Description

Drawmer 1969 Stereo Mic Pre - Stereo Compressor

Pm if interested, open to reasonable offers in PMs

Pic from Internet.

Features:
2-channel microphone preamp and tube compressor
Tube preamp for instruments with EQ (Aux)
Classic Soft Knee Compressor
Stereo Link with switchable BIG circuit
Side Chain
Input Impedance Line: 20k ohms Mic: 150ohms to 600ohms, Aux: 2.2 MOhm
input level(max.): +20dBu
output impedance: 50Ohm
output level(max.): +22dBm
frequency Response: 20Hz-24kHz -1dB
Noise ratio: Mic:-129dB, Compressor:-85dB
distortion: < 0,35%
Power supply: 115V or 230V, 38W
Dimensions: 19", 2 HU
weight: 6 kg

The unit shows signs of ware but is functioning great and is one of 2 units I have,, I'm keeping the second for it's great vibe,, love it on stereo drum room mics or Bass di, Bass di distortion strings.

The 1969 Mercenary Edition is a product of cooperation between the two is established pro audio manufacturers emerged Drawmer Mercenary Audio & pro-audio industry. When Ivor Drawmer, the challenge of the US-Produzenten/Toningenieurs 'Fletcher' of Mercenary Audio set to build a special version of the famed Drawmer 1960, used by Eric Clapton, Madonna, Stevie Wonder and Bryan Adams and thousands of artists around the world was, did the two sides together and eventually developed a new classic.

Based on the acclaimed Drawmer 1960 Mic / tube compressor, which in turn was derived from the classic Fairchild 670, the 1969 has many new features and is an additional benefit above all, a completely new sound.

The reserves in 1969 with the concept of dual microphone preamps and uses high-quality Burr-Brown operational amplifiers, which provide for a silkier sound. A phase switch also allows the mic and line inputs and phase reverse on instrument channel, thus contributing to an increase in flexibility.

Furthermore, the 1969 provides a real linked stereo operation. It controls the control threshold, attack and release channel 1, both channels. In addition, this operating mode a switchable BIG-function, which for the avoidance of unwanted pump noise frequencies below 100 Hz in the control signal weakens, thereby making the bulky figure of the bass frequencies. The output level can be set separately for each channel.

A newly developed tube stage ensures that mic and line signals seem even warmer. The instrument input (DI) in turn has its own tube preamp that can be overridden in order to achieve as in the original 1960 classic overdrive effects for bass and guitar and other instruments.