The Drawmer 1977 is a comprehensive channel strip with an ultra clean preamplifier, a three band parametric equaliser, a soft knee compressor and a variable saturation stage. Pristine & Versatile Pre-Amplifier The pristine preamplifier not only incorporates mic, line and instrument D.I. with 66dB of stepped gain, allowing ultra clean, transparent and precise recordings, sweeten up dull audio or perfect guitar sound, but also brings out the best of every mic by matching the input impedance with the mic. Whether high-end, ribbon or even ordinary mics will benefit when the impedance is in the sweet spot. Precise Parametric Equaliser with Variable Bandwidth. The 1977 incorporates a true 'parametric' equaliser which takes it’s inspiration from 1970’s-era analogue gear, with three bands of fully variable frequency control and cut and boost of +/-12dB's and, in addition, a fully variable bandwidth control of the mid band, making it incredibly versatile and capable of modifying everything from subtle fine tuning to tone sculpting problematic recordings, and, of course, anything in between. Silky Smooth vintage Compression. A full featured compressor allows to control the dynamics of the recording and Drawmers trademark 'Big' and 'Air' modes help to preserve the very deep lows and enhance the sparkling highs that lesser compressor's remove. Clean, Warm or Overdriven with totally controllable Saturation The compressor section also incorporates variable harmonic Saturation with a choice of 3 styles, that will allow warm up recordings with complete precision. Switch the Order The engineer has control over the order of the signal path to operate as either Gain-Equaliser-Compressor-Output or as Gain-Compressor-Equaliser-Output, with each creating a distinctly different tonal quality and coloration. Get the correct level first time The output section includes a wet/dry mix for parallel processing that allows to easily dial in how much EQ, compression and saturation is used via a single knob, plus an output fade control to either add fade outs or to boost the level to match high end audio interface audio input levels, along with a large backlit VU meter for accurate monitoring. And finally, a Preamp Direct switch that bypasses the EQ, compressor and saturation completely to provide an ultra clean microphone output. Vintage brought to the modern era The result of all these features is a modern take on vintage gear that gives an incredible degree of control over the clarity, tone and warmth of every recording, helping to capture perfect audio every time.

The 1972 Dual Mic, Line & Instrument Pre-Amplifier has been developed to make it ultra easy for you to capture perfect recordings every time. The 1972 gives you the ability to record pristine audio from a variety of sources and especially makes the most of the multitude of microphones that you find in the studio, from budget to high-end dynamic and also ribbon mics. Uniquely it has added features that help out in difficult to record situations that are not found on other preamplifiers. The 1972 uses the latest THAT Corporation technology in the two independent mic preamps to provide ultra clean, transparent and precise recordings, that can be processed at a later stage using your favourite methods, be it compression, E.Q., saturation, valve, transformer or tape. Each channel is capable of 66dB of stepped gain, with an additional +/-12dB’s trim at the output, and incorporates switchable mic impedance for accurate mic matching to bring out the best from any microphone used, and also provides a way to “sculpt” the sound of passive dynamic, and especially low-impedance ribbon microphones. Capture Difficult Sources As well as standard features that you will find on most preamplifiers, such as phase reverse, the 1972 also has a wealth of tools that help when recording difficult sources, making it possible to get the best quality recording with ease. These include fully variable LoCut and HiCut controls to allow you to tune into recordings and remove superfluous signals in the low and high frequencies, removing rumble and hiss with ease. In addition the Shape feature allows you to bring out the bass or treble using a subtle tilt EQ. Record Very Low Signals with Ease A unique feature that has been developed by Ivor Drawmer and currently only available on the 1972 is the Lift control. Lift is essentially a low level dynamic gain module which has no effect on signals above 0dB. This makes it possible to record very quiet signals in a transparent and natural way without distortion and clipping taking place on the louder passages, and is especially effective for very dynamic signals, finding great use in recording piano, and on all vocals, including speech, and for capturing ambiance. Be Creative using Variable Mic Impedance You may have encountered the general rule 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 1972 has 3 settings per mic input: 200, 600 and 2400 Ohms, making it easy for you to explore the various tones. 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.

The Drawmer SL22 Sound Level Limiter is the perfect tool to protect speakers, the hearing whilst listening to headphones or to conform to Noise At Work Legislation. By eliminating the possibility of ’unauthorised’ excessive sound pressure levels it offers strict level control and tremendous peace of mind to users in three distinct areas: 1. Hearing Protection Conform to Noise at Work Regulations by controlling the level of the dedicated headphone output to prevent hearing damage to anyone wearing headphones on a regular basis - DJ’s, sound engineers in recording studio’s, students listening to audio via various media. Additional connectors on the rear can be used for remote data logging or to trigger external warning devices. 2. Conform to Regulations The precise calibration and volume controlling of the SL22 allows venues, such as clubs, theatres, pubs, schools, universities etc. to conform to Local Authority Noise Regulations. The need to conform to Local Authority Regulations is absolutely imperative, none more so than in the area of noise control. Many products are on the market that claim to do the job but these often take the form of a crude switch, either turning off the power or disconnecting the speakers, both of which are very disruptive in any event. The SL22 is different, it controls the volume, but in a transparent, unobtrusive way, that you will struggle to notice. Not only is it responsive and versatile but does so in a secure manner meaning that tampering is extremely difficult. Other features include remote dimming of the volume, as well as the connection to a fire alarm system, reducing the volume automatically during a fire and allowing the alarm to be heard more clearly. 3 - Speaker Protection Prevents the damage to speaker chassis drivers and amplifier electronics by catching unwanted signals such as ‘bangs’ and ‘pops’. Whether in a large arena with a PA system and multiple speakers, or a bar or theatre, there are few things more troublesome than blowing a speaker cone or amplifier electronics. The SL22 has been specifically designed to transparently catch those unwanted SPL’s and protecting the gear. Not only will it save money by reducing the cost of speaker repairs, but also reduce ’call-out’ costs of sound system service/repair engineers, lower sound system ’down time’ and the consequential loss of income, as well as the reputation of the venue.

The MXPRO-30 Gate/Comp/Limiter is a low cost professional quality dynamics processor containing some of the proprietary design circuitry used in the more expensive models in the Drawmer range. The MXPRO-30 has many automated features enabling fast, effective dynamic control whilst retaining the instinctively laid out control parameters, sonic character and high technical specification which have made Drawmer the industry standard. The MXPRO-30's competitive price point brings Drawmer's professional processing into a much wider musician, project studio and live performance area.

The MXPRO-60 Front End One is a unique mic/line/instrument input channel in a single rack space providing high quality Drawmer processing prior to tape/hard disc recording. The MXPRO-60 is also ideally suited to project studio and live sound applications. Functioning as a studio grade mic pre-amp, Program Adaptive™ gate, de-esser, compressor, limiter, three band EQ and multi band tube saturation stage, the MXPRO-60 offers the user more options than competitive units currently available. Grass Roots - The MXPRO-60 draws its technology from the most successful of Drawmer products. The mic pre-amp features the same discrete component design found in the legendary Drawmer 1960, the de-esser is derived from the MXPRO-50, the VCA based compressor is similar to the MXPRO-30, while the peak limiter and gate can be tracked back to the DL241 compressor/limiter.

It is imperative that what you record is exactly what you hear - this is the philosophy that is at the heart of the design of the MC2.1 Monitor Controller. With the Drawmer MC2.1 Monitor Controller incorporated into your system you combine the clarity, fidelity and transparency of the highest quality monitoring circuit with the complexity of a host of mix checking features. It is versatile and intuitive, but above everything else, where the Drawmer MC2.1 excels is in it’s accuracy and ability to faithfully reproduce what has been recorded. The MC2.1 incorporates four inputs with three stereo balanced speaker outputs, plus a dedicated mono speaker/sub-woofer output each with individual left/right trims under the unit to provide complete control over level matching. The active circuit has been designed to faithfully produce the audio signal whilst removing many of the problems that a passive circuit will bring. In addition, it has a host of mix checking features not often found on other controllers, such as individual left/right cut, as well as two seperate headphone amplifiers and a talkback facility, making the MC2.1 a true engineers tool. Whether you’re mastering a cd/dvd, recording, checking a mix for balance and e.q, doing A/B comparisons, plus a mutlitude of other tasks, you’ll have spent weeks designing the perfect studio environment and a fortune on active speakers, dynamics processors, various microphone and preamplifier combinations as well as a whole room full other gear, one thing is for sure - a monitor controller is central to every recording setup and probably the most important element of the entire signal chain - providing the ‘reference’ listening signal that enables the user to achieve the optimal mic placements, the perfect balance and EQ etc. There is one thing that should always be absolutely guaranteed - that you can rely on the accuracy of your monitor controller.

The Drawmer MC1.1 is a Monitor Pre-Amplifier width the same fantastic transparent and non-colouring sound like the well known MC2.1. MC1.1 has a a revised feature set more suitable for a less complex post production booth or home use where multiple speaker setups are not permissible or even required, and with the addition of a new RIAA phono stage the MC1.1 is a great solution for a precious turntable setup. The front panel is dominated by the two large, independent volume controls for the main line outs and the headphone amplifier, both incorporate a paralleled custom quad pot for excellent channel matching and the smoothest possible action. There are also individual switches for each input source and output section making an elegantly simple yet functional user interface. In addition to balanced XLR inputs of MC1.1 includes an input for MP3 player, iPod or smartphone and a line / phone input for turntables or CD players.

The MC3.1 is an accurate and transparent and quality build Monitor Controller for faithfull reproduction what has been recorded without colouring the sound. It is build on the the success of the MC2.1 Monitor Controllers with an expanded feature set, including more inputs, better control, extended channel routing and a desk top 'wedge' form factor. MC3.1 provides a total of 5 individually switchable sources, including a front panel auxilary input with level control for the easy connection of a mp3 player, smartphone or tablet and a combined digital AES/SPDIF (24 bit/192kHz) input. Full cue mix facilities, with level control, offer separate source selection for main or cue outputs and the two headphone amplifiers, so the artist can listen to a completely different mix than the engineer, for example. A dedicated cue mix output is also available. The secondary preset volume control on the front provides repeatable calibrated output level for the monitors, so that at the flick of a switch the engineer can hear the mix at the same predetermined volume, time after time, without having to meticulously adjust controls. The MC3.1 incorporates three stereo balanced speaker outputs, plus a dedicated mono speaker/sub-woofer output each with individual left/right trims under the unit to provide complete control over level matching. Furthermore each can be switched individually and simultaneously and in any order. Multiple speakers can be used with the same sub-woofer or without the subwoofer. For additional mix checking capabilities the MC3.1 incorporates low, mid, high solo switches to hear how the lows bleed into the mid, or the stereo width of each, for example, and also the ability to swap the left and right channels. The talkback section includes an external mic input in addition to the internal mic, and can be controled via footswitch.

The LA12 is a low noise, low crosstalk distribution amplifier with high bandwidth specification, developed specifically for 'real time' cassette duplication. As more and more facilities invest in this form of tape copying, the LA12 offers the efficient solution to interfacing multiples of 'real time' cassette decks.

The Kickbox 4x4 is an ‘all terrain' 4 in/16 out mic/line signal splitter. Its extremely high audio quality, robust build and portability make it the ideal tool to provide multiple outputs for live sound, broadcast coverage, sports events, live recording, press conferences, corporate events and any situation where distribution of high quality audio is required. It incorporates 4 studio grade mic/line pre-amps, each providing up to 66dB of gain and 16 balanced output stages, each with the option of transformer isolation and comprehensive linking facilities. The 4x4 is supplied as standard in a road proof case with a removable lid for unhindered access to all controls and connections.

The DS201 is a sophisticated dual channel noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, and not found on conventional noise gates. These features and its user friendliness have made it the industry standard throughout the world. Drawmer pioneered the concept of frequency conscious gating, and the Drawmer DS201 was the first noise gate to include this feature. With it, it is very easy to remove the spillage of the hi-hats form a snare track. The very fast attack of the DS201 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. Another important role played by the gate is in the reshaping of existing sounds. When using a sampler or drum machine the gate can be considered a triggered envelope shaper, and the wide range allowed by the envelope controls make the DS201 ideal for this application. Each channel can be individually switched from Gating to Ducking for 'voice over' applications or the removal of 'clicks' and 'pops'.

The Industry-Standard High-End Noise-Gate comes to the 500 Series! The DS101 is the first noise gate designed specifically for the 500 Series rack system and takes its place alongside the Drawmer family of industry standard Noise Gates, such as the DS201, DS501 and DS404. Anyone familiar with those units will immediately be at home with the DS101. Based on a single-channel of the DS201 the DS101 is a sophisticated noise gate incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, such as variable high and lowpass filters for “frequency conscious gating.” Other features include comprehensive envelope control, attack, hold, decay, and range, plus a whole host of other features, all adding up to one amazing processor. When placed side by side in a 500 series rack two or more gates can be linked using the new infra red triggering mechanism employed on the DS101. This means that any number of gates can be linked with each having their own envelope shaping whilst the trigger pulse passes through unchanged, this opens up a whole world of “envelope follower” effects limited only by your imagination.

The D-Clock is a dual input/twenty output word clock distributor with a 16 character blue LCD display providing a reference measurement of the incoming sample rate. Both AES/EBU and BNC word clock inputs feature a zero latency loopthrough output with switchable high impedance to maintain the correct level of the digital signal for onward distribution. The D-Clock displays incoming sample frequencies up to 768 kHz to an accuracy of 2ppm (parts per million) with two further modes - sample frequency with ±ppm error and sample frequency with % pull up/down for video users. Sixteen BNC clock outputs are situated on the rear panel with a further four BNC clock outputs on the front panel for quick patching to other digital devices. The word clock outputs can be derived from either a word clock input or alternatively an AES/EBU audio signal from which clock information can be stripped. In the latter case, one of the many mic pre's with internal A/D conversion but no word clock output can be utilised as the master clock source for the whole digital studio.

DESIGNED FOR LIVE & BROADCAST ENVIRONMENTS Expanding on the renowned D-Clock in providing word clock measurement and distribution, the D-Clock-R has been developed with not only studio recording in mind but also the live and broadcast environment, where reliability and stability are absolutely imperative. Designed for fail-safe operation the D-Clock-R incorporates dual redundancy for both the power supplies and also the auto-sensing clock inputs, ensuring that the show will go on regardless of technical difficulties. The D-Clock-R is fitted with two identical and independent power supply units, providing Dual Redundancy. In situations where it is critical that power must be maintained the load is shared between the two supplies, however, should power to one fail the D-Clock-R will still run perfectly well on either. A 16 character blue LCD display provides a reference measurement of the incoming sample rate to an accuracy of 2ppm and displays the information in three different formats: actual frequency (to one decimal place), nominal frequency +/-ppm error, or nominal frequency plus percentage of pull up or pull down. Two inputs are provided, a default and auxiliary, capable of locking on to both word clock and AES-3id, with the source automatically selected depending on the type and quality of the signal. Twelve BNC clock outputs are situated on the rear panel with a further four on the front panel for quick patching to other digital devices.

The distribution of mono and stereo balanced audio signals from a single source to multiple destinations has many applications including multi-zone sound reinforcement installations, live sports events coverage, broadcast studios, video suites, duplication or indeed anywhere high quality audio has to be distributed to a number of locations down long cable runs. The Drawmer DA-6 is a six channel stereo (or twelve channel mono) distribution amplifier featuring XLR balanced inputs and outputs with optional transformer balancing where remote amplifiers and recorders are fed from separate power supplies. The stereo Input features individual left/right level controls with LED bargraph metering enabling the correct balancing of stereo material or two mono signals. Each of the six outputs incorporate further left/right level controls and a Mono/Stereo switch providing the selection of either one stereo output or two mono outputs per channel. This feature allows the DA-6 to function as either a 1 x stereo input/6 x stereo outputs or 2 x mono input/12 x mono output unit or any combination of the two. The output section consists of a Channel Select so that the individual left/right output level of each channel is displayed on the output LED bargraph and can be monitored by the Headphone jack socket. A pair of auxiliary link stereo jack sockets (TRS) are provided via the rear panel for connection to further DA-6 units for the distribution of even more channels.

The CMC7 is a compact 8 channel / 7.1 / 5.1 surround volume controller and cost-effective alternative to the more complex and feature rich MC7.1. In order to maintain it's compact proportions and to keep the product budget friendly the CMC7 does away with controls that can often be found within workstation software and concentrates on essential features such as ease of use and the quality of the signal path, ensuring that the audio is transparent and accurate across all channels and operation intuitive. Whether it is producing audio for film or television, or transporting the listener directly into the venue of an all-encompassing orchestral piece, one thing is sure, the number of users that wish to listen to audio within a surround setting has been growing and will continue to do so. The budget friendly CMC7 allows you to do this without the large financial outlay that other setups will produce. Accurate & Transparent Coming from the same stable as the MC2.1, MC3.1 and MC7.1 the the CMC7 Surround Monitor Controller provides the same high quality. The circuit is just as transparent and accurate. It's controls have the same quality feel and operation and the huge volume knob provides excellent channel matching, and smooth feel. For all Drawmer monitor controllers it is imperative that what you record is exactly what you hear. The active circuit has been designed to faithfully produce the audio signal whilst removing many of the problems that a passive circuit will bring. There is one thing that should always be absolutely guaranteed - that you can rely on the accuracy of your monitor controller. Surround Sound The 8 inputs and outputs are provided via two balanced 25 pin d-sub connectors wired to the Tascam standard making connecting easy. It allows for 8 independent channels, 5.1, 7.1, quadraphonic, DTS®, Dolby Digital EX,THX Surround EX™, DTS-HD™, Dolby Atmos®, etc, the setup is up to the user. With the Stereo Mix switch active the surround mix can be bounced down to a 2.1 signal in the front left and right monitors and sub-woofer, to test the quality of the recording when in stereo. In addition, it has a professional quality stereo headphone output with a separate amplifier and level control, that provides private mix checking, a DIM switch reduces output by 20dB and a MUTE switch is also available to cut the output completely. Precision The circuit design of the CMC7 ensures that the channel matching of all 8 channels is consistent throughout the full range of the volume control. Other manufaturers of surround controllers use multi-ganged potentiometers to achieve the levels of the 8 channels, this is especially true of passive surround controllers, this simplifies the circuit but leads to discrepancies in the level of each channel, especially at the lower and upper volumes, where accurate channel matching can vary wildly. Compact The CMC7 packs a lot of features into a small package. With a footprint of just 18x16cm and a very low profile the CMC7 it fits on every desk and is small enough to pop into a bag to take it anywhere. Tough & Secure Whilst being smart and stylish the rugged, all steel enclosure will withstand the knocks and bumps of the studio, and, coupled with the high quality components used, the CMC7 is built to last. In addition, a Kensington security slot provides protection from thieves.

The CMC3 Compact Monitor Controller consolidates the feature sets of Drawmer's 3 most popular monitor controllers: Whilst retaining the famed accurate, and transparent audio quality of the MC2.1, it has the precision and control of the MC3.1 and the low profile, compact design of the CMC2. It is equally at home in a serious home studio as in a professional recording facility. There is one thing that should always be absolutely guaranteed - that you can rely on the accuracy of your monitor controller. Drawmer monitor controllers do not flavour, colour, warm, improve or brighten the signal, the active circuit has been designed to faithfully produce the audio signal whilst removing many of the problems that a passive circuit will bring. For all Drawmer monitor controllers it is imperative that what you record is exactly what you hear. Accurate & Transparent With the same Drawmer pedigree as the MC2.1, the CMC3 circuit is just as transparent and accurate. It has been designed to remove the limitations that a passive circuit brings, such as the ability to increase the volume for quiet passages and improved mix checking, without adding the artifacts that lesser quality active circuits introduce. Precision The CMC3 supports 3 sets of stereo monitors, plus a dedicated mono speaker/sub-woofer output, each can be switched individually and simultaneously and in any order, especially useful for A/B comparisons. The sub-woofer can be used with multiple speakers, or turned off altogether. The volume control utilizes a parallelled custom quad pot for excellent channel matching and smooth feel, as does the secondary preset volume control on the front. This provides repeatable calibrated output level for the monitors, so that at the flick of a switch the engineer can hear the mix at the same predetermined volume, time after time, without having to meticulously adjust controls. Multiple Connections The CMC3 is very well connected with 4 stereo inputs in total: 1x SPDIF digital input (24 bit/192kHz), using the same DAC chipset as the established MC3.1 monitor controller, 2 stereo balanced jack inputs, plus a 3.5mm jack with variable level control for Smartphones/MP3 Players. In addition, it has a 2 professional quality headphone outputs with a separate amplifier and level control, that provide the same audio quality and mix checking as the CMC3 does through the speakers. Talkback is also included with internal or external microphone, level control and audio routing to a dedicated mono output jack & headphones. Advanced Mix Checking The comprehensive mix checking facilities of the CMC3 include dim, mono, phase reverse, left and right cut as well as an easy access mute switch, allowing to check the quality of recordings: tune into the mix to hear any unwanted artefacts, test the effectiveness of the stereo mix, check for phase cancellation, listen to the stereo difference. Features that many monitor controllers lack. Compact The CMC3 packs a lot of features into a small unit. The whole package is presented in a very low profile desktop enclosure of just 3.5 cm high with a footprint of 27 x 16 cm. Tough & Secure Whilst being smart and stylish the rugged, all steel enclosure will withstand the knocks and bumps of the studio, and, coupled with the high quality components used, the CMC3 is built to last. In addition, a Kensington security slot provides protection from thieves.

Sound System Protection in 2 easy steps... Step 1: Insert key to 'unlock' front panel and adjust VU meter pre-set until the peaks of the incoming audio illuminate the red endstop 0dB LEDs. Step 2: Adjust max output level pre-set until sound system volume reaches the maximum permitted SPL as specified by the installer or client. Remove key... and sleep soundly. The Drawmer SP2120 Speaker Protector offers both strict level control and tremendous peace of mind to the contractor, installer and venue in the knowledge that only the maintenance engineer and the venue manager hold a key. As its name suggests the 1U, two channel processor eliminates the possibility of 'unauthorised' excessive sound pressure levels on speaker systems which could result in damage to both chassis drivers and amplifier electronics. The unit also gives a wide variety of venues, such as clubs, theatres, pubs, schools, universities etc. the opportunity to comply with the local legislation regarding noise levels. The SP2120 greatly benefits from Drawmer’s 25 years experience in designing industry standard dynamic processing devices. Its signal path combines a mixture of ‘multiple time constant’ circuitry and automatic gain control (AGC) which allow small overloads to sound louder - even though they’re not. Its concept and development was encouraged by Drawmer distributors and installers dissatisfied with other protection systems currently available. These often take the form of a crude switch, either turning off the power or disconnecting the speakers, both of which are ‘disruptive’ in any event. The SP2120 is intended to be inserted in the sound system immediately prior to the amplifier stage.

The MC-Rack Mounting Kit contains two side panels/ears, a front facia, and also a lead that brings the AUX input from the back of the MC2.1/MC1.1 to the front panel for easy access. Also included are the necessary screws, an assembly instruction manual and even an allen key.

The Drawmer MC7.1 Surround Monitor Controller is a combined 7.1/5.1 and stereo monitor controller. Designed to provide all the mix checking features required for surround recordings without compromising on those used in stereo monitoring. It has the same pristine & transparent design as others from the Drawmer monitor controller pedigree, with a rugged desk top wedge form factor as used in the popular MC3.1. Boasting two sets of balanced 7.1 Inputs, a 7.1 through, 1 Balanced Stereo Input and a convenient front panel Aux Input, with Balanced 7.1 Speaker outs and an independent Stereo main out with its own sub woofer option, there are no shortage of connectivity options. The Drawmer MC7.1 is capable of supporting any speaker setup, from mono, to stereo, various modes of surround, or 8 independent channels, depending on input type and speaker positioning. The MC7.1 is a powerful Surround Monitor Controller in its own right, but is also perfect for controlling and checking stereo mixes. All studios, whether dedicated to film audio post production, or small home studio will at at some time (if not most of the time) work in stereo as well as surround. Aside from the surround capabilities, the MC7.1 contains the same comprehensive set of stereo mix check functions that are presented on the MC3.1 and which can of course be applied to the stereo input channel or any of the surround channels when these are routed to stereo. The ability to mix down the surround mix to the FL and FR speakers OR the independent Stereo main speakers combined with the comprehensive cut or solo matrix means any combination of the surround channels can be listened to in the front mains. Want to focus in on the rear channels? Simply mix down to the front stereo speakers then solo them out of the mix! Whilst soloing out the centre or LFE channels give a central mono representation across the fronts or stereo mains! Speaker level matching with switchable Mono/Sub output, the popular Low/Mid/High band solo feature, Internal Talkback Mic with footswitch control, and External Talkback Mic input are all brought over from the MC3.1, completing the rich array of features available on the MC7.1.

The introduction of the Drawmer DL241 Dual Channel 'Auto-Compressor' highlights the beginning of a new generation of dynamic processors which set new standards of sonic excellence. Its combination of features, displays and well designed control functions make it an outstanding product for a vast range of broadcast, sound reinforcement, and recording applications. The DL241 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance.

The introduction of the Drawmer DL241 Dual Channel 'Auto-Compressor' highlights the beginning of a new generation of dynamic processors which set new standards of sonic excellence. Its combination of features, displays and well designed control functions make it an outstanding product for a vast range of broadcast, sound reinforcement, and recording applications. The DL241 'Auto-Compressor' incorporates many automatic functions allowing the engineer to achieve optimum results in the minimum set up time but does not compromise skilled users with limited controls. Its sophisticated design produces a smooth, transparent and warm sonic performance.

The DL441 Quad Auto Compressor/Limiter captures four channels of Drawmer's innovative DL241 'Auto Compressor' in only 1U of rack space. The inclusion of new sophisticated 'automated' circuitry allows the engineer to precisely control both the dynamic range and 'absolute' peak level of the programme instantly, without sacrificing essential control parameters. This perfect balance of features makes the DL441 ideal for use in sound reinforcement and outside broadcast applications where an economy in rack space is essential. Each channel combines a fully professional 'Auto Attack/Release' Compressor with a variable threshold 'Peak Level' Limiter on the output providing a transparent 'endstop'. High resolution bar-graph displays on each channel allow gain reduction and output level to be viewed simultaneously, of particular importance in darkened concert hall or control room situations.

The Drawmer CMC2 is a compact desktop monitoring controller with three input sources and two stereo speaker outputs and a general subwoofer output. It uses the same high quality audio circuitry as the ever popular Drawmer MC2.1 & MC3.1 monitor controllers with a reduced feature set for smaller studios. The CMC2 has 2 balanced stereo Inputs and a 3.5mm jack Aux input for Smartphones/MP3 Players, with variable level control. It supports 2 sets of monitors plus a sub-woofer, as well as headphones, with a separate amplifier and level control. A mix check section with phase reverse switch, mono summing and dim is provided for quick access to key features for monitoring. The CMC2 is built in a very smart and stylish rugged low profile desktop enclosure with an ergonomic user interface. A Kensington security slot provides protection from thieves. The active circuitry guarantees a transparent sound without any coloration and faithfully reproduces what has been recorded.