DRAWMER OPERATORS MANUAL. CONTENTS: SAFETY CONSIDERATIONS INTRODUCTION APPLICATIONS INSTALLATION AUDIO CONNECTIONS. Vacuum tube compressor, Operators manual • Read online or download PDF • Drawmer Electronics Mic-Pre/Tube Compressor User Manual. Download DRAWMER MIC PRE COMP SCH service manual & repair info for electronics experts.

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In linked mode, the compressor controls should, ideally, be set to the same settings as the control-circuitry for both channels responds to the average between the two channel settings. The instrument preamplifier may be routed through either compressor channel or both and is suitable for a variety of signal sources, from electric guitars and basses drawmwr electronic keyboards.

Soft-knee compressors erawmer generally preferable for unobtrusive level control and the system used in the provides firm control without the side-effects of a fixed, hard-knee design.

There are four, dual-stage tubes in the audio signal path and the compressor section is mznual to provide a soft-knee characteristic which contributes both to the sweet sound of the unit and to its ease of use. The microphone input stages feature extremely low noise, balanced input circuitry with additional tube amplification, enabling modern microphones to take on the characteristics of older tube models. Balanced operation is recommended.

As an instrument amplifier, the provides gain, EQ and compression making it ideal for DI’ing guitars, basses and even keyboards. If necessary, change the Attack and Release settings to suit the material. If more gain reduction appears necessary, it is worth considering applying a conservative degree of compression during recording and then further compression while mixing. The Aux input may also be used for processing the output from a dedicated guitar preamplifier, where the EQ can be used to further tailor the sound before it is compressed.

Disconnect the unit from the mains. It incorporates the same type of passive equalisation circuitry used in traditional tube guitar amps, while the Bright switch emulates the voicing of a typical guitar amplifier.

This fully variable control sets the mic input gain over the range 0 to 60dB.

Drawmer – Manual

Switch settings 1 through to 4 provide progressively increasing release times, while positions 5 and 6 cause the release times to vary in a manner which automatically adapts to the dynamics of the incoming signal. Furthermore, when the compressor is deliberately overdriven, it can be used creatively to produce level ‘pumping’ effects which can be useful both on electric guitar or rock vocal sounds.


Avoid running at excessively high output levels as this reduces the available amount of signal headroom and could lead to distortion in extreme cases. 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.

The actual attack time is further modified by the release setting chosen. Setting up is simplified by the soft-knee compressor action which means that it is only necessary to adjust the Threshold control until the desired degree of gain reduction is achieved.

DRAWMER 1960 Operator’s Manual

Using a number 1 size pozidrive screwdriver, remove the two self-tapping screws holding the voltage selection switch cover plate on the rear panel. The fully conforms to the EMC standards, if you propose to use the unit where it maybe exposed to high levels of disturbance such as found close to a TV or radio transmitter we suggest that the screen of the signal cable is connected to the chassis connection on the XLR 1906 connector.

Because guitar sounds are so subjective, and because they vary so much with instrument and playing style, there are no hard and fast rules to setting up, but a good starting point is to switch Bright ‘On’ and set the compressor for ‘Med’ attack and ‘6’ release.

Because the compression system is based on the Soft Knee principle, the onset of compression is progressive, so no Ratio control is necessary. The Gain control may be set to provide the required output level using the level meter as a guide. 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 manial.

Because the compressor drawemr a soft knee type, it requires few controls. For use with stereo signals such as complete mixes or submixes, the unit should be switched to Stereo Link mode and both sets of channel controls set mwnual the same position. This is judged partly by ear and partly by observing the gain reduction meter. Use the Output Gain control to restore any level lost due to compression.


Switches the meters to show either the mankal level VU or the amount of gain reduction GR. Passive equaliser control, which can be set to provide up to 18dB of treble boost at 16kHz. Re-connect to mains power source. For your own safety it is important that you use this cable. The mic inputs provide up to 60dB of gain while maintaining a noise figure comparable with the better ‘in-desk’ mic preamps.

In dradmer, a maximum gain reduction of between 10dB and 15dB will be adequate. Replace with a correctly rated fuse for the selected operation voltage.

Adds 10dB of gain kanual the Drwamer position. 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.

A further auxiliary instrument pre-amp with EQ is also provided. For high quality location recording, the makes the perfect partner for a DAT machine, as it combines the functions of stereo mic preamp with that of a compressor.

This rotary switch selects the compressor input source. Gain The Output level may be amplified dradmer attenuated by up to 20dB to compensate for level changes caused by compression and limiting. 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 signal path incorporates a switchable high-pass filter which mankal be set to msnual, Hz or Off. The two auto release switch settings continually optimise the compressor action to suit the dynamics of the material being processed, setting 5 being optimised for percussive material and setting 6 for general purpose use. Maanual example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console.