Drawmer 1970 Operatör El Kitabı - Sayfa 7

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Phase Reverse

This switch reverses the signal polarity, and is often useful when recording an instrument with more than one

microphones. If, for example, you record a guitar cabinet with two mics, the two signals could be so similar that

they would cancel each other out partially, resulting in a very thin sound. Reversing the phase of one channel

would rectify this.

High Pass Filter Switch Off - On

The signal path incorporates a switchable high-pass filter (also known as Low Cut), set to 70Hz at a slope of 12dB

per Octave, and is used to attenuate low frequency signals that might otherwise prove troublesome, eg. traffic

rumble or stage vibration, and let the higher frequencies pass.

COMPRESSOR

Link Switch

When linked the signals of both channels are combined and an average control voltage is created to supply the

levels for the compressor. The same degree of gain reduction is applied to both audio channels to prevent image

shifting which would otherwise occur whenever the left and right signal dynamics varied from each other by any

significant degree. When linked the controls of Channel 1 become the master and the controls of channel 2 are

unused.

Note, the link switch only links the compressor and as no effect on the output controls.

Threshold

Determines the input level above which gain reduction will be applied. Soft knee compression takes place for

signals exceeding the threshold level by a few decibels, above which level conventional 'ratio' compression is

applied.

Big Switch

Big, when on, reduces the side-chain's sensitivity to low frequencies, with the result that less gain reduction is

applied at those frequencies, creating the effect that the bass is louder or 'bigger'. The 'BIG' mode enables

application in buss compression situations where you still want thick and warm tone yet complete dynamics

control.

Air Switch

Air is used to re-introduce high frequencies, which can sometimes be lost after heavy compression, so that it

sounds more intimate, detailed and transparent, but without making it sound harsh or introducing any noticeably

unnatural artifacts. Cymbals are more vibrant without becoming splashy, and vocals sound more open but without

becoming sibilant.

Ratio

Ratio determines the amount of compression (attenuation) to be used once the 'soft-knee' region is exceeded. If

the ratio is set to 5:1 a signal exceeding the threshold by 5dB will be attenuated down to 1dB above the threshold,

and likewise, a signal exceeding the threshold by 15dB will be attenuated down to 3dB above it. A ratio of 1:1

provides no compression, 4:1 is moderate, 8:1 strong, whilst 10:1 would be seen as approaching limiting.

Attack

Sets the rate at which the compressor will respond to input signals that exceed the threshold level.

Release

Sets the time taken for the signal to return to normal after the input level has fallen below threshold.

PGM Switch

When on causes the release times to vary in a manner which automatically adapts to the dynamics of the

incoming signal.

Gain Reduction Meter 1, 2, 3, 5, 7, 10, 15, 20 -dB

An eight segment LED bargraph meter continuously monitors the gain reduction applied by the compressor and

gives an indication of the amount of gain required to bring the signal back to its input level after it has been

compressed.

Off - On

-40.0dB - +20dB

Off - On

1:1 - 10:1

0.2mS - 100mS

0.05S - 3.5S

Off - On

DRAWMER 1970 O

PERATOR'S

ANUAL