DRAWMER 1968 MKII Dual Channel Tube Compressor

1968 MkII - Dual Channel Tube Compressor

Blend valves and FETs for quality compression. The 1968 MkII is a 1U Tube/FET ‘stereo bus’ compressor which by design delivers a transparent ‘open’ sound even during periods of heavy compression. 

The original Drawmer 1960 used a tube stage at the front of the compressor, whilst the 1968 MkII utilisies a J-FET (Field Effect Transistor) gain reduction circuit that operates faster than an opto-isolator. The compressor uses a 12AX7 tube makeup gain amplifier where you can add, with the Output Gain control, up to 20 dB of additional gain. The need for a ratio control has been removed as the compressor operates on the soft knee principle where the onset of compression is progressive.

The 1968 MkII expands attack times to six choices: 2, 9, 15, 25, 30 and 50 ms. Release times come in three fixed times (100ms, 500 ms and 1 second) and three program-dependent choices--200 ms to 2 sec, 500 ms to 5 sec and 1 to 10 seconds--all program-dependent and automatic. 

The 1968 MkII provides full sidechain access for connecting an external equalizer for vocal stressing or de-essing.

Featured on both channels is a switchable ‘BIG’ and ‘BIGGER’ mode which applies less processing to the fundamental low frequency but still disciplines the upward associated harmonics which if untamed can result in a ‘boomy’ or ‘boxy’ sound. The result - a solid bottom end with enhanced sub-bass and a smoother, wider frequency response overall. This lets the operator use more compression on an overall mix with less pumping action caused by a kick and/or bass instrument.

The outputs of Channels 1 and 2 are monitored on two yellow illuminated VU meters - with a red warning glow to signify ‘approaching clipping’. A three-position switch adjusts the meters to show either normal output level, gain reduction or VU +10dB mode, which re-scales the meter for users working at ‘hot’ output levels.

An output switch selects normal compressor output, hard-wired bypass and sidechain listen.

 The key features are as follows:

• 2 Channel Tube/FET Compressor.
• 2 soft-knee compressors with variable threshold, attack, release and output gain.
• Switchable BIG and BIGGER control on each channel.
• Dual mono or true stereo link operation.
• Side chain access and side chain listen facility.
• VU metering of gain reduction and output levels.
• Switchable +10dB mode on VU re-scales the meter for users working at ‘hot’ output levels.
• VU red warning glow to signify ‘approaching clipping’.
• Balanced +4dB XLR in/outs.

Due to customer demand we have introduced new features to the 1968 MkII:

• Expanded the BIG to include BIGGER - setting the filters to 75Hz and 150Hz.
• Added internal jumpers that can be configured to remove the soft clip section.
• Added internal jumpers to make the output hotter by 6dB, if required.
• Improvement have been made to the PSU to lower the noise floor.

The S com 4 is a compact and versatile single-rack space device that provides
four channels of high quality dynamics processing with an Expander/Gate and
Compressor/Limiter on each channel.
The four channels operate independently or in stereo pairs. Its multi-segment LED
metering displays input/output level as well as gain reduction. The Expander/Gate
section features a continuously variable Threshold control as well as a switch for
fast or slow release times.
The Compressor/Limiter section includes variable Threshold, Ratio and Output levels.
S com 4's Enhancer switch restores high frequencies that are sometimes diminished
by heavy compression. This wide-ranging combination of features makes the S com
4 an efficient and versatile audio tool for a wide variety of applications. Its clean and
quiet audio characteristics make it ideal where high sonic integrity is imperative. 
 
FEATURES:

4 Channel Compressor/Limiter, Expander/Gate with Enhancer
Linkable in two Stereo pairs
Expander/Gate with variable Trigger control and switchable Fast/Slow Release
5 Segment LED meters for Input/Output levels and Gain Reduction on each channel
Advanced circuit design utilizing Low Noise Operational
Amplifiers and High Quality VCA's
Servo Balanced Inputs and Outputs on XLR and 1/4" connectors
SKD (Smart Knee Detector) circuit automatically switches from soft to hard knee
based on the level of Input signal applied
Individual Threshold and Ratio controls on each channel
Three-year extended warranty 

GENERAL DATA
Power Supply 220 / 110V 25 VA
Dimension 434x351x44mm (1 rack unit)
Weight » 4 Kg
MEETING INTERFACE IN / OUT
Connector DB 9 female
Nominal in / out audio level 0 dBm
Input impedance 600 W / 10 KW (selectable)
Output impedance 100 W
* nominal line level: - 6 dBm
** it can vary depending on characteristics of telephone line
All measurements are intended at 1 kHz.
AUDIO PROGRAM IN / OUT
Connectors XLR, electr. balanced
Input impedance 600 W / 10K W (selectable)
Output level * - ¥ ¸ + 16 dBm
Output impedance 100 W
Noise on Receive output 2-Wire separation £ 25 dB**
4-Wire separation £ 70 dB
2-WIRE SECTION
Connector RJ11
Nominal input level - 6 dBm
Nominal output level - 6 dBm
Compensation mode Electronic, transf. decoupled
Impedance 600 W
4-WIRE SECTION
Connector Terminal block
Impedance 600 W
Nominal TX level 0 dBm
Nominal RX level 0 dBm

Psychoacoustic Bass Enhancement Unit with Renaissance Compressor, MaxxBass, and L2

Bass Boost for Live Sound, Broadcast, Mastering & Post Production
They say that in electronics there's no new technology - the only changes
will be in size and applications. Things will simply keep getting smaller
while doing more. This is certainly true in music (just think about what an
iPod can do), but as we design smaller playback systems with small speakers,
there are also some tradeoffs, particularly in music. Clever cabinet designs and
high-excursion drivers can get you only so far. Any audio engineer trying to extract
bass from real-world components must eventually face the laws of physics:
All things being equal, small boxes and speaker cones can't move enough air
to produce a room-shaking low end. When working with systems tiny enough to
toss in a shoulder bag, the challenge is even more formidable. Interestingly enough,
Waves MaxxBCL has a new solution to this problem using a very old concept.

Waves MaxxBCL at a Glance:
MaxxBass? Bass Enhancement adds deep bass sound without adding bass frequencies
Waves Renaissance Compressor
L2 Ultramaximizer Peak Limiter
24-bit/96kHz resolution with 48-bit, double-precision processing
Supports optical, coaxial S/PDIF, AES/EBU, balanced and unbalanced line-level analog signals

MaxxBass Bass Enhancement
Waves' patented algorithm adds stunning bass sound without adding bass frequencies,
delivering a bigger bottom end. MaxxBass? allows your audience to hear bass frequencies
lower than physically present by applying psychoacoustic principles: Even though we
can hear a bass guitar from a small speaker, we don't actually hear the fundamental
frequency because the speaker can't produce a pitch that low. Instead, we hear the
harmonics that the speaker can produce, and this causes the brain to create the "missing
fundamental." MaxxBass? takes this well-known psychoacoustic phenomenon to the
maximum, giving you the ability to extend the perceived frequency response of a system
about two octaves below its physical limitation.
To accomplish this, the signal is split: high frequencies are passed to the output (to be
added back to the bass). The bass signal is analyzed and a specific series of upper
harmonics are created. Because the dynamics of the original bass are duplicated in these
harmonics, the result is the most natural sounding bass enhancement available. The
MaxxBass? harmonics and the original bass can be mixed in any proportion at the output.
To provide more control, a high-pass filter can be switched in, allowing the harmonics only to
be passed along as an "image" of the original bass frequencies, which is useful when working
with a system with known low-frequency limitations to avoid over-excursion of the speaker drivers.

Renaissance Compressor
Designed to provide the classic warm sound of analog compressors, the legendary
Renaissance Compressor controls dynamics with studio-style warmth that flatters
full mixes, vocals, or instruments. Controls include selection of vintage-style Opto
or modern Electro compression, and threshold, ratio, and attack controls. Waves
ARC? (Automatic Release Control) algorithm dynamically optimizes the compressor's
release value for a wide-ranging input. ARC? reacts much the way a human ear
expects, and can produce increased RMS level with greater clarity.
In general, the release is faster for peak transients and slower for the overall RMS
level. The ARC? system varies the release time to fit the ear's expectations while
increasing RMS, and without creating distracting artifacts. In this way, the
Renaissance Compressor can serve as a leveler plus a fast compressor simultaneously.

L2 Ultramaximizer Peak Limiter
Heard on countless hit records and soundtracks, the L2 Ultramaximizer puts sound
up-front with breathtaking transparency. The L2 is capable of a very fast, overshoot-free
response. Once the limiter threshold has been set, you can define the actual peak level
that the processed signal will reach. Once set, limiting and level re-scaling becomes a
one-shot process. The L2 can significantly increase the average signal level without
introducing any audible side effects. Yet there is plenty of range to recreate "vintage"
effects such as level pumping or severely limited dynamic range if you like.

Pristine Sound Quality
The MaxxBCL offers 96kHz, 24-bit resolution with a 48-bit, double precision internal
processing path and a dynamic range of ~125dB. The totally passive analog input
path to the ADC uses Jensen transformers, while the output path also features Jensen
analog output transformers. The unit is galvanic-isolated, which prevents ground loops
and allows it to operate in electrically unstable environments. Waves MaxxBCL combines
the highest quality converters available with unequalled processing algorithms to offer you
astonishing new power in bass enhancement, dynamics processing, and format conversion
(analog-to-digital, digital-to-analog, and digital re-quantization).

Versatile Connections
The MaxxBCL supports optical, coaxial S/PDIF, AES/EBU, balanced and unbalanced
line-level analog signals. MaxxBCL features a unique set of input and output trim settings:
analog input headroom can be set from 9dB above 0dBu to 24dB in six precise steps
(using the rear-panel selectors). Analog output level is similarly set with a separate
rear-panel trim pot offering you the ability to connect between devices with a wide range
of input and output levels.

Waves MaxxBCL Features:
User Interface:
Clear backlit displays, meters, and buttons are visible in all lighting conditions
THD + Noise: ? 0.0006 % @ 1kHz @ -1dBFS
Precision metering with resettable peak hold options (2 sec, infinite)
Accurate, wide-range metering covering 90dB for input and output
and 12dB for compressor and limiter attenuation
Quick access independent bypass on each processing block
Tactile feedback knobs
Four easy store/recall user presets
Input / Output:
Analog, AES/EBU, S/PDIF
Independent rear-panel input and output headroom calibration in six steps
(+9, 12, 15, 18, 20, and 24 dBu)
Passive analog inputs to the A-to-D converters using Jensen analog input transformers
Jensen analog output transformers
High-performance IDR dithering to 16- or 24-bit output
Precise input level setting using 1% resistor networks
Processing:
48-bit end-to-end internal processing path
Switchable compressor/MaxxBass? order
MaxxBass:
Adjustable processor frequency from 25 to 120Hz
Adjustable harmonic mix percentage from 0 to 100%
High-pass Filter "harmonics only" option
Compressor:
Opto/Electro mode selection
Threshold (0-60dB), Ratio (1:1-12:1), and Attack (0.5, 1, 2, 5, 10, 20, and 50 ms) controls
Proprietary ARC? Automatic Release Control
Automatic gain makeup
Limiter:
Overshoot-free look-ahead processing
Adjustable Threshold (0-18dB)
Adjustable Output Ceiling (0-18dBFS)

Features
Four Independent Compressor Channels
Channels 1 and 2, 3 and 4 are stereo linkable
7 LED Gain Reduction metering
Balanced XLR Inputs and Outputs
Sidechain Insert points
Intuitive, user friendly layout
Flawless performance
 
The sheer amount of effects and signal processors necessary for today's standards
of audio production puts a great strain on the available space in equipment racks,
both in the studio and on the road.So, ARX would like to introduce the ARX Quadcomp.
An all-new upgrade of the classic award-winning ARX Quadcomp?, the very first four
channel 1 RU compressor.You?ll notice that we haven?t strayed very far from our
original design concept. The Quadcomp  is still four variable ratio Compressor/ Limiters
neatly housed in a compact all steel 1 RU package. However, all new low noise/low
distortion circuitry, better metering plus XLR inputs and outputs put the Quadcomp
in a class of its own.
More Control, Less Space
On the front panel, each channel has the 'industry standard' individual controls for Threshold,
Compression Ratio and Output, plus a new 7 LED Gain Reduction display for accurate visual
indication of the amount of gain reduction being applied to the program, and an IN/OUT
hardwire bypass switch.In addition to this, each channel has a blank numbered panel to write
on for easy confirmation of compressor assigns.
Precision Circuitry
Internally, each compressor uses Class A VCAs and true 2 pole averaging RMS/DC converters
for low distortion and accuracy, plus program dependent attack and release time, which
automatically determines optimum compressor response.
Balanced Inputs and Outputs
The rear panel has true differential Balanced XLR Inputs and Outputs for each compressor.
Each compressor has a TRS jack Sidechain access insert point, for frequency sensitive
compression, De-essing, etc. in conjunction with an external equalizer (such as the ARX EQ260).
Compressor pairs 1 and 2, 3 and 4 also have rear panel mounted Stereo Link switches for accurate
stereo tracking. When switched IN, the first channel becomes the master and controls all the functions
of the second except Output gain.
Universal AC Power
AC power range is switchable 100 to 120V, or 220 to 240V, and is connected to the unit via
a standard IEC connector, with built-in fuse and voltage switch.
Whatever the application ? Channel insert, Bus insert, Master Outputs, Monitor outputs,
Crossover outputs, the Quadcomp II?s unique High Density design, precision Low Noise circuitry
and clean uncluttered layout make it a truly useful audio tool for all applications.

T E C H N I C A L S P E C I F I C A T I O N S
Input Impedance
Balanced 20 Kohms, Unbalanced 10 Kohms
Input Headroom + 20dB
CMRR >50dB, 20 Hz?20 KHz
Output Impedance
Balanced 300 ohms Unbalanced 150 ohms
Output Level (Max) + 20 dB
Frequency Response 20Hz-20KHz ±0.5dB
Signal to Noise ratio
-93 dB Unweighted, -98 dB ?A? weighted
Distortion .015% THD @ 0dB,1KHz
Dynamic Range 108 dB
Attack and Release Times Program dependent
Metering
7 LED display: ?1, 2, 3, 6, 12, 18, ?24 dB
Sidechain Insert Impedance 10 Kohm
Power Requirements
100/120 V AC or 220/240 V AC
Weight 5 lbs/2.2 Kg
Dimensions
19“W x 1?“H x 6“D, 482 x 44 x 155mm
Input Connector type Balanced XLR
Output Connector type Balanced XLR
Sidechain Insert Connector TRS Jack

Front Panel Controls
Hardwire bypass IN/OUT switch
Threshold, Ratio and Output Gain controls
7 LED Gain Reduction display
Marker panel for labelling compressor assigns
Stereo link status LEDs
Rear Panel Connectors
Input and Output balanced XLR connectors
TipRingSleeve Sidechain insert connectors
Channels 1 and 2, 3 and 4 Stereo link switches
IEC AC mains connector with inbuilt fuse and
voltage change

Shure DP11EQE Dynamics Processor Specification:

    GENERAL:
        Frequency Response: 20 to 20k Hz +/- 1.0 dB re 1 kHz
        Dynamic Range: 104 dB minimum, A-weighted, 20 Hz to 20 kHz
        Sampling Rate: 48 kHz
        Digital-to-Analog, Analog-to-Digital Conversion: 20 bit resolution
    Voltage Gain:
        1 dB +/- 1dB (power off)
        12 dB +/- 2 dB (input 10 dBV, output +4 dBu)
        12 dB +/- 2 dB (input +4 dBu, output 10 dBv)
        0 dB +/- 2 dB (equal input and output sensitivities)
    Impedance:
        Input: 47 kilohms +/- 20% actual
        Output: 120 ohms +/- 20% actual
    Input Clipping Level
        +18 dBu minimum (at +4 dBu setting)
        +6 dBV minimum (at 10 dBV setting)
    Output Clipping Level
        +18 dBu minimum (at +4 dBu setting)
        +6 dBV minimum (at 10 dBV setting)
    Total Harmonic Distortion
            LED Signal Indicators
        Signal: 40 dB
        Clip: 6 dB down from input clipping
    Propagation Delay from Input to Ouput
        0.8 ms (all filters flat, no dynamics processing, 0 ms delay), up to 2.1 ms (all processing enabled)
    Polarity
        Input to output: inverting optional (default: non-inverting)
        XLR: pin 2 positive with respect to pin 3
        1/4-inch TRS: tip positive with respect to ring
    Operating Voltage
        DP11EQ: 120 Vac, 50/60 Hz, 50 mA max
        DP11EQE: 230 Vac, 50/60 Hz, 25 mA max
        DP11EQJ: 100 Vac, 50/60 Hz, 50 mA max
    Temperature Range
        Operating: 0 degrees to 60 degrees C (32 degrees to 140 degrees F)
    Fuse
        DP11EQ: 120 Vac. Fuse: 100 mA, 250V time delay
        DP11EQE: 230 Vac. Fuse: 50 mA, 250 V time delay
        DP11EQJ: 100 Vac. Fuse: 100 mA, 250 V time delay
    Dimensions
        219 mm x 137 mm x 44 mm (8-5/8 in x 5-3/8 in x 1-3/4 in)
        Weight: 930 g (2.05 lbs)
    DYNAMICS PROCESSOR
        Gate and Expander:
        Threshold: 72 to 1 dB, 0.5 dB resolution
        Attack: 1.0 to 200 ms
        Decay: 0.05 to 1 second
        Gate Hold Time: 0 to 0.5 seconds
    AGC Leveler
        Threshold: 72 to 1 dB, 0.5 dB resolution
        Attack: 0.2 to 3 seconds
        Decay: 0.5 to 5 seconds
        Hinge: Threshold to 1 dB, 0.5 dB resolution
    Compressor and Limiter
        Threshold: 72 to 1 dB, 0.5 dB resolution
        Attack: 1.0 to 200 ms
        Decay: 0.05 to 1 second
        Knee: Hard or Soft selectable
    No Overshoot Peak Limiter
        Propagation delay: 1 ms
        Threshold: 72 to 1 dB, 0.5 dB resolution
        Attack: 0 msDecay: 100 ms
    PARAMETRIC EQUALIZER
        Parametric Filter Frequency Bands
        Up to 9 bands, variable frequency, variable Q
    Boost/Cut Range
        +6 dB to 18 dB per band
        Q Range
        1/40-octave to 2 octave
    High and Low Shelf/Cut Filters
        Shelf, +6 to 18 dB per filter
        Cut, 12 dB per octave nominal
    DELAY
        Up to 1.3 seconds, 21 microsecond resolution