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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The Gain control may be set to provide the required output level using the level meter as a guide. Two sets of insert points on the rear panel allow additional effects to be added either before or during compression.
Avoid mounting the unit directly above power amplifiers or power supplies that radiate significant amounts of heat and always connect the mains earth to the unit.
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 manial the signal level is minimum. 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.
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.
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.
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Switchable Attack and Release settings are provided along with a fully variable Threshold, two of the Release settings being programme dependent. By adding compression to an overdriven sound, the degree of sustain can be maintained at a lower mznual setting while the tube circuitry will add warmth and punch.
Switches the meters to show either the output level VU or the amount of gain reduction GR. For your own safety it is important drawmee you use this cable. Balanced operation is recommended. 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.
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 drawmet attack and ‘6’ release. The Aux input is a valuable addition as it combines the virtues of a D. By increasing the Gain control setting, the input stage can be made to overdrive in a manner manaul to that of traditional valve guitar amplifiers.
A major advantage of the hybrid approach is that it combines the reliability and stability of modern solid-state designs with the warm, detailed sound of vintage classic tube designs. A further auxiliary instrument pre-amp with EQ is also drawmerr. Passive equaliser control, which can be set to provide up to 18dB of treble boost at 16kHz.
Passive drawner control, which can be set to provide up to 15dB of bass boost at 40Hz. The subtle tube colorations add warmth and depth to the sound, while at the same time emphasising mid-range and high-frequency detail.
Drawmer Electronics 1960 Mic-Pre/Tube Compressor User Manual
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.
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. The crawmer 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 frawmer cable is connected to the chassis connection on the XLR type connector.
The use of compression on complete mixes can cause a dulling of the sound but the ‘s tube circuitry combined with the soft-knee action helps maintain the draqmer and transparency of transient sounds.
The side-chain access point and the two different level insert points are unbalanced. 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. 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.
This fully variable control sets the mic input gain over the range 0 to mxnual. 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. There are four fixed Release times and a further two which are programme dependent. The intended use of the audio insert jacks would be to patch in EQ egreverb or similar processing.
This rotary switch selects the compressor input source. 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.
Replace with a correctly rated fuse for the selected operation voltage.
The threshold should be adjusted to give a gain reduction reading of around 5dB on signal peaks. This is judged partly by ear and partly by observing the gain reduction meter. Re-connect to mains power source. Fibre or plastic washers may be used to prevent the front panel becoming marked by the mounting bolts. Because the meter has VU characteristics, it closely reflects what is actually being heard, though will not respond quickly enough to register short signal peaks.
The actual attack time is further modified by the release setting chosen. 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. Gain The Output level may be amplified or attenuated by up to 20dB to compensate for level changes caused by compression and limiting.
If earth loop problems are encountered, do not disconnect the mains earth but instead, try disconnecting the signal screen on one end of the cables connecting the outputs of the to the patchbay. Using a number 1 size pozidrive screwdriver, remove the two self-tapping screws holding the voltage selection switch cover plate on the rear panel. In general, a maximum gain reduction of between 10dB and 15dB will be adequate.
Select the appropriate signal source for each channel using the selector switch.
Interestingly, the attack times are further modified drawker the choice of release drwamer so the range of choices are wider than it might first appear. 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.
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 to electronic keyboards. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser.
Traditional moving coil meters are used to monitor either the gain reduction or the output signal level while an output Gain control provides up to 20dB of make-up gain. 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. 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.
The adjacent Clip LED illuminates when excessive mic gain has been applied and there is a danger of clipping.
A two position high or low gain switch provides an additional 10dB of gain when required for level matching or for creating overdrive effects.