Drawmer 1970 Manuel de l'opérateur - Page 9

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Hints and Tips

Mic Impedance

When it comes to mic impedance matching you may have encountered the general rule of thumb that the impedance of

the preamp input should be 10X that of the mic to get an input impedance that is appropriate for the mic and to avoid

loading the source, however, it is less known that mismatching can create some interesting tonal differences that can

be used more creatively. The result will depend on the microphone used, as the tonal changes will be obvious with some

mic's but others will hardly alter, and on the material you're working with and also what you're trying to achieve. The

1970 has 3 settings per mic input: 200, 600 and 2400 Ohms, making it easy for you to explore the various tones.

Recording a Guitar using 2 Microphones

A common technique when recording guitar, to get the perfect tone that you're trying to achieve is to record a single

cabinet with two mic's, one for each channel, with one in the centre of the cone and another a few inches away, for

example. There are many online tutorials on how to create this technique.

Another widely used technique especially when recording bass guitar, is to record one channel via a mic'd cabinet, and

the other directly into the instrument input on the 1970, or via effects using the line input, and blend the two signals at

a later stage.

Note that in both cases phase problems can occur so some delay on one of the channels may need to be added.

In both techniques the 1970 is perfect for the job, enabling you to independently control the gain and compression of

each channel to the required amounts with ease to get the desired tone/character.

Parallel Compression Made Easy

The Mix control of each channel works in a similar way to that of the parallel compression technique but with the

advantage of being one simple knob. It works by adding variable amounts of the uncompressed signal (dry) to that of the

compressed signal (wet), effectively reducing the perceived amount of compression taking place. The most effective

way of using the control is to set it at the 3 or 4 position, so that a good amount of compression is heard but a little more

can still be added should it be required - then set up the compressor as you would normally. Finally introduce the dry

signal by rotating the knob clockwise until the perfect amount of compression is found.

Keep it Clean

The mic stage of the 1970 has been designed to provide as clean a recording as possible. The adage being that if you

introduce distortion/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 etc, and in a way that gives you complete control over the effect.

The design of the 1970 takes this one step further - a fully balanced hard-wire bypass, located in the output section,

connects the input source (the mics and instrument) directly to the output XLR without passing through any of the

compressor FET circuitry, or the mix and gain controls at all, and so introducing as little distortion as is possible, and

providing an ultra clean microphone signal.

DRAWMER 1970 O

PERATOR'S

ANUAL