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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Maanual 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. For this reason, it is unwise to use more compression than is strictly necessary.
Drawmer Electronics 1960 Mic-Pre/Tube Compressor User Manual
Because the tube circuitry generates more heat than an equivalent solid-state design, it is advisable to leave space above the unit to allow the heat to dissipate. 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 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.
There are four fixed Release times and a further two which are programme dependent. Re-connect to mains power source. Three switchable Attack settings are provided giving Fast, Medium and Slow attack times.
Disconnect the unit from the mains. Two sets of insert points on the rear panel allow additional effects to be added either before or during compression. 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. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives direct access for guitars or electronic instruments.
The threshold should be adjusted to give a gain reduction reading of around 5dB on signal peaks. A two position high or low gain switch provides an additional 10dB of gain when required for level matching or for creating overdrive effects.
The adjacent Clip LED illuminates when excessive mic gain has been applied and there is a danger of clipping. The passive Bass and Treble controls are based on those used in classic tube guitar amplifiers while the Bright switch puts a peak in the frequency response at around 2kHz to simulate the voicing of a typical guitar amplifier. The Threshold range is continuously variable between infinity and dB, 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 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. If necessary, change the Attack and Release settings to suit the material. 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.
Its use is to attenuate low frequency signals that might otherwise prove troublesome, eg. 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. Fibre or plastic washers may be used to prevent the front panel becoming marked by the mounting bolts. If for some reason the unit is to be used at a mains input operating voltage which is different to that as supplied, the following procedure must be carried out.
Drawmer – Manual
Passive equaliser control, which can be set to provide up to 15dB of bass boost at 40Hz. Use the Output Gain control to restore any level lost due to compression. If more gain reduction appears necessary, it is worth considering applying a conservative degree of compression during recording and then further compression while mixing. 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.
In Stereo Link mode, both channels track together to avoid the inevitable image shifting that would occur if the two channels of a stereo signal were treated independently. In Normal mode, the signal is passed through the compressor.
By adding compression to an overdriven sound, the degree of sustain can be maintained at a lower overdrive setting manuao the tube circuitry will add warmth and punch. 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 meter has VU drqwmer, it closely reflects what is actually being heard, though will not respond quickly enough to register short signal peaks.
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. 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.
Drawmer Electronics –
Attack simply offers a choice of slow, medium and fast whilst release has six settings. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The intended use of the audio insert jacks would be to patch in EQ egreverb or similar processing. Soft-knee compressors are 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.
This stage may be deliberately overdriven if required to add tonal coloration to an instrument, and with the addition of an external speaker simulator, overdriven guitar sounds may be Directly Injected “DI’d” into the mixing console.
Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer provides the ultimate direct interface between the sound source and the recording medium. The signal path incorporates a switchable high-pass majual which may be set to 50Hz, Hz or Off.
The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. Compressing during a mix does increase the subjective level of tape and other background noises during pauses and quiet passages as maximum gain is applied when the signal level is minimum.
This is judged partly by ear and partly by observing the gain reduction meter.
A major advantage of the hybrid approach is that drawjer combines the reliability and stability of modern solid-state designs with the warm, detailed sound of vintage classic tube designs.