Drawmer 1971 Dual-Channel 4-Band Parametric Equalizer

Drawmer 1971 Overview

Perform subtle shaping with a delicate touch and vintage-inspired warmth with the 1971 from Drawmer, a dual-channel, 4-band true parametric analog equalizer with a character that is nearly impossible to emulate digitally. With stepped and indented pots for easy recall and flexible frequency control, you can shape tones however want.

Each of the four bands includes individual bypass, frequency selection, cut/boost amount, and Crush control, which adds a highly musical compressor. The low and high bands also sport variable slope selection, while the mid frequencies include fully variable bandwidth control for extremely narrow or wide filtering. True hardware bypass on each channel allows for easy A/B comparisons between settings. And with an internal low-hum toroidal linear power supply with voltage selection, the 1971 is quiet, transparent, and universally compatible. The 1971 is constructed from durable steel, with an aluminum faceplate, and is designed and manufactured in the UK.

Fully Parametric with Variable Bandwidth

• True parametric 2-channel equalizer with four bands per channel
• Cut and boost of 12 dB
• Fully variable filter bandwidth (Q) on mid-frequency bands
• Focus on narrow sections or apply broad, natural-sounding filter, or anything in between

Variable Low- and High-Cut Filters

The 1971 includes fully variable low- and high-cut filters (10 to 225 Hz and 4 to 32 kHz respectively), ideal for tuning out undesirable signals. The beauty of being fully variable is that, unlike fixed frequency filters, it is easy to sweep both controls to find the perfect setting and remove sounds with pinpoint accuracy. This is especially useful when bracketing individual tracks.

Switchable Slope Setting

A very rare feature on analog parametric equalizers, the 1971 has adjustable slopes for the low- and high-band filters, allowing for further control of your audio. The filter slopes of the 1971 have been chosen for their musicality, allowing you to adjust the focus of the audio at the bottom and top ends of your recording, but not so harsh as to be a very noticeable brick wall filter.

At the bottom end filter slopes of 6, 9, and 12 dB per octave plus a Peak setting are available, and at the high end 6 and 12 dB per octave. The Peak setting adds a narrow bell shape to the 12 dB per octave low-band filter at the knee frequency just before it rolls off. Especially useful on kick drums, this magnifies and gives extra weight to the hit whilst still filtering out any subsonic junk and without muddying the lower mid. It'll give your kick an added sense of power and precision.

Crush

• Switchable fixed-time, auto-gain makeup compressor
• Available on each frequency band
• Introduces musically pleasing harmonics with a wider, rounder bandwidth
• Fattens kicks, toms, snares, and bass guitar on lower band
• On mid-frequency band, Crush warms mixes, enhances presence, thickens guitar, adds punch to percussion, increases attack of piano, and brings out raspiness in vocals
• At high frequencies, Crush brings out the shimmer of cymbals and brightens string instruments
• Effect is progressive