Drawmer 1971 handleiding
Handleiding
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11
DRAWMER 1971 OPERATOR’S MANUAL
Cut it Out
A great way to improve your audio so that instruments sit better in the mix is by removing any unnecessary frequencies
using the Low Cut and High Cut lters. The 1971 is the perfect tool for this because it has fully variable low and high
cut lters and also variable slope, allowing you to tune in to precise frequencies. The low end of your mix will be
dominated by instruments such as the kick drum and bass guitar so any other noise at around 100Hz and below
only go towards muddying the mix and add unnecessary level, giving you less headroom. To remove any rumble and
unwanted low end artefacts on any given track sweep the low cut lter until you notice the sound getting thinner and
then back it o a little, you can then set the slope to taste. The same technique can be used for the High Cut, if you
back o the lter when the sound becomes bassier it will allow any other instrument with high frequency content to
cut through the mix better. The idea is to remove extraneous sound from a track whilst retaining the fundamentals.
Slope
The slope switch settings of 6, 9 & 12dB’s per octave of the 1971 have been chosen to retain a transparent, musical
quality to the audio whilst still attenuating the signal, rather than a steeper, brick wall lter which would be very
noticeable. Set your low and high band lters to the desired frequency and then switch through the slope settings to
see which works best for that particular instrument/track.
The Peak setting, a unique feature to Drawmer products, is especially useful on kick drums. It works by adding a narrow
bell shaped boost to the 12dB per octave low band lter at the knee frequency just before it rolls o. It’ll magnify and
give extra weight to the hit of the kick drum whilst still ltering out any subsonic junk and without muddying the lower
mid, giving your kick an added sense of power and precision.
EQ in the Mix
It’s OK to EQ in solo when you are trying to nd problematic frequencies when setting up a track, if you are using the
low and high cut lters to remove unwanted rubble and hiss for example, however, in general, its better to EQ individual
tracks within the contents of the mix. No one else will ever listen to the tracks of your mix in isolation so why eq them in
solo. When you EQ within the mix it helps you to make informed decisions about where the mix needs to be improved,
how all the instruments nd space, whether there is muddiness etc. that will not be heard with individual tracks.
If you struggle to hear the subtle changes on a track when you EQ within the mix, rather than soloing raise the level
of the entire track a little so that it stands out. Make the alterations and then return it to the original level.
Deep Space
The 1971 is great for achieving space and depth within a mix. By boosting the mid and high frequencies you bring
them forward in the mix and accentuate the stereo width that may be present. Cutting the same frequencies will make
them seem more distant and further back in the mix. The eect on the low frequencies is dierent however, boosting
these will give warmth and fullness to the mix, whilst cutting them will make the audio sound thinner and less powerful.
Crush
A feature that is unique to the 1971 is the CRUSH button. A switchable option available on each band, it adds a xed
time constant, auto gain makeup compressor, whilst also giving a wider rounder bandwidth. In addition it introduces
some musically pleasing harmonics.
The eectiveness of the Crush button will vary depending on the frequency band that it is used in and also on the
instrument that it is applied to. Use it in the lower frequencies to fatten up the kick, tom or snare drums, bass guitar and
other elements of the rhythm section. In the mid frequencies it will help to warm the mix and enhance the presence.
It will thicken the guitars and add punch to the percussion, increase the attack of a piano, as well as help to bring out
the raspiness in a vocal, for example. At the high frequencies it will bring out the shimmer of cymbals and brighten
the string instruments.
The eect is progressive, so as more boost is added to the band the CRUSH eect is more apparent. If you wish to
apply much more boost to a band in order to obtain more ‘crush’ be sure to keep an eye on the EQ O/L Led to ensure
that the band level doesn’t reach the rails. Use the switch to listen to A/B comparisons to hear the eectiveness of
the feature.
Bekijk gratis de handleiding van Drawmer 1971, stel vragen en lees de antwoorden op veelvoorkomende problemen, of gebruik onze assistent om sneller informatie in de handleiding te vinden of uitleg te krijgen over specifieke functies.
Productinformatie
| Merk | Drawmer |
| Model | 1971 |
| Categorie | Niet gecategoriseerd |
| Taal | Nederlands |
| Grootte | 5010 MB |
