Drawmer 1977 User manual

DRAWMER

QUICK START GUIDE

system or translated into any language in any form by any means, mechanical, optical, electronic, recording, or otherwise,

without the written permission of Drawmer Electronics Ltd.

DOWNLOAD MANUAL

Obtain the 1977 Operator’s Manual at

https://www.drawmer.com/uploads/manuals/1977_operators_manual.pdf

or scan the code to the left using a QR scanner app on your mobile device.

PRODUCT REGISTRATION

https://www.drawmer.com/register.php

or scan the code to the left using a QR scanner app on your mobile device.

Congratulations on the purchase of your 1977 Channel Strip. This quick start guide should provide you with the

very basics to get you started with integrating the 1977 into your studio. More information can be found by

going to the 1977 page on the Drawmer website: www.drawmer.com.

Please address correspondence to:

DRAWMER Electronics LTD

Coleman Street

Parkgate

Rotherham

South Yorkshire

S62 6EL

United Kingdom

CONTACTING DRAWMER

We will be pleased to answer all questions to enhance your usage of DRAWMER equipment.

Telephone: +44 (0)1709 527574

E-mail: [email protected]

Further information on all Drawmer products, dealers,

Authorised service departments and other contact

information can be found on our website: www.drawmer.com

CHANNEL STRIP

Use a fast Attack (0.2mS - 100mS) to catch transients, mid speeds to control the dynamics and slow for buss

compression and drums. Release (0.05S - 2S) settings should be slow enough not to cause pumping, but fast

enough that attenuation triggered by the last note doesn’t linger into the next, this can be automated using the

PGM switch. In addition Big & Air switches are included that alter the compressor side chain to thicken the low

end and add vibrancy to the high end. Above a Gain Reduction Meter shows how many dB's the signal has been

attenuated by.

A Saturate section is located next as part of the compressor stage(see below).

During compression the signal is attenuated so gain may be required to produce the required output level using

the Make Up Gain (-10 to +20dB) control. The amount of gain required in order to bring the signal level to the

same is at input is displayed on the G.R. meter.

A fully hardwired bypass switch toggles the Compressor section to be active or not, and is best used for A/B

comparisons, or to remove the compressor stage from the signal path altogether.

SATURATE

The Saturation circuit is located as part of the compressor stage

and is used to add distortion and warm to a recording. The Saturate

Level (0 to 10) sets the amount of Saturation applied to the signal,

from very subtle, through to warm and to over-driven.

Two switches effect the Type of saturation applied. With both

switches inactive the Saturation control operates throughout the

entire frequency range, however, this can produce unwanted

harshness in the low frequencies and excessive sibilance in the high

frequencies - the switch when active cuts the low frequencies

prior to the saturation stage, thus reducing the harshness of the

saturation giving a warmer sound rather than over-distortion to the

bass. The same is true of the switch, it reduces the harshness

of the saturation in the high frequencies, with the effect of far less

sibilance than may otherwise occur.

The combination of variable Saturation plus the Type switches provide absolute control over the amount of

distortion used and allows the engineer to apply either very subtle saturation or to really drive the saturation

whilst still having control over the harshness that may occur.

VU METER & OUTPUT

A backlit moving coil VU Meter monitors the level of the output signal, this has a Pad switch that adjusts it to

show either normal output level or, for those working at ‘hot’ output levels, VU +10dB.

The overall EQ/compression/saturation of the signal can be altered using the Mix control by adjusting an

amount of the original signal (dry) with the EQ/compressed/saturated signal (wet) in an effect similar to

‘parallel compression’, and, in addition, a single Fade (Off to +12dB) control modifies the output. Adjust this

to fade out the signal or so that the output signal approaches the desired level only on signal peaks.

Finally a fully balanced hard-wire Preamp Direct switch connects the preamplifier directly to the output

without passing through the E.Q., the compressor and saturation FET’s, or the mix and gain controls at all.

Use this to provide an ultra clean microphone signal or to hear the extent of the effects in an A/B

comparison.

115V-T1A

230

SERIAL #

DATE CODE

DRAWMER ELECTRONICS Ltd

ROTHERHAM,

ENGLAND.

DRAWMER

AC POWER ONLY

50/60Hz 60 VA230V/115V

WARNING:

RISK OF ELECTRIC SHOCK!

DO NOT OPEN. LIVE PARTS INSIDE.

THIS EQUIPMENT MUST BE EARTHED.

NO USER SERVICEABLE PARTS INSIDE.

REFER SERVICE TO QUALIFIED PERSONNEL.

CAUTION:

TO REDUCE THE RISK OF FIRE,

REPLACE FUSES ONLY WITH THE

SAME TYPE AS SHOWN

FUSES TYPE: STANDARD - IEC127-2

RATING:

INPUT

NEGATIVE

(COLD)

POSITIVE

(HOT)

SCREEN

DISCONNECT GROUND

HERE IF GROUND

HUM LOOPS OCCUR

OUTPUT

NEGATIVE

(COLD)

POSITIVE

(HOT)

SCREEN

DISCONNECT GROUND

HERE IF GROUND

HUM LOOPS OCCUR

230V=T250mA/115V=T500mA

230V=T250mA

CHANNEL

STRIP

LINEMIC

INPUT

PREAMP O/P (CLEAN)

OUTPUT SIDE CHAIN

just before it rolls off. Especially useful on kick drums, it magnifies and gives

extra weight to the hit whilst still filtering out any subsonic junk.

Similarly the High band also has a Slope switch that attenuates the High

frequencies in much the same way as the Low slope, at 6dB or 12dB’s per

octave.

In between each E.Q. band is an overload LED that illuminates to indicate

that the E.Q. section has too much overall gain in total and one, or a

combination of the three cut/boost controls should be reduced.

A fully hardwired bypass switch toggles the E.Q. section to be active or not,

and is best used for A/B comparisons, or to remove the E.Q. stage from

the signal path altogether.

COMPRESSOR

A Compression section is located at the centre bottom of the 1977 front

panel with familiar controls such as Threshold, Ratio, Attack and Release,

plus a Gain Reduction Meter, making setup easy & intuitive, as well as an

integrated Saturation section to add various levels of warmth.

Threshold (-40.0dB to +20dB) determines the input level above which soft

knee compression takes place, whilst Ratio determines the amount of

compression to be used: 1:1 provides no compression, 4:1 moderate &

10:1 is approaching limiting. cont.......

DRAWMER ELECTRONICS Ltd

Rotherham ~ S. Yorkshire ~ England

DRAWMER CH 1CH 2

INPUTINPUT OUTPUTOUTPUT

STEREO PARAMETRIC

EQUALISER

WARNING:

CAUTION:

FUSE:

FUSE RATING

AC POWER

AC POWER ONLY

TO REDUCE RISK OF FIRE REPLACE

FUSES ONLY WITH THE SAME TYPE AS SHOWN

IEC127-2

20 x 5mm

50/60Hz

T315mA

T160mA

115V

230V

DO NOT OPEN. NO USER SERVICEABLE PARTS INSIDE.

THIS EQUIPMENT MUST BE EARTHED.

RISK OF ELECTRIC SHOCK! LIVE PARTS INSIDE.

REFER SERVICE TO QUALIFIED PERSON.

SERIAL NUMBER

EQ for De-essing or Frequency Conscious Compression

1/4” JACK -

SIDE CHAIN INSERT

RETURN

SEND

SCREEN

1/4” JACK -

INSTRUMENT INPUT

HOT

SCREEN

to 1977 INSERT

TRS to XLR Y Lead (EQ insert)

Not all insert points are

wired the same - check

your user manual

TIP

RING

SLEEVE

1 SCREEN

2 HOT

SEND

RETURN

3 COLD

1 SCREEN

2 HOT

3 COLD

E.Q.>Comp / Comp>E.Q.

The 1977 has very comprehensive Equaliser and Compressor stages that

follow the Gain stage. This switch allows the signal path to either route

through the EQ first or the compressor first, as each way creates a distinctly

different tonal quality, and colouration depending on the setting.

E.Q.

The 1977 has a fully parametric three band EQ located top centre of the

front panel. Each band has fully variable frequency that allows you to sweep

and pinpoint specific frequencies (set at LOW, 40Hz to 725Hz, MID, 140Hz

to 13kHz and HIGH, 530Hz to 20kHz) and 12dB’s of Cut and Boost at the

frequencies set within the band. In addition, the MID Band has a fully variable

Bandwidth control (0.25 to 2.75 Octaves) that allows you to either tune into

problem frequencies at the narrow setting, or make more musical

alterations at the wider setting.

In addition the LOW band has a Slope switch that determines how “fast” the

signal is attenuated at the Low frequencies, set in dB’s per octave, and at 6,

9 and 12dB’s plus PEAK. 6dB being more subtle and musical, with 12dB

being more “focused” but noticeable. The Peak setting adds a narrow bell

shaped boost to the 12dB per octave low band filter at the knee frequency

Congratulations on the purchase of your Drawmer 1977, our most comprehensive channel

strip to date. The 1977 front panel is populated left to right firstly with an ultra clean

preamplifier which incorporates mic, line and instrument D.I. with 66dB of stepped gain, and

also mic matching via switched impedance that brings out the best of every mic in your studio.

In the centre of the panel is an incredibly precise three band parametric equaliser that allows

for subtle fine tuning through to signal sculpting, and underneath this a silky smooth soft knee

compressor which incorporates our trademark ‘Big’ and ‘Air’ features and also the ability to

dial in as much warmth as you desire via the 3 types of variable harmonic saturation. A switch

swaps the location of the EQ and compressor in the signal path.

To the right of the unit comes the output section, this includes a wet/dry mix for parallel

processing that allows you to easily dial in how much EQ and compression is used via a single

knob, plus a fade control and large backlit VU meter to achieve perfect output levels.

The result of all these features is a modern take on vintage gear that gives you an incredible

degree of control over

the clarity, tone and

w a r m t h o f y o u r

recordings, helping

you to capture perfect

audio every time.

The 1977 will be supplied with a

power cable and an integral fuse

suitable for domestic power

outlets in your country. If the fuse

blows or the unit is to be used with

a diffe rent mains o perat ing

voltage see the User Manual for

instructions.

Connection

Connector Wiring

1 2

XLR OUTPUT

(MALE)

XLR INPUT

(FEMALE)

IF GROUND HUM LOOPS

OCCUR DISCONNECT

GROUND HERE ON ONE

END OF CABLE

+ (HOT)

(COLD)

SCREEN

FOR UNBALANCED OPERATION CONNECT

PIN 3 AND PIN 1 TOGETHER

DIGITAL AUDIO

WORKSTATION

DIGITAL AUDIO

WORKSTATION

40 60 80100%

10 75303

CHANNEL

STRIP

GAIN

INSTR. INSTR. THRU

O REV

OUTPUT

SELECT

2.4k

600

200

MIC Z

MIC

+48V

LOW

E.Q. HIGH

MID

SLOPE SLOPE IN

FREQUENCY FREQUENCY BANDWIDTH

/Octave dB /Octave

CUT/

BOOST

Octave

1.5

.25 2.75

1.2 1.7

2.3

2.6

FREQUENCY

Hz Hz

160

115 230

75 350

550

45 680

40 725

1.5k

1.2k 2k

800 2.6k

400

250 10k

140 13k

6dB

O/LO/L

9dB

12dB

PEAK 0

12 12

6 6

4 4

2 2

10 10

CUT/

BOOST

12 12

6 6

4 4

2 2

10 10

CUT/

BOOST

12 12

6 6

4 4

2 2

10 10

2.8k 7k

1.75k 11k

15k

620 18k

530 20k

PREAMPLIFIER

1.5

1.2

1mS

2010

.2 100 Sec

1.25

.375

.750

.15

.25

1.5

.05

32 65

13016

010

40 0

1 9

2 8

3 7

4 6

PGM

COMPRESSOR

SATURATE

LEVEL

BIG AIR RELEASE

GAIN

MAKE-UP IN

THRESHOLD RATIO ATTACK

30 36

24 42

18 48

12 54

660

0 66

TYPE

PGM.

EQ>

COMP

>EQ

FREQ. IN

LINE

INSTRUMENT

+6 +12

+18

+24

+30

+36

+42

-6

-12

-18

-24

1 9

2 8

3 7

WET DRY

dB 20

dB 12

OFF

MIX FADE

+10dB

PAD PREAMP

VU DIRECT

G.R.

-dB

25 37101520

DRAWMER

COMP.

PRE-AMP COMPRESSOR SATURATE

EQUALISERE.Q.>COMP SWITCH

OUTPUT

Layout

Controls

PREAMPLIFIER

The peamplifier section is found on the left of the 1977 front panel. A

Source Select six position rotary switch not only selects Instrument D.I.,

Line or Mic sources, but also provides three settings of load impedance at

200, 600 and 2.4k Ohms to aid the matching for a dynamic microphone. In

addition, +48V Phantom Power is available to power a condenser

microphone. NOTE: DO NOT ACTIVATE THE +48V SETTING UNLESS THE

MICROPHONE REQUIRES IT.

An Instrument Input is located in the bottom corner via a 1/4" jack, this is

excellent for use with both active and passive guitar pickup systems as well

as other instruments, such as electronic keyboards, this also has a through

output that provides an unaltered instrument signal . Microphone and line

inputs are found on the rear via XLR’s. A twelve position switch adds Gain in

6dB steps from 0dB to +66dB, making it incredibly easy to have total

control over levels.

The section also includes a Phase Reverse switch that is used should there

be polarity issues, and a variable High Pass Filter that attenuates the audio

between 16 and 130Hz at a slope of 12dB per Octave to remove rumble

etc. that can be switched in or out of the signal path.

Drawmer 1977 User manual

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