Drawmer 1970 Dual FET Stereo Compressor and Preamplifier

The onboard I/O is designed with versatility in mind and sports separate stereo pairs of XLR inputs for mic- and line-level signals, a pair of 1/4 stereo sidechain inputs, and a pro-quality, front panel 1/4 DI input that supports low and high EQ selection. The 1970 features typical compression controls such as threshold, ratio, attack, release (including programmed release), FET bypass, Big and Air modes for low- and high-frequency boosts respectively, and a variable wet/dry mix knob for internal parallel compression effects, just to name a few. The 1970 uses a user-selectable toroidal power supply for global compatibility and includes an AC power cord for getting to work right away.

An All-in-One Studio Workhorse

Inspired by the first pro-audio tool box compressor, the 1970 from Drawmer is a 2 RU rack compressor and preamplifier with dual-mono or stereo operation and two ultraclean THAT Corporation microphone pres which provide up to +66 dB of transparent gain. With switchable mic impedance and phantom power on each preamp, you can easily match your processor to any type of microphone.

The onboard I/O is designed with versatility in mind and sports separate stereo pairs of XLR inputs for mic- and line-level signals, a pair of 1/4 stereo sidechain inputs, and a pro-quality, front panel 1/4 DI input that supports low and high EQ selection. The 1970 features typical compression controls such as threshold, ratio, attack, release (including programmed release), FET bypass, Big and Air modes for low- and high-frequency boosts respectively, and a variable wet/dry mix knob for internal parallel compression effects, just to name a few. The 1970 uses a user-selectable toroidal power supply for global compatibility and includes an AC power cord for getting to work right away.

Copious Controls

Parallel Compression Made Easy

Real Analog VU Meters

Keep it Clean

The mic stage of the 1970 has been designed to provide as clean a recording as possible. If you introduce distortion or warmth at the recording stage, it can t be removed, and the recording will be stuck with it, but by contrast, if you obtain a clean recording you can add warmth and distortion at a later time, via tubes, saturation, transformers, and more, in a way that gives you complete control over the effect.

The design of the 1970 takes this one step further-a fully balanced hardwired bypass, located in the output section, connects the input source (the mics and/or instruments) directly to the output XLR without passing through any of the compressor FET circuitry or the mix and gain controls at all, introducing as little distortion as possible and providing an ultraclean microphone signal