DRAWMER 1976 Stereo Three Band Saturation and Width Processor

1976 - Stereo Three Band Saturation and Width Processor

The 1976 3 band stereo saturation and width processor has been designed to inject character, colour & life into your recordings and live sound in a style endemic of the classic equipment of the 1970\'s. The completely analogue saturation of the 1976 will provide the realism that plug-ins can only aspire to, replacing the harsh, sterile digital sound with fullness, softness and warmth. Why emulate saturation when you can have the real thing?

Inspired by the highly acclaimed saturation and width features of our DC2476 Digital Mastering Processor the 3 bands of independent saturation of the 1976 have been designed to add the pleasing imperfections that are so endemic in classic gear. Saturation is ideal for adding fullness to your music, taking your music from a cold, bleak landscape to a warm, bright vista.

In addition, however, unlike conventional saturation products the 1976 also features 3 bands of stereo width control to really bring out the depth and add real presence to your mix, and all with a single, yet comprehensive set of controls that provide genuine stereo operation.

What is saturation? Saturation in music production is something that can really enrich the sound in your mix by adding a subtle form of distortion that adds pleasant-sounding harmonics. It originates from the analog days when audio recordings ran through various pieces of hardware, each one adding their own character to the music giving the audio a pleasant quality that was much sought after. Today, in the digital age, these characteristics no longer occur naturally, giving an overly clean, sterile quality to the audio, with saturation plug-ins used to emulate those not present. The 1976 allows you to add this character in a completely analogue, natural way. However, it\'s use is not only limited to digital recordings, it\'ll add presence, warmth and life to any audio regardless of how it\'s recorded, whether its drum, vocals, synths and more, in digital or analogue.

What about 3 Band Saturation? Because the 1976 as 3 bands of independent saturation it can pull off amazing feats that single-band saturation could never accomplish. For example, it can bring out the bassline, adding presence and grit without ruining the overall balance within the mix by adding distortion to the top end. Or enhance the vocals without making the bottom sound muddy.

Where to make the most of Saturation.

Saturation can be used to add warmth on pretty much any piece of audio, however it can be applied to some sounds far more effectively than others:

Percussion

Drums are one of the best sounds in which to use saturation. It can be used to \'glue\' the whole drum bus together, injecting some punch and excitement, giving them depth and life, and adding harmonics that are pleasing to the ear, whilst taming rogue transients and high end harshness using natural compression.

Basslines

If your bassline sounds a little flat and lifeless it will really benefit from a adding some saturation. This will bring out the grit, dirty the sound and fatten it out. And we\'re not just talking about bass guitar here, use it on sine generated basslines to make them sound more natural, and push them out into the mix.

Synths

Synths tend to sound too digital and clinical. Saturation will bring them to life, making them sound warmer, more natural, and closer to the analogue sound that they emulate. It\'ll inject harmonics and grit, and make the synths stand out more in the mix.

Vocals

Saturation is one of the secrets to great sounding vocals. Your vocal recordings may sound good but saturation will make them sing (pun intended). It will make any vocal sound fuller, especially thin and dull voices, and will warm and tame harsh sounding vocals by subtly softening sibilance. Don\'t go over the top though, keep the harmonic distortion gentle or it could ruin the vocals all together.

Mix

For all of it\'s pros, digital recording has a major drawback, by it\'s very nature it sounds too, well, digital. It\'s too harsh, too clean. Saturation can be the key here. It will add harmonic distortion to inject life and warmth into the mix, and help your digital mixes sound more like those from the analogue recording era.

Just passing the audio through an analogue device will have some effect on warming the mix, though passing it through the 1976 will take your mixes to the next level.

What about Width? Without stereo widening the mix won\'t jump out of the speaker and grab your listener, this is where the 3 bands of the 1976 can be used to enhance the extra dimension to take the mix from a flat wall of sound to a 3D immersive experience. It\'s likely your mix will have a stereo element already, however, the 1976 makes it super easy to control these, widening and monogising where necessary to get the desired effect, and all just using the single stereo controls of the low, mid and high bands. One major benefit of having independent width control for each of the bands is to allow the high frequencies to be spread across a wider soundstage without affecting the low frequency end. Easy!

• Powerful 3 Band all Analogue Saturation for adding warmth to both your digital and analogue sounds.

• Designed to Inject character to your audio reminiscent of 1970\'s era gear and remove the sanitized harshness that digital recordings suffer from.

• 3 band fully adjustable Stereo Width provides controllable depth and presence to you mix.

• Fully Variable Crossover controls between the bands allows you to tune in to signals for different amounts of independent saturation across the full frequency range.

• Genuine stereo operation with one set of controls for both channels.

• Can operate in Stereo and Mono.

• The Mono switch helps highlight problems within the stereo mix.

• Internal Low Hum Toroidal Linear Power Supply with Voltage Selector Switch.

• Classic Drawmer Build Quality with Rugged Steel Chassis and Alluminium Front Panel.
• Designed and manufactured by Drawmer in the UK.

The latest addition to the 10 Series product line, the dbx® 1074 QuadGate™, is the perfect companion to the 1066 and 1046. The 1074 offers 4 channels of gating with threshold, depth and release controls on each channel. The 1074, like the rest of the products in dbx 10 Series, is based on the legendary dbx V2 VCA and offers XLR inputs and outputs, and 1/4” side-chain input. In addition to an external key input per channel, the 1074 also has an internal filter that can be independently activated and controlled on a channel-per-channel basis. This filter allows the 1074 to not only clean up tracks, but gives you frequency selective control on each gate, to open exactly when you want it to. These features combined, make the 1074 an absolute must for those who require quad gating on applications including: Gating dry and percussive sounds such as snare drum and kick drum,gating sounds that have longer decay times such as cymbals and Pianos, gating hum or buzz from live instruments or recorded tracks or eliminating Headphone leakage into microphones. Gating instrument microphones to eliminate amplifier bleed. 

From the company that has been redefining the standard of signal processing for more than 30 years, dbx® Professional Products comes a bulletproof product that caters to the scrutinizing needs of those who require the precision noise gating capabilities. Once again, the engineering staff at dbx® Professional Products have taken technology that has been over three decades in the making and have created a product that is flexible, versatile and rock solid in construction design. The 1074ʼs independent channel design with key filtering capabilities make it the perfect tool for countless applications.

• Four independent channels of gating
• Independent key filtering
• Independent Threshold and Release controls
• Differentially balanced gold-plated XLR and 1/4" inputs and outputs
• True RMS level detection
• Stereo Coupling mode
• Switchable +4dBu or -10dBv operation per channel
  
  

  Input Connectors	XLR (Pin 2 and tip hot)
  Input Type	Electronically balanced/unbalanced, RF filtered
  Input Impedance	Balanced > 50 kOhm, unbalanced >25 kOhm
  Max Input	> +22 dBu balanced or unbalanced
  CMRR	40dB: Typically >55 dB at 1 kHz
  Key Input	Electronically balanced/unbalanced, RF fitered Balanced 50kOhm, unbalanced > 25 kOhm
  Output Connectors	XLR (Pin 2 hot)
  Output Type	Servo-balanced/unbalanced, RF filtered
  Output Impedance	Balanced 60 Ohm, unbalanced 30 Ohm
  Max Output	> +22 dBm balanced, > +20 dBm unbalanced
  Bandwidth	20 Hz to 20 kHz, +0/-0.5 dB
  Frequency Response	0.35 Hz to 200 kHz, +0/-3 dB
  Noise
  Dynamic Range	> 115 dB, unweighted
  THD+Noise	0.008% typical at +4 dBu (1 kHz unity gain), 0.08% typical at +20 dBu (1 kHz unity gain),
  Interchannel Crosstalk
  Stereo Coupling	True RMS Power Summing
  Operating Voltage	100-120 VAC 50-60 Hz or 200-240 VAC 50/60 Hz
  Power Consumption	30 Watts
  Fuse	100-120 VAC:250 mA Slow Blow, 200-240 VAC:125 mA Type T
  Power Connector	IEC receptacle
  Unit Weight	6.9 lbs.
  Shipping Weight	9.3 lbs.

  
  

Description

The alphaton Feedback-Controller FC-100 is a revolutionary product for every microphone
application including wireless types. It can provide effective feedback control to any sound
reinforcement situation. It can also eliminated string feedback in guitars and bass instruments
which are equipped with piezo or condenser pickups.
The FC-100 provides 6 to 10 dB of feedback protection by analysing the incoming signal,
detecting the presence of feedback and then notching out the feedback frequency.
The FC-100 relieves the sound engineer automatically. It works dynamically and eliminates a
feedback signal before it can grow into a peak. Internally a discriminator circuit detects the
presence of regenerative feedback and triggers the automatic equaliser to insert a notch where
the feedback peak is coming up. This normally prevents other peaks from developing but if they
do, the process is repeated at high speed, thus keeping feedback under control.

Technical Data
In- and Outputs transformer balanced
max. Inputlevel + 3 dB
Gain (RS=200 Ohm, RL=2kOhm) 0 dB
Frequency Response 20 Hz ... 20 kHz, +/- 1,5 dB
Feeback Cancellation  6 ... 10 dB
Power Requirement  30 ... 48 V Phantom
Current drain ca. 8 mA
External Power Supply 9 ... 20 V DC, 3,5 mm jack, tip +
Housing Aluminium Diecast
Weight  285 grams
Dimensions  112 x 60 x 32 mm

Product Features:

Ultra-high resolution 24-bit/96 kHz mastering processor featuring 32/40-bit floating-point DSP technology
Audiophile 24-bit/96 kHz A/D- and D/A converters offering 113 dB dynamic range
4 concurrently selectable EQ modules (31-band graphic EQ, 10-band parametric EQ, Feedback Destroyer plus 3 Dynamic EQs per stereo channel)
Ultra-high resolution 61-band real-time FFT analyzer with additional auto EQ function for room and loudspeaker equalization
Unique VPQ (Virtual Paragraphic EQ) option allows parametric control of graphic EQs
State-of-the-art compressor/expander with peak limiter per stereo channel, additional stereo imager and stereo delay for delay line applications
Multi-functional level meters (peak/RMS, VU and SPL meter with dBA/dBC weighting via RTA/Mic input)
64 user memories for complete setups and/or individual module configurations
Separate mic/line input with phantom power for RTA and Auto-EQ applications
Balanced inputs and servo-balanced outputs with gold-plated XLR connectors, stereo aux output, AES/EBU and S/PDIF inputs and outputs (XLR and optical)
Professional Wordclock input and MIDI connections for full remote control, preset dumps and system updates
Open architecture allowing future software updates via MIDI
"Planet Earth" switching power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving
High-quality components and exceptionally rugged construction ensure long life
Conceived and designed by BEHRINGER Germany