The Drawmer 1978 is a stereo bus compressor like no other - combining compression, tone shaping, harmonic colour, and wet/dry control in a compact 1U frame. It makes achieving a polished, signature sound fast and intuitive. Glue your mix, enhance the lows, smooth the highs, add warmth, introduce subtle saturation, or widen the stereo image - all while making your recordings sound more musical and less digital.
Alongside the familiar Threshold, Ratio, Attack, and Release controls, the 1978 adds four Character switches for different compression flavours and a variable Saturation control for harmonic distortion. The flexible side-chain EQ includes LF and HF filters with selectable shapes and variable frequencies, ideal for creative or corrective processing such as de-essing. A wet/dry Mix control provides true parallel compression, allowing you to blend dynamics with precision and ease.
The Drawmer 1978 is a flexible, well thought out new product to hit the audio world including features that designs 2 or 3 times the price would love. The combination of the types of compression, harmonic distortion and EQ sculpting is going to make the Drawmer 1978 very useful.
Built in the UK to the highest standards, the 1978 features a fast-reacting dual-colour VU meter, time-delay relays for silent power switching, and a low-hum toroidal linear power supply for clean, reliable operation. Combining premium components with creative flexibility, it's a truly versatile stereo compressor for any professional setup.
As well as a number of other prestigious nominations, the 1978 is the proud winner of the Resolution Award 2016 in the Dynamics category, recognised for its innovation, flexibility, and sound quality.
Incorporated into the 1978 is the 'Mix' Control. This acts like a 'parallel compression' effect that mixes the Wet (compressed) and Dry (original) signals to provide a simple and exact way of controlling the amount of compression used - all with the turn of a single knob.
With the extensive controls of the 1978, such as saturation and tonal shaping, it could be possible to take the effects too far and ruin a mix - this is easily prevented by the use of the Mix control just by mixing in less of the wet signal and more dry. By the same token, the mix control can add more compression and character simply by adding more of the wet signal. It's that simple!