The 1976 brings character, colour, and energy to recordings and live sound, inspired by classic 1970s analogue hardware. It adds warmth and richness through independent control of low, mid, and high-frequency harmonic distortion, letting you sculpt tone and enhance dynamics with precision.
Building on the acclaimed saturation and width functions of the Drawmer DC2476 Digital Mastering Processor, the 1976 delivers three bands of fully independent analogue saturation. From gentle warmth to bold harmonic grit, it introduces the musical imperfections that give vintage gear its life and depth, transforming sterile mixes into something vibrant and alive.
The 1976 also goes beyond traditional saturation processors with three bands of stereo width control. This allows you to expand or tighten the stereo field within specific frequency ranges, giving your mix more depth, space, and focus - all in true stereo operation.
Saturation enriches sound by adding subtle harmonic distortion. In the analogue era, every stage of recording added a touch of this character naturally, giving music warmth and cohesion. In today's clean digital workflows, that magic is often missing.
While plug-ins can imitate the effect, the 1976 delivers real analogue saturation, bringing presence, warmth, and life to any source - from drums and vocals to synths and full mixes.
Single-band processors affect the entire signal equally. The 1976 gives you three independently adjustable frequency bands, so you can shape tone precisely where it matters. Add grit and weight to bass without muddying the highs, or bring vocals forward without clouding the low end.
This flexibility lets you control transients, introduce harmonic colour, and rebalance frequencies in ways single-band processors cannot.
It really does shine in giving the user access to a '70s analogue vibe using only a few knobs and the minimum of effort - it's all so quick and easy. And all the while, the 1976 adds that extra sparkle that only the 'real thing' provides.
Saturation enhances almost any source, but truly excels in these areas:
Running audio through analogue circuitry improves it - running it through the 1976 takes it to another level.
Without width control, mixes can sound flat and two-dimensional. The 1976 solves this with three bands of stereo width processing, allowing you to widen, narrow, or rebalance the stereo image across specific frequency zones.
Open up the highs for an expansive soundstage while keeping the low end tight and centred, or narrow the midrange for improved focus. Because all controls are stereo-linked, adjustments remain intuitive and musical.
The width processor uses an M/S (Mid-Side) encoder/decoder, with the Width knob adjusting the balance between Mid and Side information. This provides precise, frequency-targeted control of stereo imaging, giving your mixes width, depth, and professional polish.
The layout of the 1976 has been designed to be as simple, familiar and intuitive as possible whilst still giving complete control over the audio.
The front panel consists of an Input control that allows you to optimise the input level should it be to low, or hot. This is followed by three identical Low, Mid and High Saturation and Width bands, flowing left to right, with the Variable Crossover Frequency knobs separating them. To the right are the Output controls to optimise the output level.