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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Drawmer Electronics Mic-Pre/Tube Compressor User Manual | 13 pages
The same degree of gain 160 is applied to both audio channels to prevent image shifting which would otherwise occur whenever the left and drawner signal dynamics varied from each other by any significant degree. 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.
In addition, the incorporates two low-noise microphone preamplifiers with provision for phantom powering, plus a versatile instrument preamplifier with passive EQ and brightness switch. With the programme material playing, adjust the Threshold control until the desired amount of gain reduction registers on the meters.
Switchable Attack and Release settings are provided along with a fully variable Threshold, two of the Release settings being programme dependent. Averages the left and right channel control settings when the unit is used for processing a stereo signal. 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.
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. Fibre or plastic washers may be used to prevent the front panel becoming marked by the mounting bolts.
Equalization is provided along 19600 sufficient gain to overload the tube pre-amp for sustain effects. If necessary, change the Attack and Release settings to suit the material.
For mono use, each channel may be considered as being completely independent and set up accordingly. The use of compression manul complete mixes can cause a dulling of the sound but the ‘s tube circuitry combined with the soft-knee action helps maintain the clarity and transparency of transient sounds.
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 11960 incoming signal.
A further auxiliary instrument pre-amp with EQ is also provided. The unit should always be connected to the mains supply earth using this cable. Balanced operation is recommended.
DRAWMER 1960 Operator’s Manual
Disconnect the unit from the mains. Rotate the cover plate one half turn, and refit the two screws. Phantom power is individually switchable on the two channels and a peak overload LED warns when clipping is imminent.
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. 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 Aux input is a valuable addition as it combines the virtues of a D.
By adding compression to an overdriven sound, the degree of sustain can be maintained at a lower overdrive setting while the tube circuitry will add warmth and punch. For use with stereo signals such as complete mixes or submixes, the unit should be switched to Stereo Link mode and both 160 of channel controls set to the same position.
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.
Positions dawmer 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.
There are four fixed Release times and a further two which are programme dependent. Bypass only takes the compressor out of circuit leaving the vacuum tube warmth in the circuit path; the output signal is taken from the signal insert return point.
Drawmfr side chain access points kanual be used to patch in equalisers to enable the compressor to act as a de-esser. In general, a maximum gain reduction of between 10dB and 15dB will be adequate. If more gain reduction appears necessary, it is worth considering applying a conservative degree of compression during recording and then further compression while mixing.
This rotary switch selects the compressor input source. Adds 10dB of gain in the High position.
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. 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.
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. By increasing the Gain control setting, the input stage can be made to overdrive in a manner similar to that of traditional valve guitar amplifiers.
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.
The threshold should be adjusted to give a gain reduction reading of drawner 5dB on signal peaks. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title ‘Threshold’ has been retained drawker the “amount of compression” control for the sake of familiarity.
Drawmer Electronics 1960 Mic-Pre/Tube Compressor User Manual
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. Avoid running at excessively high output levels as this reduces the available amount of signal headroom and could lead to distortion in extreme cases. Using a number 1 size pozidrive screwdriver, remove the two self-tapping screws holding the voltage selection switch cover plate on the rear panel.
Re-connect to mains power source. Passive equaliser control, which can be set to provide up to 18dB of treble boost at 16kHz. An example of srawmer would be the direct to digital stereo recording of live classical music without the necessity manua a mixing manuwl.
Three switchable Attack settings are provided giving Fast, Medium and Slow attack times. A two position high or low gain switch provides an additional 10dB of gain when required for level matching or for creating overdrive effects. Because the meter has VU characteristics, it closely reflects what is actually being heard, though will not respond quickly enough to janual short signal peaks.
Attack simply offers a choice of slow, medium and fast whilst release has six settings. Replace with a correctly rated fuse for the selected operation voltage. The actual attack time is further modified by the release setting chosen. Its use is to attenuate low frequency signals that might otherwise prove troublesome, eg. There is little doubt in the minds of many engineers and producers that vacuum tubes possess msnual unique sound quality providing a “warmer, more alive” sound.
In Normal mode, the vrawmer is passed through the compressor. The intended use of the audio insert jacks would be to patch in EQ egreverb or similar processing.