For many years, Drawmer’s quality and reliability have made them the “go to” compressor for many major studios and live sound companies. For many years, Drawmer’s quality and reliability have made them the “go to” compressor for many major studios and live sound companies. In fact, according to Pro Sound News Drawmer gear was used in 6 of the top 10 tours of 2004. This is not unusual for Drawmer. It is affordable, sounds great, and is built to last! They offer a wide array of compressors to fit every application. A sampling includes:

Drawmer S3 Multiband Tube Opto-Compressor

The new S3 Stereo Three Band Optical Compressor incorporates the very latest in Ivor Drawmer designs and the aim from the very beginning was to create a ‘no technical compromise’ circuit using only the highest grade components. The S3 forms the basis of a ‘Signature Series’ and offers previously unattainable control and tonality over each of the three bands - gain control at each stage provides precise spectral balancing. The Ultimate multiband compressor with all tube stages, optical type compressor, and high grade parts used throughout.

Control Set:

• 2 Crossover controls, continuously variable, divides the audio into 3 bands
• 3 Threshold controls, one for each band, to set the onset of compression
• 3 Attack and 3 Release controls, one for each band
• 3 Gain controls, to control makeup gain for each band
• 3 Mute switches, one per band, to mute the output of that band during set up
• 3 Bypass switches, one per band, bypasses compressionn on that band
• "air" switch on high band routs uncompressed audio about 10k around the compressor, adding it back to the output to avoid high frequency loss during compression
• "big" switch on low band inserts a high pass filter in the detector stage to avoid pumping on heavy bass
• Large illuminated easy to read meters with switchable ballistics (VU or peak VU)
• +10dB or +20dB scale switches on meters
• Input or Output meter switch
• L/R output balance control
• Unit bypass switch
• front panel power switch
• Angled cage to facilitate cooling above the unit.

BACK PANEL VIEW

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Ken Giles explains the S3 on Gearwire.com

Drawmer 1968 Mercenary Edition FET/Valve Compressor

Understanding dynamics is the successful mix engineer's most vital skill. Understanding how to build dynamics processors is a skill no one has performed more successfully over the last twenty years than Ivor Drawmer. Thousands upon thousands of Drawmer units are still in play across the globe. Now Ivor Drawmer and Fletcher of Mercenary Audio play the analog ace card in a vertible digital world: The 1968 Mercenary Edition jFET Valve Compressor.

Combining new ideas with vintage ones, the 1968ME puts a level of performance in your rack that is beyond your expectations. Two channels of analog compression can be used across the stereo buss independently. jFET circuitry enables the beautiful dynamic control sought after in so many vintage units. Automatic speed functions make the user an instant expert. Easy to read multifunction VU meters and side chain listen make setup straightforward. Valve gain output stages provide the ability to explore "clean" to "thick" character ranges in one device. The "big" function offers radically different behaviors in stereo or tracking mode. In just 1U, Drawmer delivers a "go-to" compressor that is unequalled by any plug-in.

The 1968ME satisfies a variety of live as well as recording and broadcast studio applications when inserted into the signal path. Live, use it on the console stereo buss or on lead vocals. Insert it on the recording console's main L/R buss or a stereo group, such as guitars, vocals, or drums. Inserted after the mic preamps, it will do wonders for digital audio workstation users. Wired across the 2-buss, the 1968ME is ideal for broadcast applications, too.

Insiders say: This is your analog Ace card.

Specifications
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Drawmer DSL424 — Two compressors, two gates, one rack space...
<--- Click for Larger View
Thousands upon thousands of Drawmer units are still in play across the globe. Some of the most popular include the DS404 four channel gate, and the DL441 four channel compressor/ limiter. Now Drawmer has introduced their latest audio tool, combining two channels of frequency conscious gating with two channels of intuitive compressing and limiting in one rack space: the DSL424.

The DSL424 allows the audio engineer to utilize high quality gates and compressors where rack space is at a premium. The frequency conscious gate channels include high and low pass filtering, allowing the engineer to dial in the frequency at which gating is triggered thereby avoiding unwanted triggering by ambient noise. Key listen mode allows you to listen to the affected material to help you dial in the correct frequency. A rear panel key input also allows you to use source material from another channel to trigger the gate effect. The compressor channels include Threshold, Hard Knee/Soft Knee, Ratio, Make-up gain, Bypass, and Peak Limiting controls. Setting up is simplified by the auto attack and release system which continually optimizes the attack and release times to suit the dynamics of the material being processed. At its highest ratio setting, the DSL424 also provides true hard limiting.

Key to the popularity of Drawmer auto gates and compressors is the fact that the auto circuitry has been designed to allow transient sounds to pass through cleanly, thus maintaining the clarity and transparency of the original source. Your mixes therefore become more present and intelligible in difficult live sound or recording situations.

Use the DSL424 on snare and kick drum to really bring out the punch of the rhythm section. Gate the bass with the bass drum as the key trigger to "tighten things up." Use it on stereo guitars to get that "in your face" powerful sound. Use it on the stereo buss to smooth out the overall mix and make it more "musical" without audible pumping or loss of clarity, or use it on smaller systems to hard limit the program material and save stress on your speakers. Most of all, count on the legendary Drawmer ruggedness and reliability to hold up under the most gruelling tour or studio situations.
DSL424 Features:

Download the lit sheet (pdf) here.

Drawmer DL241 2 channel Auto Gated/Compressor/Limiter

The DL241 is a fantastic "utility compressor" for use with instruments and vocal dynamics control. The DL241 is a big upgrade from the sub $500 compressor limiters, and sounds significantly better. An auto mode handles the attack/release settings for you, but a manual mode allows you to custom set it. This is perhaps one of the bargains left in analog
compressors-rugged, useful and sounds great!

Insiders say:
The best low cost utility compressor you can buy.
A great tool for bass guitar in Auto mode-replace your cheapo compressors with this one!
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Drawmer DL251 Spectral Compressor

When a source is compressed, the compression lowers the entire frequency range the same amount. The problem is that high frequency sources have very low energy to start with, so the compressor makes things sound "dark". When dialog is critical, this becomes a very important issue.

The DL251 features an “enhancer” that applies a dynamic boost to the high frequencies that is tied to same threshold as the compressor. The result is that under even high compression, vocals remain intelligible, instruments maintain their “airy” quality, and the overall mix is more present.

Insiders say:
This is a perfect compressor for dialog!
Make speakers or singers sit right in the front of the mix, without losing a bit of intelligibility.
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Drawmer DL651 Sixpack

The world’s first multi-dynamics processor for surround mixing! It has six independent downward expanders and compressors with “zero overshoot” limiters with the ability to link channels individually. For surround applications, channel six has the option to switch in a 120Hz filter to create an LFE channel.

Insiders say:
This is a great box for the studio that needs lots of utility compressor channels, such as lots of guitar tracks or drum tracks. Also a good investment with surround work increasing by the minute.
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Drawmer 1960 Mic Pre/ Tube Compressor

The 1960 is a very unique "vintage" animal. Some people say this is the "all in one" box that started it all, first shown in 1980. It's is a dark sounding compressor with two low noise mic preamps and one active tube instrument DI. Very useful as instrument DI compressor, this box has a long list of famous users such as Eric Clapton, Sir Paul McCartney, Keith
Richards and on and on. A great front end for any purpose, its especially good on bass and guitar.

Insider tip:
The active DI is modeled after a simple Fender front end,
and a guitar or bass deliberately overdriven and compressed is awesome!
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Drawmer 1969 Preamp/Tube Compressor Mercenary Edition

The 1969 Mercenary Edition is the modern update to the 1960, a product that derives from a collaboration between two of the audio industry’s most established names, Drawmer (UK) and Mercenary Audio (USA).

When Ivor Drawmer rose to the challenge of outspoken US producer/engineer ‘Fletcher’ of Mercenary Audio to build a special version of the famed Drawmer 1960, both sides joined forces and the 1969 Mercenary Edition was born! The results are improved mic preamps, very neutral and quiet; a new stereo JFET tube output compressor with new time constants and auto modes for 1176 type work; new filters in the side chain (called the "BIG" switch) to enable it to not pump on bass heavy material; a new stereo link system that disables Ch2 controls so one set operates both channels for better tracking, and a host of internal upgrades that make this one of the best deals in the audio industry. Mark Needham (Fleetwood Mac) uses it extensively with his Pro Tools rig as a front end.

Main Features:

2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse.

Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost.

2 soft-knee tube compressors with variable threshold, attack, release and output gain.

True stereo link operation with BIG position for retaining bass frequencies.

Side chain access and side chain listen facility.

VU metering of gain reduction and output levels.

Individual +4dB/-10dB inserts / Balanced +4dB XLR input/output connectors.

Insiders say:
The Drawmer 1969 Mercenary Edition rocks!
This sounds better than anything else close to the price.
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George Massenburg Labs

I’ve known and admired George Massenburg for many years.
His company, GML, is world renowned for making the most transparent and highest quality signal processors possible. It is with great pleasure that we represent thisincredible line of analog signal processors that match perfectly with the other high quality equipment we represent, and our belief in bringing the highest quality sound and reliability to our customers.
--Brad Lunde





GML 8900:

Our ears are not made of circuits and our perception of sound is not based on the behavior of transistors. Twenty-two years of progressive research into loudness perception by George Massenburg resulted in a limiter/compressor unlike any other. This is the most transparent dynamics control money can buy.

The 8900 Dynamic Range Controller was intrinsically developed to react to loudness (rather than volts) like our ears do. The 8900’s psycho-acoustic approach uses multiple true-RMS detectors, remarkably accurate log converters, and fast peak detectors to respond intelligently to real signal energy, not just level. This unusual design employs unique controls, like Crest Factor, Timing, and Release Hysteresis to access the parameters that you really want to adjust— that make sense to your ears. Familiar features such as Stereo Link, Soft/Hard Knee, Ratio, Output Level, as well as the comprehensive 40- segment tricolor Gain/Loss metering have been carefully optimized for flexible, creative control over a wide dynamic range with a lack of audible artifacts. Very useful is the Side Chain Input that permits external frequency shaping to be introduced into the detection circuitry. The entire audio path is all-discrete, including the VCA, for unsurpassed transparency and low-level resolution.

The 8900 packs all of this in a formidable 2U, two-channel unit which requires the external GML 9015 Power Supply.

Insiders say:
This is the ultimate dynamics controller. If you need it for high-end mastering, the new 2030 is the mastering version of the 8900 with upgraded power supplies, and detented pots for repeatable control.
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Geoff Daking

In Daking, we have found a manufacturer following in the tradition of the great console manufacturers like Neve and API. Geoff Daking has created a line of studio products whose sound quality and workmanship are second to none. Factor in their reasonable cost and Daking's excellent product support, and you have a value unmatched in the pro audio industry today.

The FET Compressor II, an updated version of the renowned Daking FET Compressor, features a new internal switch to facilitate active use of the gain makeup pot for console applications and also to fully bypass in line level rig application.

It also includes:
All discrete transistor circuitry, transformer balanced inputs (-10dbv or +4dbu) and output, class "A" amplifiers, all parameters switch selectable & repeatable, seven release time constants (.5 , 1 , 1.5, Neve 33609 Auto, A&D Compex Auto, Fairchild 670 #5, Fairchild 670 #6), a three function VU meter (Input/Output/Gain Reduction) and stainless steel construction.

Insiders say:
Fast and sweet, this compressor will soon become one of your favorites!
One scoring engineer we know thinks the is the most flexible and useful compressor he owns.
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The TXC uses the proprietary all discrete TX-240 op-amp and the all discrete TX-260 output stage with the TX-280 transformer.

With the ability to do in-module parallel mixing of the dry signal and the compressed signal using the MIX knob, the engineer can now enjoy the parallel or "side chaining" of an instrument with itself and come up with the perfect blend of the original and compressed signal without the problems associated with in-the-box latency.

In addition, the TXC has many other unique features not found on any compressor made today. The ability to switch between Feed Back and Feed Forward compression is something that is not new to Paul Wolff. With the TXC, he decided to take it one step further by allowing the ability to fade between Feed Back compression and Feed Forward compression with the TYPE control. This feature gives the engineer the freedom to combine the smooth nature of the Feed Back type of compression with the agressive effect of Feed Forward compression.

The TXC also has the ability to "over compress" with the RATIO control. This allows compression ratios from 1.5:1 to 20:1, and then beyond with the "Over" ratio settings that cause the compressor to reduce the gain at a higher ratio than the gain is going into it. This means that the ratio control allows the compressor to compress an increase in signal of 10dB with a gain reduction of up to -8dB. If the signal goes up 10dB, the output will go down 8dB.

This becomes useful, for example, when taking a pre compressed snare and by adjusting the Attack, and setting the Ratio in the OVER: area, you can actually recover the initial impact peak of the snare. This, with the MIX control, can then be blended back with the original "flat" snare and you now have a dynamic snare again, but with a very controlled peak.

The TXC also inserted the now famous "TILT" control into the side chain of the RMS detector, so you can increase the highs and decrease the lows going into the RMS detector, virtually eliminating the effects of pumping because the Detector is seeing a more uniform distribution of energy across the spectrum instead of a bass heavy signal like most compressors.

The Attack control has a X5 switch to allow for a range of extremely fast attack (in the micro second range) all the way through a very smooth slow attack, more suited for leveling.

The Release control can be almost instantaneous to 3 seconds. The release circuit is a unique 3 stage circuit that auto releases the faster signals at a rate of 10 times the release of the lower frequency signals. All of this and an auto-makeup gain system that always keeps the gain at unity regardless of the amount of compression.

With a 6 LED Gain Reduction meter and an adjustable link control, the TXC can be used in mono or stereo configurations with ease.

Technical Specs and plots