DRAWMER DF330 Dynamic filter + noise reduction

The DF330 replaces the DF320 ‘Single Ended’ Noise Reduction System which has been favored by broadcasters and tape duplication facilities since its introduction in 1985. New design features include an automatic high frequency restoration circuitry which compensates for any high frequency loss during heavy noise reduction processing. The new expander section now incorporates Drawmer’s proprietary ‘program adaptive’ circuitry to facilitate seamless downward expansion during program pauses.

Most noise reductions systems require that the signal be encoded in some way before recording and then decoded inversely on playback. The Drawmer DF330 is a single ended noise reduction system which does not require any previous encoding. Instead, it uses a dynamic filter which senses the highest frequency of incoming program material and opens a filter to that frequency. It has been designed to dramatically reduce noise, regardless of source, in a wide variety of recording/broadcast situations. An example of this is when old recordings are remastered for CD. Some other applications would include: Analogue to digital mastering, reducing tape hiss and noise resulting from high gain and high frequency boost on mixing consoles. Restoring degraded or poorly recorded material for tape duplication and resolving problems with noisy synthesizers, guitar amplifiers, effects units etc.

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DRAWMER MX50 De-esser

The human voice is one of the most diverse signals ever encountered by engineers because it contains such large variations in level and harmonic structure. Getting the desired vocal sound can sometimes prove difficult. Setting the E.Q. to give the vocal sufficient 'definition' and 'cut' in the mix can cause large sibilant peaks which often lead to severe distortion. The MX50 'Vocal' De-Esser solves these problems quickly and efficiently by reducing the level of the sibilant sounds whilst leaving the remainder of the signal unchanged.

The MX50 is a flexible, simple to set up dual De-Esser designed to fulfill the needs of the Recording Studio, Broadcast, Theatre and Live Sound Industries. Its classic application is to overcome the problems that can arise when sibilant sounds (S's and T's) are over-emphasized by the human voice, with such other applications as 'smoothing' a stereo mix, reducing string noise on acoustic guitars or breath noise on flutes, even refining cymbal and hi-hat sounds. Processing is achieved by adjusting just two control parameters, Frequency and De-Ess. The fully variable Frequency control operates from 800Hz to 8KHz encompassing the full sibilant range, including 'hard' sounding harmonics and other side-effects which can be generated when treble frequencies are boosted or enhanced. This is followed by the variable De-Ess which acts as a 'more' control giving up to 20dB of gain reduction at the selected frequency.

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A Designs ATTY

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The ATTY is one of the most useful tools you didn’t know you needed. It is a no-noise, passive, compact device that can be connected to any audio system requiring output gain control. It is a stereo attenuator for any +4 line level sources and has ¼” / XLR combo jack inputs and ¼” TRS/XLR outputs. It has a rotary level control and a mute switch. Hook it up to your powered monitors for quick and easy level control or muting!
Some other uses include:
Line level control for your guitar, bass or keyboard via the amp’s extension speaker without clipping your A/D converter
Line level control for a Mic-pre to your A/D converter
Line level control from a power amp to any speaker in a series
Line level control for your powered monitors
Use multiple units for independent stereo control to powered speakers.

A Designs REDDI

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With the prevalence of digital technology, engineers are constantly looking for tools to “warm up” their sound. The REDDI is a tube direct box with an unquestionable quality of sound. Great for basses, guitars, synths and electronic instruments that need that touch of warmth that a tube provides, but don’t need distortion added in the wrong places. The REDDI is clear and clean with a wide bandwidth and just the right amount of gain to add a little magic to your recordings.

A-Designs LPV1

The LPV-1 (Low Profile Video Adapter) was developed to make video installations faster, easier and cost effective.
Using the LPV-1 for installations gives you the flexibility to place video monitors anywhere on the site. You no longer have to be restricted by costly, pre-manufactured cable lengths. The LPV-1 was made to open the possibilities of your creativity.

A-Designs LP-9

The LP-9 is a low profile adapter for the RS232 or dB-9,
available as both male and female.

A Designs Audio has done it again!...
They have created another Low Profile Adapter for the dB-9.

The LP-9 continues with the same guide lines of the LPA-1 and the LPV-1. The LP-9 gives you ease of installation and economics. The LP-9 allows you the freedom to wire without the need for soldering or restriction of fixed length cables at high costs.

The LP-9 is perfect for Face-Plates in Boardrooms, Concert Halls, Places of Worship,
or... anywhere you would need to transfer data.


A-Designs LPA-1R

A-Designs LPA-1

The LPA-1 (Low Profile Audio Adapter) and
LPA-1r (Low Profile Audio Adapter Reverse) are used with
DB25’s to provide fast and easy installations.

The LPA-1 is an economic alternative to the high cost of pre-made cables, such as the D-sub to XLR, 1/4 inch, or RCA's in fixed lengths.

The LPA-1r makes Audio installations easy because, the 12 post Terminal Blocks are reversed, making wiring a snap.

Recommendation: When installing the LPA-1 or LPA-1r, use a bench-grip to stabilize the adapters for wiring. Then plug the adapter into your DB25. This will allow you more room to operate and you will complete the installation in no time.


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