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SP2120 Speaker Protector

Sound System Protection in 2 easy steps...
Step 1: Insert key to ‘unlock’ front panel and adjust VU meter pre-set until the peaks of the incoming audio illuminate the red endstop 0dB LEDs.
Step 2: Adjust max output level pre-set until sound system volume reaches the maximum permitted SPL as specified by the installer or client. Remove key... and sleep soundly.

The new 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 ‘unauthorised’ 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, theatres, pubs, schools, universities etc. the opportunity to comply with the local legislation regarding noise levels.

Main Features:
• Key Holder access only
• Takes only minutes to install
• Dual 16 segment Left/Right bargraphs for ‘at a glance’ level metering
• ‘Protection’ processing 16 segment bargraph display
• No sound quality loss even during heavy protection processing
• Once installed and calibrated completely eliminates the possibility of ‘unauthorised’
volume levels
• Eliminates sound system abuse and the resulting cost of chassis speaker re-cones, HF
diaphragm replacements and amplifier repairs
• Reduces ‘call-out’ costs of sound system service/repair engineers
• Reduces sound system ‘down time’ and the consequential loss of venue income
• Isolation transformer output option

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 pre-sets 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.

1960	There is little doubt in the minds of many engineers and producers that vacuum tubes possess a unique sound quality providing a "warmer, more alive" sound. 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
1961	It has long been recognized that vacuum tubes impart a unique 'warmth' and 'musicality' to an audio signal, but many of the 'classic' tube equalizers fall short of the technical performance demanded in today's digital recording age. 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.
1962	The wide dynamic range of high-resolution digital recording has remained largely unexploited simply because pre-amplifier technology cannot deliver an equivalent dynamic range. More significantly, limited headroom pre-amplifiers may also degrade or "squash" the dynamic range of the sound source, en-route to the recording medium. From the silence of the noise floor to the onset of clipping, the Drawmer 1962 provides an input dynamic range of more than 133dB, eclipsing the performance of other front-end devices and coming close to theoretical perfection. A minimal signal path connects a matched pair of pre-amps directly to the high resolution 24-bit A/D converters. Further innovative processing circuitry including Drawmer's two-band Dynamic Spectral Enhancement (DSE), Fine-Tune EQ, Tube Drive and Transparent Limiting can be inserted in the signal path for creative applications. In addition, the 1962 uses Drawmer's digital 'bit-splicing' techniques to facilitate 24-bit recording on the Tascam and Alesis ADAT 16-bit digital multitrack machines.
1969	The 1969 Main Features: 2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse. Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost. 2 soft-knee tube compressors with variable threshold, attack, release and output gain. True stereo link operation with BIG position for retaining bass frequencies. Side chain access and side chain listen facility. VU metering of gain reduction and output levels. Individual +4dB/-10dB inserts / Balanced +4dB XLR input/output connectors. Based on Drawmer’s original 1960 Mic Pre-Amp/Tube Compressor (itself inspired by the classic Fairchild 670), the 1969 offers a host of new features, and more impressively - a completely new sound!
DA6	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 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 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.
DC2476	The Drawmer DC2476 is an extremely sophisticated, all-digital stereo mastering processor designed for use in demanding recording and broadcast applications. Both analogue (balanced XLR) and digital (AES/EBU and S/PDIF) I/O are provided as standard. The audio converters are 24-bit and the digital output can be either 16, 18, 20 or 24-bit at sample rates of up to 96kHz. Noise shaped dithering is included and Word Clock input and output is available. Main Features 24 bit A/D - D/A conversion 32, 44.1, 48, 88.2 or 96kHz In/Out sample rate Multi band 'Bootstrap' compression Gain Normalisation for maximum loudness Multi band expansion and limiting Five band digital EQ with ±18dB range Dynamic EQ with full band compressor Multi-band tube modelling for musical tone shaping De-essing Word Clock In/Out, Midi In, Out and Thru Three band stereo width control Expert factory patches and user memory Autofade PCMCIA slot for parameter transfer to other Drawmer DC2476 units AES/EBU, SPDIF digital input / output connectors Balanced XLR analogue input / output connectors
DC2496	The Drawmer DC2496 is an extremely sophisticated, high resolution analogue to digital converter designed for use in demanding recording and broadcast applications. Both analogue (balanced XLR) and digital (AES/EBU, S/PDIF, ADAT 8 Channel light pipe and TDIF 8 Channel) I/O is provided as standard. The audio converters are 24bit and the digital output can be either 16, 18, 20, 22 or 24bit at sample rates of up to 96kHz. Noise shaped dithering is included and Word Clock input and output is available. Main Features 96k 24bit A/D with 130dB dynamic range and very low THD. Simultaneously record 96k/48k 24bit stereo input to 48K (three) or 96K (six) tracks to ADAT or TDIF 8 track digital tape recorder and stereo 48k 16bit backup (to tracks 7/8) and record an independant backup copy at 48/44.1 20/16bits to DAT (using internal Sample Rate Converter). Sample Rate Converter with bit reduction and dither to reduce 96/88.2K 24bit recordings to 48/44.1K 16/20bit for CD masters. Built in 96/48K high quality D/A to monitor digital signals or record to analog tape. Dual time constant Stereo Limiter with variable time constants can apply up to 18dB stereo gain to any input signal. 100dB range 64 element stereo signal meter with peak hold. Metering in both dBfs (digital) and dBu (analogue) for ease if use. Selection of Noise shaped dither and bit rounding to reduce 96/48/44.1K recordings to 22, 20, 18 or 16 bits. Digitally copy 8 track stereo or Hi-Res ADAT/TDIF recordings to or from TDIF/ADAT. Auto identify Stereo or Hi-Res recordings upon ADAT or TDIF replay. Inputs from A/D ADAT optical, TDIF, AES, SPDIF, Outputs to D/A ADAT optical, TDIF, AES, SPDIF. Separate Digital Word Sync from D/A TDIF, ADAT, AES, SPDIF or BNC. Rear panel show which sockets are active for easy hookup using Green (for input signal) and Yellow (for word clock inputs) LEDs. Built in 100Hz, 1kHz, 10kHz and dual sine wave generator (100Hz Left Ch, 1K Right Ch) sine tone at -40dB, -20dB and variable -24db to -6dB output level to aid connection difficulties and troubleshooting. Dual PLL for low jitter.
DF330	The DF330 replaces the DF320 ‘Single Ended’ Noise Reduction System which has been favoured by broadcasters and tape duplication facilities since its introduction in 1985. New design features include an automatic high frequency restoration circuitry which compensates for any high frequency loss during heavy noise reduction processing. The new expander section now incorporates Drawmer’s proprietary ‘programme adaptive’ circuitry to facilitate seamless downward expansion during programme pauses. Most noise reductions systems require that the signal be encoded in some way before recording and then decoded inversely on playback. The Drawmer DF330 is a single ended noise reduction system which does not require any previous encoding. Instead, it uses a dynamic filter which senses the highest frequency of incoming program material and opens a filter to that frequency. It has been designed to dramatically reduce noise, regardless of source, in a wide variety of recording/broadcast situations. An example of this is when old recordings are remastered for CD. Some other applications would include: Analogue to digital mastering, reducing tape hiss and noise resulting from high gain and high frequency boost on mixing consoles. Restoring degraded or poorly recorded material for tape duplication and resolving problems with noisy synthesizers, guitar amplifiers, effects units etc.
DL241	The introduction of 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.
DL251	The 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 such programme as acoustic guitar, piano, brass and vocals.
DL441
DS201	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. variable high pass and low pass filters for "frequency conscious" gating comprehensive envelope control, attack, hold, decay, and range key input for external triggering "key listen" facility extremely fast attack time, to preserve the natural attack of the sound balanced inputs and outputs stereo linkable can be used for "Gating" or "Ducking" high audio specification
DS404	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 have designed the DS404 Quad Noise Gate utilizing new and unique 'Programme 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.
DS501	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. 'Tuneable' Peak Punch variable high pass and low pass filters for "frequency conscious" gating comprehensive envelope control, attack, hold, decay, and range key input for external triggering "key listen" facility extremely fast attack time, to preserve the natural attack of the sound balanced inputs and outputs stereo linkable can be used for "Gating" or "Ducking" high audio specification
LA12	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. One stereo input with master gain and balance controls. Twelve stereo outputs each with individual output level controls. An auxiliary stereo output which follows the input gain and balance controls can be linked to the input of a second LA12 if more than twelve stereo outputs are required. The unit will operate at system levels in the range - 20dB to + 10dB. A maximum gain of + 20dB is available through the unit which allows a wide range of 'source' and 'destination' equipment to be interfaced. All audio connections are on professional quality phono (RCA) connectors for ease of installation. Dimensions 482mm (w) x 44mm (h) x 180mm (d).
MX30	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
MX40	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 PunchTM' 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 PunchTM 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 up. Only three rotary controls are needed per channel:
MX50	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 whilst leaving the remainder of the signal unchanged. 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.
MX60	The MX60 Front End One is a unique mic/line/instrument input channel in a single rack space providing high quality Drawmer processing prior to tape/hard disc recording. The MX60 is also ideally suited to project studio and live sound applications. Functioning as a studio grade mic pre-amp, Program AdaptiveTM gate, de-esser, compressor, limiter, three band EQ and multi band tube saturation stage, the MX60 offers the user more options than competitive units currently available. Grass Roots - The MX60 draws its technology from the most successful of Drawmer products. The mic pre-amp 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.
SIX PACK	The Drawmer Six-Pack represents the industry’s first dedicated multi-dynamics processor for surround mixing and 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.

Whats up with Drawmer

DS100 and DL120.

The Drawmer DS100 was a single channel noise gate. The Drawmer DL120 was a single channel compressor. The units were designed to slot into a 5U rack known as a SCAMP module.

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DL221 Dual Compressor and DL231 Dual Expander/Compressor.

The Drawmer DL221 was a dual channel hard knee compressor with limiter. The Drawmer DL231 was a balanced version of the Drawmer DL221 with an expander.

The Expander had variable threshold from +10dB to -40dB. Three switched ratio settings of 1:2, 1:5 and 1:20. Three switched attenuation levels of -10dB, -20dB and -40dB. Expander metering was the 'traffic light' style as used in the DS201 noise gate.

The compressor section had threshold down to -24dB, ratio of 1:1 to 20:1, attack of 50mS to 5 seconds, release of 50mS to 5 seconds and gain of -20dB to +20dB. A ten element universal meter could be switched to show VU or GR.

The limiter section was selectable by a toggle switch. It had a fixed level of +6dB (+10dBU). A single red light showed limiting action.

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E101 Passive EQ.

The Drawmer E101 was a four stage, single channel passive equaliser, followed by a stage of makeup gain to make up for the insertion loss of passive circuitry. Traditional Inductor/ Capacitor/ Resistor circuits are employed in the filter design and a very low noise, solid state amplifier is used to provide the necessary gain. This in our view, gave the best of both worlds; the smoothness of purely passive filtering combined with the low noise, low distortion amplification which can only be accomplished using recent technology. The format of the Drawmer E101 offered a high degree of control at the extreme of the audio spectrum, where precise correction or subtle enhancement is often necessary.

Because the Drawmer E101 used a passive equaliser circuit, separate filter sections were provided for cut and boost. This had the advantage of allowing the user to simultaneously add cut and boost at different frequencies. With all the cut and boost controls set to flat (fully anti-clockwise), the equaliser had unity gain.

There are four equaliser sections, two for the bass end of the audio spectrum and two for the treble. Frequency selection is by means of stepped rotary switches while the cut and boost controls are continuously variable.
BYPASS switches the EQ and make-up gain amplifier out of circuit.
BASS CUT The Bass Cut section employs a shelving Hi-pass filter which may be switched to operate at : 20Hz, 30Hz, 60Hz, or 100Hz. Up to 15dB of cut may be applied and this section is useful for attenuating frequencies below the useful range of the programme being processed or for reducing overall boominess.
BASS BOOST Switched to operate at : 20Hz, 30Hz, 60Hz, or 100Hz., the bass boost section offers a choice of Hi-pass shelving or peaking characteristics. In 'Peak' mode the 'Q' of the filter is 2.5, and the maximum boost is 16dB. In 'Shelf' mode the maximum boost is 13.5dB.
TREBLE BOOST the Treble Boost section comprises a variable 'Q' peaking filter operating at frequencies of 3kHz, 4kHz, 5kHz, 10kHz, and 16KHz. The bandwidth control allows adjustment of 'Q' over the range 0.8 to 2.1. Up to 12 dB of boost may be applied at the minimum 'Q' setting, and up to 18dB of boost are available at the maximum'Q' setting.
TREBLE CUT This section has a shelving Lo-pass characteristic and may be switched to operate at 5kHz, 10 kHz or 20kHz. A maximum of 18dB of cut may be applied. Apart from its tonal applications, this section is useful for attenuating frequencies above the natural range of the programme being equalised which will also serve to attenuate any high frequency noise present in the source programme.
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DS301 Midi Expander Gate.
Discontinued in 1996.
Dual Channel.
Variable Low-Pass and High-Pass filters for frequency sensitive operation.
Switchable AUTO ATTACK and PEAK ATTACK.
Ultra fast response, fully open in 5 µ Secs (1 µ S per 20dB).
Comprehensive envelope control - Attack, Hold and Release (Decay).
100dB attenuation for complete noise isolation.
RE-TRIGGER MASK -Allows the gate to open only once in the set period of time.
Each channel can be switched to operate as a 'PROGRAMME ADAPTIVE EXPANDER' at which time the RE-TRIGGER MASK control becomes the RATIO control.
Simple MIDI programming with a front panel button enables the Drawmer DS301 to recognise and transmit Velocity, Aftertouch, and System Exclusive information as well as the basic 'note on', 'note off' data.
GATE/DUCK-Normal or inverted operation is available.
Key input for alternative trigger source.
Stereo linking.
Balanced XLR connectors.
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M500 Dynamics Processor.
Discontinued in 1996 but still much sought after.

Download the M500 User Manual (4.7MB - PDF)
Download the M500 self-calibration instructions

The Drawmer M500 provides everything you could ask from the most powerful digitally controlled dynamics in the world and more. Its ability to combine up to seven 'effects' simultaneously is unsurpassed.
A different combination of effects and parameters can be assigned for each of its two channels. Utilising two high specification VCAs to provide a minimum signal path, the Drawmer M500 eliminates the disadvantages of limited bandwidth, noise build up, and time delay associated with multiple signal processing.

Ease of Operation. To ensure that the engineer can exploit the full potential of the Drawmer M500 in the minimum of set up time Drawmer have included special features to allow 'user friendly' operation.

128 memory patches to provide instant access to 'everyday' processing tasks.
All parameters of operation can be adjusted by a single rotary encoder.
'Colour coded' keypad for function selection.
Backlit 'supertwist' LCD for easy readability.
Functions (Effects).

FREQUENCY SELECTIVE NOISE GATE- Offers a powerful array of parameters including peak attack, trigger, pre-delay, re-trigger mask and 'Dynamic Envelope Transfer' for fully creative signal shaping.
DE-ESSER- Full band, single band, two band and two band complex.
COMPRESSOR-Switchable Hard/Soft knee compression, selectable Auto threshold, Auto attack/release and Auto gain make up.
EXPANDER-Threshold, ratio, hold, release, and range.
LIMITER-Threshold, attack, hold and auto/manual release.
AUTO PAN-Adjustable parameters and 8 pre-set pan waves triggerable from any source including MIDI.
AUTO-FADER- Fade up time, fade down time, range and trigger source (up to 99 seconds fade time). Keypad or MIDI triggerable.
Memory Patches.

78 factory pre-set memory patches.
50 user memory patches allow the engineer to edit, title and store a library of specialised programmes.
User modifications to a factory pre-set can be compared to the original pre-set using the EDIT/RECALL key.
Additional Features.

Within the noise gate function 16 envelope memories are available for 'DYNAMIC ENVELOPE TRANSFER'. The dynamic envelope (amplitude) of any sound can be simply recorded and imposed onto any audio signal passing through the gate.
Comprehensive 'REAL TIME' MIDI control.
High and low pass side chain filters.
Intelligence to prevent 'parameter abuse'.
All threshold parameters can be displayed simultaneously.
Stereo linking.
Balanced XLR connections.
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DMT1080 Dual Multi-Tracker.

The first Drawmer product, very rare and highly prized. Prospective purchasers should check that the unit is in good working order. Restoration or repair could prove very expensive.

The Drawmer DMT 1080 contains two independant delay lines. A multi section delay having a maximum delay time of 80mS, has taps at 10mS, 30mS, 50mS and 80 mS which are fed to either channel 1 or channel 2 by the touch button selectors. The same tap on both channels produces a mono output whilst different taps produce stereo images. Chorus on either channel produces two delays, each of which is different from the main 10,30,50,80mS delays and the two chorus delays on the other channel; so chorus on both channels gives a stereo image.

The output from an auxiliary 10mS delay is fed via the 'Phase' level control to both channels giving a mono image. A clean feed signal is connected in a similar manner via the 'Feedthrough' level control.

Delay time is variable over a 30:1 ratio either manually ('Manual Delay') or automatically using the internal low frequency oscillator which runs at 0.05Hz to 15Hz.

Control Voltages for each delay line are in anti-phase i.e. when the main delay is at maximum, the 'Phase' delay is at minimum and vice versa. This means that true phasing can occur at several points in the sweep (from min to max delay) as each main delay tap in turn cancels the signal from the auxiliary delay.

Outputs from the main delay taps are of fixed level. They are mixed with the variable 'Phase' and 'Feedthrough' signals before the output level controls. + or - signals from channel 1 can be routed back via the feedback control to the delay line inputs. +feedback produces resonant peaks at short delays whilst - feedback gives a notch filter type of response.

LX20 Dual Expander Compressor.

Many studios start as a small concern, but quickly expand into serious, productive environments. Often, this means selling some of the budget equipment, in order to replace it with equipment of the necessary quality to match the upgraded studio. The Drawmer LX20 is designed to serve the needs regardless of the size and quality of the studio.

Two channel.
Soft knee. The ratio is increased automatically as the compression increases. Only one control is required to adjust compression.
Expander to eliminate low level noise. Release time linked to Compressor Release.
Selectable system level -10dBu or +4 dBu.
Side chain access.
Mute facility.
variable Attack and Release.
Stereo linkable.
Eight element GR meter. Three element signal level meter

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