TEST: Drawmer 1976

Once again, a big name of the earlier decades has set out to dock to old glories. Those born in 1970 and earlier may still remember the pre-DAW days, when tapes and Atari PCs were used to work and synchronize in the biggest and most expensive recording studios. An integral part of any high-quality drum recording were entire Outgear rack systems with Drawmer noisegates and compressors, although the British manufacturer naturally considered other products in its portfolio. With the Drawmer 1976, the manufacturer now brings a processor to the market, which strongly stretches out its feelers in the psychoacoustic field.

The Drawmer 1976's mode of operation

When a manufacturer places its product in one of the most innovative decades of music history, one already has an approximate impression of where the journey is going. Interestingly, however, Drawmer does not go with the 1976 the way of the already heavily occupied area of compressors or filters, but goes into an area that still surrounds a touch of "magic". If one can represent the mode of action of EQs or the like quite wonderfully in an optical variant, then in the psychoacoustic area a correlation meter is possibly still your friend, the rest must be interpreted with the ears. Perhaps this is also the reason why products of this kind still have a niche existence.

As is well known, the only high-flyer in this field, the Aphex Aural Exciter, which originated from an accidentally wrongly wired cable and which was so hotly traded after its release in the mid-seventies that the device could only be rented by the hour, brought it to world fame. Like many other products, the Aural Exciter was slowly laid to rest with the advent of the DAW and its manifold plug-ins. So what drives Drawmer to launch an outgear product in 1U format over 4 decades later, which enters the race with plenty of vintage attitude?

The construction of the Drawmer 1976

The Drawmer 1976 is a stereo processor, which can also operate in mono if required. The processor is used in recording, mixing, as well as in mastering. By means of three different frequency bands, a saturation of the frequency ranges as well as a separate stereo width can be created individually, which allows a very large sound variety.

Let's start with the general appearance of the Drawmer 1976. The unit is solidly built and gives a quality impression. The individual controls are neatly countered on the housing, slabby direct connections to the circuit board without a lock nut are fortunately looked for in vain here. The rear of the Drawmer 1976 is quickly dealt with. Right / Left balanced XLR In and XLR Out, power plug, power switch ready. Here one can do nothing wrong.

At the front, the thing turns around, here it goes really into the nitty-gritty. For a better overview we divide the front into seven areas, as there are:

1.) the input area

2.) the bass frequency band including the controls Saturate, Width and Level

3.) the crossover control for the bass / mid range

4.) the mid frequency band including the Saturate, Width and Level controls

5.) the crossover control for the mid / treble range

6.) the high frequency band including the Saturate, Width and Level controls

7.) the output range



The three frequency bands can also be individually activated and deactivated with the Bypass and Mute switches, or listened to solo or in individual combinations. Let's now take a look at the individual sections in detail.


The input area:

Probably the most unspectacular area of the unit. Only one input control and three colored LEDs (green, orange, red) regulate the input level, whereby the orange area represents the optimal working level. However, it is interesting to note that with a maximum of +15 dBu in the catch-up range on the other side, it is also possible to completely mute the signal using "Off".

The Low Band:

Now it gets down to the nitty gritty. The Saturate control adds a saturation effect to the selected frequency range, which, depending on the setting, offers everything from subtle compression to fuzz-like distortion. The Width control next to it changes the stereo effect from -5 (mono) to +5 (outside the impulse points of the speakers) via the phase position. The Level control now determines the individual volume of the selected frequency band in relation to the other two bands.

The crossover control for the bass / mid range

The crossover frequency of the bass band starts at 70 Hz and can be turned up to 1.5 kHz. This allows for adventurous effects depending on how differently you configure the adjacent frequency ranges. Especially with a continuous loop, just changing the crossover point in real time can provide interesting effects.

The Mid Band (same control as the Bass Band, only with changed frequency)

The crossover control for the mid / treble range

Here the crossover frequency can be selected from 800 Hz up to 15 kHz. Since the two crossover frequencies overlap in a range from 800 Hz to 1.5 kHz, you can additionally achieve weird sounds and effects in the "freak" range.

The High Band (same control as the Mid Band, only with changed frequency)

The Output Range

Here, too, the output can be driven to zero, which I honestly don't quite understand, but so be it. Furthermore there is a mono and a bypass switch for the whole unit. In addition, two 8-digit LED chains indicate the internal level of the product.

The Drawmer 1976 in practice

Although you can certainly use the Drawmer 1976 delightfully as a "fiddling toy" on stage for restless DJs, I focused primarily on its function in recording and mixing. To what extent you change the sound of an instrument already during recording or only in the mixdown, everyone must know for themselves. I for one am not a fan of "We Fix It When We Mix It", especially since this is usually the producer's phrase for "Don't Bug Me" anyway.

Although the Drawmer 1976 is predestined for stereo percussion or drum loops, I also tackled processing of various stringed instruments like electric guitar or electric bass. What I left out are high-gain instruments, which usually have too much compression on their own for further processing to make sense. A word about the loops, all sound files work on the principle off - on - off - on. However, it is always very good to hear when the Drawmer was activated in 1976.

In the area of acoustic drums and tape loops you can hear very well how much especially the midband decisively shapes the sound. In combination with the general increase in loudness, instruments such as snare and parts of the hi-hat come strongly to the fore, but without being sonically annoying. In the bass range, the effect is comparatively subtle, but quickly turns into too much fuzz when used too much.

With the Synth Loop, the individual instruments are not quite so strongly emphasized from the sound image; here you have more to do with a comparatively even increase in loudness and saturation. The Drawmer 1976 can breathe a fair amount of "analogy" into purely synthetic sounds.

With a clean guitar the Drawmer 1976 is to be enjoyed with caution. The quite pleasant saturation is quickly confronted with the problem of distortion, which cannot be compared with the saturation of a tape machine.

To show the fuzz qualities of the Drawmer 1976, a corresponding bass sound is best suited. Here you can very nicely simulate the vintage sound of an old bass recording, although this bass recording could have used a bit more compression.

"And what about the stereo widening" some will ask? I did indeed subtly pull apart some frequency bands to give the sound more width. If you go to the extremes, the transmitted frequency range changes quite massively, especially since you have to sit in the perfect stereo triangle to enjoy the sound, otherwise the effect will be perceived more as phase cancellation. Here I recommend that everyone makes their own picture by getting the product once.

Conclusion

With the Drawmer 1976, one of Outgear's big British names lets loose a real banger. Not only can the stereo processor be used in recording, mixing and mastering, it also offers the possibility to give an interesting life of its own to an inconsequential loop live.

I recommend checking out the product and indulging your playful instincts.

Additional Informations:

- Drawmer Audio is a UK-based company that designs and manufactures high-quality audio equipment. The company was founded in 1981 by Ivor Drawmer, who had already gained a reputation as a successful audio engineer and designer. Drawmer Audio quickly established itself as a leading provider of professional audio equipment, known for its reliability, performance, and innovation.

Over the years, Drawmer Audio has developed a range of products that have become industry standards. One of the company's most famous products is the Drawmer DS201 dual channel noise gate, which was introduced in 1982. The DS201 quickly became a popular choice for recording studios, live sound applications, and broadcast facilities. Its innovative design, which allowed for precise control over the gating threshold and release time, set a new standard for noise reduction.

Another iconic Drawmer product is the MX30 dual channel compressor/limiter/gate, which was introduced in 1987. The MX30 was designed for use in broadcast, recording, and live sound applications, and was known for its transparent sound and flexible control options. It quickly became a popular choice for engineers looking for a versatile and reliable compressor/limiter/gate.

In addition to its classic products, Drawmer Audio has continued to innovate and develop new products. The company's current product line includes a range of compressors, gates, EQs, and preamps, as well as a line of mastering processors. All of Drawmer's products are designed and manufactured in the UK, using high-quality components and rigorous quality control standards.
One of the key features of Drawmer's products is their intuitive and user-friendly design. Drawmer's engineers work closely with professional audio engineers to ensure that each product meets the needs of its intended user. The company's products are known for their transparent and natural sound, as well as their reliability and durability.

Drawmer Audio has received numerous awards and accolades over the years for its products, including multiple TEC Awards and a Resolution Award for its MC3.1 monitor controller. The company's products are used by a wide range of professionals in the music, film, television, and broadcast industries, as well as by hobbyists and enthusiasts who demand high-quality audio equipment.

In conclusion, Drawmer Audio is a highly respected and innovative company that has been at the forefront of the professional audio industry for over 40 years. Its products are known for their reliability, performance, and intuitive design, and are used by professionals and enthusiasts alike. With a commitment to quality and innovation, Drawmer Audio is sure to continue to be a leading provider of high-quality audio equipment for years to come.

- An audio compressor is a device or software that is used to reduce the dynamic range of an audio signal. This means that it reduces the difference between the loudest and quietest parts of the audio signal. Audio compressors are used in a variety of settings, such as music production, broadcasting, and live sound reinforcement. In this article, we will explore what audio compressors are, how they work, and their various uses.

What is an Audio Compressor?

An audio compressor is a signal processing device that reduces the dynamic range of an audio signal. The dynamic range is the difference between the loudest and quietest parts of the audio signal. Audio compressors are used to make the audio signal more consistent in volume, which can help to make it sound better and more professional.

Audio compressors work by detecting the level of the audio signal and then applying gain reduction to parts of the signal that exceed a certain threshold. The amount of gain reduction applied is determined by the ratio setting of the compressor. For example, a compressor with a ratio setting of 2:1 will reduce the gain of the audio signal by half when it exceeds the threshold. A compressor with a ratio setting of 4:1 will reduce the gain of the audio signal by a quarter when it exceeds the threshold, and so on.

Audio compressors can also be used to shape the envelope of the audio signal. This means that they can be used to adjust the attack and release times of the gain reduction. The attack time is the time it takes for the compressor to begin reducing the gain of the audio signal when it exceeds the threshold. The release time is the time it takes for the compressor to stop reducing the gain of the audio signal when it falls below the threshold.

Uses of Audio Compressors

Audio compressors are used in a variety of settings, such as music production, broadcasting, and live sound reinforcement. In music production, audio compressors are used to make vocals and instruments sound more consistent in volume. This can help to make the mix sound more polished and professional. Audio compressors can also be used to shape the envelope of individual sounds, which can help to create a more dynamic and interesting mix.

In broadcasting, audio compressors are used to make sure that the audio signal stays within a certain range of volume. This can help to prevent the audio signal from being too loud or too quiet, which can be distracting to listeners. Audio compressors can also be used to ensure that speech is more intelligible, especially in noisy environments.

In live sound reinforcement, audio compressors are used to make sure that the audio signal stays within a certain range of volume. This can help to prevent feedback and ensure that the audio signal is clear and intelligible to the audience. Audio compressors can also be used to shape the envelope of individual sounds, which can help to create a more dynamic and interesting mix.

Types of Audio Compressors

There are several types of audio compressors, each with its own characteristics and uses. The most common types of audio compressors are:

VCA (Voltage-Controlled Amplifier) Compressors: These are the most common type of compressor used in music production. They are known for their fast response time and transparent sound.

Optical Compressors: These compressors use a light source and an optical sensor to control the gain reduction. They are known for their smooth sound and gentle compression.

FET (Field-Effect Transistor) Compressors: These compressors use a FET to control the gain reduction. They are known for their aggressive sound and fast response time.

Tube Compressors: These compressors use a vacuum tube to control the gain reduction. They are known for their warm and natural sound.