any combination of the two._The output section consists of a Channel Select so that the individual left/right output level of each channel is displayed on the output LED bargraph and can be monitored by the Headphone jack socket. A pair of auxiliary link stereo jack sockets (TRS) are provided via the rear panel for connection to further DA-6 units for the distribution of even more channels....details

Drawmer 1968 Mercenary Edition Tube Compressor
The 1968 is a 1U Tube/FET 'stereo bus' compressor which by design delivers a transparent 'open' sound even during periods of heavy compression. Featured on both channels is a switchable 'BIG' mode which applies less processing to the fundamental low frequency but still disciplines the upward associated harmonics which if untamed can result in a 'boomy' or 'boxy' sound. The result - a solid bottom end with enhanced sub-bass and a smoother, wider frequency response overall....details

Drawmer DL241 Auto Compressor
The Drawmer DL241 Dual Channel 'Auto-Compressor' highlights the beginning of a new generation of dynamic processors which set new standards of sonic excellence. Its combination of features, displays and well designed control functions make it an outstanding product for a vast range of broadcast, sound reinforcement, and recording applications.The DL241 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance.Facilities available on the DL241 include: Expander/Gate. Drawmer's unique "Programmed Adaptive Expansion" circuitry allows effective 'single control operation' producing a fast smooth response and eliminating 'chatter' on or around threshold. This design differs from that of conventional Expanders in that the Expansion Ratio, Hold Attack and Release continually adapt themselves to the dynamics of the incoming signal. The Expander/Gate provides 80dB range and variable threshold from +20dB to 70dB with an OFF position._Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. Compressor. A full Auto Attack/Release Compressor with variable Threshold and Ratio successfully combines the smoothness of the 'Soft Knee' principle with the precision of a 'Ratio' control. The advantage of this combination is that instead of the onset of compression being sudden at the threshold point the ratio increases over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression._Selectable manual or fully automatic Attack and Release times dramatically extend the application range and user scope of the DL241. Selecting the 'Auto' mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, often the case when processing a complete mix or a virtuoso bass guitar performance. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression.Peak Level. 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from OdB to +16dB above system level. When set to the required level, any excessive peaks will be stopped and the gain momentarily decreased if necessary. The 'Zero Response Time' is essential to avoid unpleasant distortion...details

Drawmer DL251 Spectral Compressor
The Drawmer DL251 Spectral Compressor, incorporates a variable 'Dynamic Spectral Enhancement' (D.S.E.) section which eliminates the problems associated with full band compressors by restoring the high frequency energy lost during the full band compression process. This enhancement circuitry is extremely effective where compression and limiting are employed for broadcast transmission, or across complete mixes in a stereo mixdown situation. Dynamic Spectral Enhancement has many creative applications when recording individual components at the multi-track stage, particularly on acoustic guitar, piano, brass and vocals. Facilities available on the DL251 include:Compressor. The compressor section can be switched to provide either HARD or SOFT knee compression In both the HARD and SOFT modes a Ratio control is available In the SOFT mode the ratio increases gradually over a 10dB 386input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression.Selectable manual or automatic Attack and Release times dramatically extend the application range and user scope of the DL251. Selecting the 'Auto' mode removes the need for manual adjustment and is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as on complete mixes, vocals or 'slapped and pulled' bass guitar. Under manual control the wide range of adjustment available gives the user the ability to create dynamic effects as well as normal compression.Enhance Level. A variable Enhance control can be used to 'dynamically' boost any high frequency energy lost during the full band compression process and has sufficient range to add additional 'Spectral Energy' to the programmed material for creative processing. When no compression is taking place, the 'Dynamic Spectral Enhancement' circuitry is inoperative and so no change is made to the signal. However, as the signal level rises to the point where gain reduction is taking place, the Enhancement system 'kicks in' applying dynamic boost which is directly related to the amount of gain reduction taking place. A front panel switch offers an instant A/B comparison of this feature and a green LED indicates the amount of enhancement taking place.Metering. Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and input/output signal level Gain reduction from 1 dB to -30dB is shown simultaneously with signal level from 20dB to + 15dB Other single LEDs indicate function status of Hard/ Soft compression, Auto Attack/ Release, Side chain monitoring, Bypass, Enhancement, Peak Limiting, Stereo Linking and Power on.Side Chain Listen. A front panel push button with LED status enables the monitoring of any external processing applied to the side chain access connections on the rear panel.Bypass. A fully balanced hard wire bypass connects the input directly to the output...details

Drawmer DL441 Quad Auto Compressor/Limiter
The DL441 Quad Auto Compressor/Limiter captures four channels of Drawmer's innovative DL241 'Auto Compressor' in only 1U of rack space. The inclusion of new sophisticated 'automated' circuitry allows the engineer to precisely control both the dynamic range and 'absolute' peak level of the program instantly, without sacrificing essential control parameters. This perfect balance of features makes the DL441 ideal for use in sound reinforcement and outside broadcast applications where an economy in rack space is essential. Each channel combines a fully professional 'Auto Attack/Release' Compressor with a variable threshold 'Peak Level' Limiter on the output providing a transparent 'endstop'. High resolution bar-graph displays on each channel allow gain reduction and output level to be viewed simultaneously, of particular importance in darkened concert hall or control room situations. Facilities available on the DL441 include:Compressor - The compressor section can be switched to provide either HARD or SOFT knee compression In both the HARD and SOFT modes a Ratio control is available. In the SOFT mode the ratio increases gradually over a 10dB input level range until it reaches the ratio set on the front panel control, thus achieving a more natural sounding compression In HARD mode the compressor provides a more precise means of controlling gain, where the ratio as set on the front panel is applied immediately the signal exceeds threshold. This is particularly useful in many broadcast applications. HARD knee compression can also be used creatively as an effect, particularly in the treatment of drum and guitar sounds, or for giving rock vocals a 'compressed sound'.Auto Attack and Release - removes the need for manual adjustment by producing a response which constantly follows the dynamics of the signal. This enables the DL441 to preserve crisp transients without allowing excessive peaks to occur. A smooth yet lively recovery from compression minimizes side effects such as 'pumping' and 'breathing'. This feature is particularly valuable when the program being treated does not have predictable or consistent dynamics, such as complete mixes, vocals or 'slapped and pulled' bass guitar.Peak Level Limiter - 'Zero Response Time', 'Zero Overshoot' circuitry provides an absolute limit to the peak level of the output signal, adjustable from 0db to +16dB above system level. 'Zero Response Time' transparent limiting means that the DL441 provides complete protection from even the fastest and shortest signal overloads, making the unit ideally suited for speaker system protection in sound reinforcement applications. The sophisticated circuitry will also prevent unpleasant distortion when used for digital mastering.Metering - Comprehensive bar graph displays give 'at a glance' indications of gain reduction, and input/output signal level Gain reduction fro...details

Drawmer DS201 Dual Noise Gate
The DS201 is a sophisticated dual channel noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, and not found on conventional noise gates. These features and its "user friendliness" have made it the "industry standard" throughout the world.Setting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined.The DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum.Drawmer pioneered the concept of frequency conscious gating, and the Drawmer DS201 was the first noise gate to include this feature.The very fast attack of the DS201 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise.Another important role played by the gate is in the reshaping of existing sounds. An example of this might involve a simple sampling delay line used to store a sound to be re-triggered later and added to a mix. A gate can be used to impart a slower attack or faster decay to the sound and careful setting of the decay envelope can effectively hide any noise present at the end of the sample. When using a sampler or drum machine the gate can be considered a triggered envelope shaper, and the wide range allowed by the envelope controls make the DS201 ideal for this application.The unit can be switched to accept a key input, which allows the gate to be triggered externally. An example of this would be to use a snare drum signal to open the gate on a se...details

Drawmer DS501 Power Gate
The DS501 is a sophisticated dual channel noise gate with fully tuneable Peak Punch incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, and not found on conventional noise gates.Positioned in the Drawmer range over the industry standard DS201 Dual Gate, the DS501 Power Gate features a new dual mode tuneable Peak Punch processing section on each channel. In tuneable mode a fully variable frequency selector with a range from 75Hz to 16kHz allows the user to shape the transients of the gated signal and 'tune-in' to the particular area of the audio spectrum where the Peak Punch is to be active. In addition a variable 'more' control allows the user to tailor the amount of processing. A secondary Full Band Peak Punch mode is also available. Designed principally for drum and percussive gating applications, tuneable Peak Punch makes it possible to add transient punch to frequencies lacking in individual drum sounds, adding greater definition and presence to the gated signal. Using low frequency Peak Punch adds depth to thin drums, whilst higher frequency Peak Punch can dynamically emphasise rim shots or the 'crack' of a snare drum. Setting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined. The DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum. The very fast attack of the DS501 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low l...details

Drawmer DS404 Quad Noise Gate
The DS404 Quad Noise Gate has been designed to the highest specification to complement the DS201 Dual Noise Gate, acknowledged as the industry standard gate throughout the world. Recognizing that there are many general gating applications which require equipment that is simple to operate and which occupies the minimum of rack space, Drawmer designed the DS404 Quad Noise Gate utilizing new and unique Program Adaptive circuitry. This makes the DS404 ideally suited for use over a wide range of input signals, ranging from drums and other percussive instruments through to vocals, pianos and even complete mixes. Facilities available on the DS404 include:Frequency Sensitive. The provision of variable Low-Pass and High-Pass Filters allows without compromise frequency selective gating. The unit can be switched for either Internal or External Key source and the KEY LISTEN facility enables monitoring of the filter setting.Hard/Soft Gating. Each channel of the DS404 can be operated as a HARD or SOFT gate, providing quite different characteristics. Two coloured LEDs clearly indicate mode status._In the HARD mode the DS404 offers ultra-fast response time, stable triggering with complete freedom from chatter around threshold and a specialized release contour which is ideally suited to drums and other percussive material._In the SOFT mode the DS404 becomes a versatile Expander capable of handling vocals and sub mixes. Drawmer's unique 'Programme Adaptive' circuitry is used to optimise the attack time and ratio as well has having some effect on the manual release setting . A more gentle release characteristic is utilized to complement the SOFT gateThreshold. A fully variable threshold control provides a range from +20dB to -70dB.Release Control. A fully variable release control is provided with release times from 10 ms to 5 sec to ensure that essential envelope control is not sacrificed in exchange for an economy in rack space.Attenuation Range. The DS404 has switchable attenuation between 90dB and 20dB to allow for applications where a complete mute is not desired.Chain Linking. Operating the LINK control switches the channel on the right to SLAVE operation, where its gating mode, threshold and envelope characteristics are controlled by the MASTER (left) channel. Any adjacent three channels or two stereo pairs can be linked in this way for use in any conceivable situation where linking may be required.LED Displays. Drawmer's familiar tri-colour LED display is once again utilized as the optimum method for indicating the envelope status for each channel.Input/Output. The DS404 is provided with balanced inputs and outputs on XLR connections....details

Drawmer DSL424 TwoPlusTwo Dynamics
The DSL424 provides the engineer with a 1U four channel comprehensive toolbox capable of solving the most complex dynamic problems. Incorporated in the 1U package are two industry standard frequency conscious noise gates and two soft/hard knee compressors with variable threshold limiting.The channels may be front panel configured as four individual stand alone processors, a stereo linked pair of comp/limiters with a stereo linked pair of gates. Alternatively, any combination of processing can be achieved by rear panel patching. The DSL424 combines the gates of the DS404 with the comp/limiters of the DL441 to provide a versatile 1U problem solver invaluable in applications where rack space is limited....details

Drawmer LA12 Line Distribution Amplifier
The LA12 is a low noise, low crosstalk distribution amplifier with high bandwidth specification, developed specifically for real time cassette duplication. As more and more facilities invest in this form of tape copying, the LA12 offers the efficient solution to interfacing multiples of real time cassette decks....details

Drawmer MX30 Gated/Compressor/Limiter
The MX30 Gated/Comp/Limiter is a low cost professional quality dynamics processor containing some of the proprietary design circuitry used in the more expensive models in the Drawmer range. The MX30 has many automated features enabling fast, effective dynamic control whilst retaining the instinctively laid out control parameters, sonic character and high technical specification which have made Drawmer the industry standard. The MX30's competitive price point brings Drawmer's professional processing into a much wider musician, project studio and live performance area.Operational control is split into three sections:- Gate, Compressor, Output: 'Program Adaptive' Gate Used to remove unwanted noise below a pre-set level, each channel consists of a variable Threshold Gate incorporating Drawmer's 'Programme Adaptive' circuitry. Although quick and simple to operate, the gate's auto-circuitry continually optimises such parameters as Attack, Hold, Ratio and Release, completely eliminating 'chatter' when the signal is fluctuating on or around Threshold. Two LED's show when the signal is 'above' or 'below' Threshold and a push button switch allows additional control of Release time. This design approach also retains all 'leading edge' information making the gate ideal for 'cleaning up' vocals or retaining the 'punch' on gated drums. Switching is provided for 'Fast' or 'Slow' release characteristics. The 'Fast' mode can be used for instruments with rapid decay times or for additional tightening of the gating effect. The 'Slow' mode is more suitable for vocals and instruments with longer decay times or can be used to smooth over rough fade outs. A single LED indicates gating action. Soft Knee 'Auto Compressor' The gate is followed by a variable Threshold, variable Ratio, soft knee compressor with fully automatic Attack and Release. Large transients are controlled instantly whilst small signal variations are treated gently, retaining as much 'life' as possible and without generating unpredictable side effects. From the slightest to the most aggressive levels of compression, the MX30 handles it all with ease and displays the amount of compression taking place on a high resolution Gain Reduction bargraph meter. Output The Gain control is used to compensate for the amount of compression and brings the signal to the required output level as displayed by the output bargraph meter. A variable Threshold 'zero overshoot' limiter, essential for avoiding distortion when mastering to digital or speaker protection in a 'live' situation, adds the final polish to the signal by keeping control over signal peaks. The Limit threshold provides an absolute maximum peak level which no signal can pass. Fast transients are clipped instantly whilst more sustained peaks are dealt with by applying Gain Reduction, indicated by a single LED....details

Drawmer S3 Multi-Band Stereo Tube Compressor
The Drawmer S3 Multi-Band Stereo Tube Compressor offers previously unattainable control and tonality over each of the three bands. Gain control at each stage provides precise spectral balancing. The signal path consists of high performance input/output transformers, passive components and 10 tubes: 8 ECC83 and 2 12BH7 configured as a fully balanced Class A design. Because the LDR's (Light Dependent Resistors) in the compressors are temperature sensitive the Drawmer S3 houses an 'electronic oven' which provides and sustains the optimum LDR operating temperature - thereby maintaining calibration accuracy and improving performance. The S3 stereo tube compressor's front panel LED indicates temperature status. Large-scale VU meters are switchable to 'Peak' mode to show transient information. Two further VU meter re-scale modes are available (+10dB and +20dB) to accurately display the S3 compressor's ability to output levels of up to +30dBm. The Drawmer S3 Multi-Band Stereo Tube compressor has a master output section that includes controls for both Gain and stereo balance to compensate for source material with a Left/Right imbalance or disproportionate processing....details

Drawmer S2 SIGNATURE SERIES DUAL CHANNEL TUBE COMPRESSOR
The Drawmer S2 is a dual channel tube compressor that features a host of creative processing possibilities.BIG- Retains bass frequencies and minimizes undesirable 'pumping' by rolling off the detection signal at 75, 125 or 250Hz (user switchable). A fully variable level control allows for the desired amount of Big processing and an in/out switch provides the option to remove from the signal path for A/B comparison.BRIGHT- A dynamic high-frequency enhancer to keep compressed audio sounding fresh and bright with continuously variable frequency control (500Hz to 20kHz) and amount of dynamic enhancement.DRY- Mixes user defined amount of 'uncompressed' signal with the compressed signal to create 'parallel compression effect' without the need for external mixing devices....details

Drawmer D Clock Word Clock Measurement and Distribution Amp
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. Sixteen BNC clock outputs are situated on the rear panel with a further four BNC clock outputs on the front panel for quick patching to other digital devices. The word clock outputs can be derived from either a word clock input or alternatively an AES/EBU audio signal from which clock information can be stripped. In the latter case, one of the many mic pre's with internal A/D conversion but no word clock output can be utilised as the master clock source for the whole digital studio....details

Drawmer M Clock Plus Master Clock/Dual Sample Rate Converter
The Drawmer M-Clock Plus: As the complexity of digital studios grows, and new equipment is added, or the ability to send a stable clock signal to different types of gear is essential in order to avoid digital clicks and pops. But what about DJ or other gear that doesn't have word clock? Or maybe you have AES digital outputs without any clocking at all. The Drawmer M-Clock Plus Grade 1 Master Clock Dual SRC is the answer.The Drawmer M-Clock Plus is a high stability master clock generator offering clock rates from 44.1 to 192kHz, coupled to 2 sample rate converters, which allow material to be re-sampled and syncronized to the selected high precision clock.The Drawmer M-Clock Plus supplies ten word clock outputs, as well as two simultaneous outputs of S/PDIF and AES/EBU allowing you to synchronize your digital workstation, A/D converter, digital mixer and a host of other digital audio equipment through one stable and very accurate unit. Certain equipment in the studio may not have word clock inputs, which has in the past caused synchronization problems. Using the DMS-5 M-CLOCK Plus, these digital audio sources may be synched to the same ultra low-jitter, AES grade 1 stability master clock generator as the equipment using the word clock outputs from the DMS-5. In addition, if any equipment in the studio suffers jitter at its output these sample rate converters may be used to de-jitter and re-clock the signals before further transmission. The M-clock Plus provides a wide range of sample rates from 44.1k upto 192k, all set using the front panel switching. Each sample rate converter input is fed simultaneously to AES/EBU, SPDIF and TOSLINK outputs solving any connectivity problems and allowing signal distribution. The Drawmer M Clock Plus has precision clock frequency measurement and display that indicate the exact frequency of the selected clock, whether internal or external, to an accuracy of 2ppm....details

Drawmer M Clock Lite Master Clock
The Drawmer M-Clock Lite: One of the essential requirements for high-quality digital recording is a first class, high-stability master clock generator. And it's pretty much a guarantee that you're going to adding more digital gear to your setup, which means you'll need to provide a master clock for more units. And as digital technology improves, clock rates are going to get higher. Rather than adding more clocks and daisy chaining to get the number of WC I/O you need, or paying for I/O you won't use, the Drawmer M-Clock Lite provides you with a simple, high-quality clock generator with 10 word clock outputs, and is forward compatible with high-speed clocks predicted for the future. M-Clock Lite features an AES Grade 1 master clock generator, meaning that the generated clock has a long-term frequency accuracy of +/- 1ppm....details

Drawmer A2/D2 Dual Output A/D Converter
The Drawmer A2/D2 has been meticulously designed to faithfully and transparently re-create your analog signal in digital format using as simple and intuitive a method as possible. The A2/D2 is a stereo A/D converter delivering simultaneous dual stereo outputs at different selectable sample rates from 44.1kHz to 192kHz - so it is possible to have a main output at, say 192kHz with another at 44.1kHz as a low resolution copy.A high-quality Burr Brown input stage has been incorporated, coupled with the AES Grade 1 digital converted outputs, making the A2D2 perfect for recording, mastering and post-production from all of your analog-to-digital devices. The analog input is fed simultaneously to two separately controlled outputs both in AES/EBU, SPDIF and TOSLINK formats enabling a backup copy to be made of the signal, as well as solving any connectivity problems and allowing signal distribution.Microphones are analog, speakers are analog, storage is mostly digital and signal processing can be either analog or digital, software or hardware based. So at some point in the signal path, you'll need an A/D converter. Step up to the Drawmer A2/D2 a high quality A/D converter that faithfully reproduces analog signals in the digital domain....details

Drawmer KICKBOX 4X4 Portable Active Splitter
The Drawmer Kickbox 4x4 is an all-terrain 4-in/16-out mic/line signal splitter. Its extremely high audio quality, robust build, and portability make the Kickbox an ideal tool for providing 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 requires no rack or installation and can be stored in the vanr for immediate access to up to 16 output channels. It's perfect for small/medium gigs—just remove the lid, plug in the cables, set the levels and you're ready. The chassis/enclosure is incredibly strong and durable, and with the lid closed is water-, dust-, and corrosion proof.Drawmer built 4 studio-grade mic/line preamps into the Kickbox. Each preamp provides up to 66dB of gain and 16 balanced output stages, each with the option of transformer isolation and comprehensive linking facilities.Drawmer supplies the Kickbox 4x4 in a road-proof case with a removable lid for unhindered access to all controls and connections....details