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.

• Error proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes
• New gate timing algorithms ensure the smoothest release characteristics
• Program-adaptive expander/gates
• Great sounding dynamics control for any type of program material
• Separate precision LED displays for gain reduction, compression threshold and gate threshold allow quick, accurate setup
• Stereo or dual-mono operation
• Balanced inputs and outputs on 1/4" TRS and XLR connectors
• Side Chain insert
• Classic dbx® "Auto" mode

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

The AD2055 combines 100% discrete, pure class A signal amplifiers with state-of-
the-art passive and active filter topologies. The AD2055's unique circuitry delivers
very high resolution transient detail at the operational extremes of real world equalization
demands. The AD2055 auto-bias DC servo loop control eliminates the need for all
interstage capacitor coupling. The AD2055 breathes life into all musical performances!
 
AD2055 FEATURES
Pure Class A, 100% discrete design
Smooth musical detail and sonic excellence
Minimum audio signal path
Dual mono operation
Transparent active and passive filter design
High headroom +30dB Very low noise -94dB
Fully balanced inputs and outputs
DC coupled, no transformers in audio path
Switched frequencies in high and low bands
Mid bands use X10 frequency for extended range
Wide bandwidth -3dB 1Hz to 450kHz
Low distortion less than 0.5% THD and IMD
All signal routing with sealed silver relays Conductive
plastic potentiometers for low noise
External 150W toroidal power supply 100% discrete
power supplies for audio path
Long lasting, stainless steel hardware
 
SONIC EXCELLENCE
The Avalon AD2055 Pure Class A music equalizer is the most powerful, low noise
parametric equalizer available today. Designed to optimize absolute signal integrity
and musical performance, the AD2055 combines the best of active and passive filter
topologies with sonic excellence unequaled by lesser designs. The AD2055 is the
perfect solution for two buss music-program equalization, special instrument EQ and
FX applications and ultra high performance mastering studio's.

Features include state-of-the-art, balanced 100% discrete, Pure Class A signal amplifiers,
practical user features and rugged hardware designed to deliver true high performance
audio for many years. 

PASSIVE-ACTIVE FILTER DESIGN
Avalon equalizers feature the unique combination of both active and passive filter EQ designs.
This special combination enables the AD2055 to deliver high speed transient detail at the
operational extremes of real-world equalization demands. The passive high and low bands offer
alternate musical tone range to the full function active parametric mid bands. Passive equalizers
have long been a favorite with music lovers around the world.  Full bodied, powerful (up to +/-32dB,
64dB range !) and sweet frequency selections are the benefits of the passive high-low EQ bands.
The full bandwidth twin mid bands provide variable frequency selection (X10 frequency multipliers
for very wide range), variable Q (width) and amplitude control.

MINIMUM SIGNAL PATH DESIGN
Avalon's advanced true symmetry design offers high-voltage, large headroom, extended bandwidth
and very low noise. The use of 100% discrete, Pure Class A signal amplifiers give the serious music
professional unlimited sonic character and a natural harmonic detail that enhances the program
material and becomes one with the music itself. The Avalon AD2055 breathes life!

AD2055 SPECIFICATIONS
Circuit Topology  High-voltage 100% discrete, balanced and symmetrical
Class A 
Output Gain Range  Unity Gain 
Maximum Input Level  +30dB balanced XLR pin 2 hot 
Maximum Output Level  +32dB balanced 600 ohms, DC coupled, high-current
discrete Class A 
Input / Output Type  XLR type, pin 2 hot balanced 
Noise 20kHz Unweighted  -94dB (EQ in) 
Distortion THD, IMD  0.5% (typical 0.05% at +6dB 1kHz) 
Frequency Response -3dB  1Hz to 450kHz (input band limited) 
Equalizer Type  Passive high and low bands plus two fully parametric mid
bands 
Bypass  Hard-wire relay bypass for equalizer in-out 
Low Band F1  Passive, amplitude to -32dB to +32dB shelf or peak-dip curve 
F1 Frequency Range  Switched 10 position 18Hz, 25, 30, 50, 72, 100, 150, 215,
300, 450Hz 
Mid Band F2  Active, amplitude to -16dB to +16dB peak-dip curve 
F2 Frequency Range  Variable 35Hz to 450Hz (x10) 350Hz to 4k5Hz, Q (width)
0.3 to 3.0 
Mid Band F3  Active, amplitude to -16dB to +16dB peak-dip curve 
F3 Frequency Range  Variable 160Hz to 2k0Hz (x10) 1k6Hz to 20kHz, Q (width)
0.3 to 3.0 
High Band F4  Passive, amplitude to -26dB to +26dB shelf or peak-dip curve 
F4 Frequency Range  Switched 10 position 1k5Hz, 2k5, 3k5, 5k, 7k2, 10k, 12k5,
15k, 20k, 25kHz 
AC-DC Power  External AC supply, 150w toroidal transformer, 4 pin cable 90v
isolated, 
(B2T Power Supply Included)  100-240v selectable 50/60Hz, 150w max 
Dimensions  19 x 3.5 x 12 in (482 x 88 x 305mm) 
Shipping weight  30lbs (13.6 kg) 

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)