DrawmerUSA - Pro Audio

The Tubestation series has been discontinued. Below are archived application guides:

DRAWMER TubeStation Application Guides

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DRAWMER Tubestation 1 Single Rack Space Mic Preamp and Stereo Compressor
The Tubestation 1 is unique combination of useful processing tools. It begins with a Class A microphone preamp with phantom power and polarity reverse, followed by a tube compressor. Unlike other "channel strips" which are usually single channel, the Tubestation 1's compressor is stereo, with an independent pair of line level inputs, one of which can be internally routed from the mic preamp output. Thus, you can use it for tracking from a microphone with compression, then use the compressor on a channel during mixdown or on the stereo bus for pre-mastering, and saving a patch cable in the process. A tube stage with adjustable drive allows you to fine tune the tube saturation.

In addition to the mic input, there's a high impedance instrument DI input with a jack on the front panel for convenience. The compressor has a side chain input, and the mic preamp has an always-active output in addition to the route through the compressor, making the preamp available for direct source monitoring when tracking on a digital audio workstation with its inherent throughput delay. An insert jack between the preamp output and compressor input allows you to patch in an outboard equalizer, though we don't think you'll really need one with the Tubestation 1 preamp's variable high-pass filter and high frequency contour controls. The compressor has a side-chain insert to allow for frequency-dependent gain reduction such as de-essing.

The Tubestation 1 has balanced XLR outputs with an optional 24-bit digital output module
offering sample rates up to 96 kHz in S/PDIF and AES/EBU format.

Studio Applications:
The Tubestation 1 is ideal for the project studio based around a digital audio workstation (DAW). With the front end mic preamp selected as the channel 1 compressor input, the channel 1 output can feed the DAW input directly for a clean mic or instrument DI feed with or without compression. If your DAW has digital inputs, the optional digital output can feed those directly. Adjust the input gain so that the Clip indicator rarely flashes, and use the variable Hi Pass filter to get rid of low frequency rumble or proximity effect, and adjust the HF Contour control as desired for some extra clarity in the vocal region.

The compressor has a soft knee characteristic, meaning that compression starts off gradually, and the gain reduction ratio increases as the input level increases. Starting with the Attack and Release controls at their 12 o'clock positions, simply adjust the Compression control for the amount of gain reduction necessary to get a good solid track, then adjust the Attack and Release times if needed to reduce pumping or breathing effects on material with steep transients or long pauses. A Bypass switch removes the compressor from the signal chain for comparison or if you really don't want compression. The Tube Drive control is adjusted to taste, or the circuit can be switched out with its Active button. Gain Trim makes up for the amount of gain reduction in the compressor, and an Output Level control sets the final output, often necessary to optimize the record level of modern recorders and sound cards which have no input level controls of their own.

The compressor side chain input is available for patching in an outboard equalizer to make the amount of gain reduction frequency dependent. To reduce sibilance, boost the high frequency range of the side chain equalizer. This will not affect the frequency response of the signal passing through the Tubestation, it will only cause the compressor increase gain reduction in the range where hissing is present.

An insert jack between the mic preamp output and channel 1 compressor input is provided if you wish to add an outboard equalizer to the input chain ahead of the compressor.

At mixdown time, by selecting Line as the channel 1 compressor input, you now have access to a stereo compressor to use to compress a full program mix or a subgroup such as the drum kit or background vocals. The two compressor channels are permanently linked so there's only one set of controls to adjust.

A trend in DAW setups today is to use a small outboard mixer during tracking. It's much easier to set up a quick monitor mix, and the throughput delay (latency) of a DAW can cause comb filtering in the headphones of a singer tracking vocals due to the time difference between the acoustic path in the singer's head and the electrical path through the DAW and into the headphones. The Tubestation 2 has a direct preamp output which can be connected to a monitor mixer line input for direct input monitoring. Mix the already recorded tracks in the DAW or send submixes out of the DAW to the external mixer for no-latency monitoring while recording, and a quick way to tailor the monitor mix to get the best performance from the artist.

Live Sound:
The Tubestation 1 can be used whenever a high quality mic preamp or instrument DI is needed. Because of the flexibility of the switchable compressor inputs and direct preamp output, you're not tied to using the compressor on the mic input. It's available independently if you want to use it on the main or perhaps a recording output of the sound system. With the compressor input switched to "Front End", you get a Class A mic preamp followed by a tube compressor suitable for a lead vocalist or the front end of a guitar or bass on-stage rack. With channel 1's compressor input set to Line, you have a stereo compressor available for use anywhere you need good sounding compression that adjusts quickly.

Installed Sound Applications:
In a single-channel installed sound system, for example to amplify a single podium microphone, connecting a Tubestation 1 between the mic and power amplifier or powered speakers gives full control over the sound without being overly complex. The variable high pass filter can be set to compensate for the proximity effect differences between those who swallow the mic and others who shy away from it, and the compressor will help to keep levels constant among various presenters with little need for attention.

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DRAWMER Tubestation 2 Singe Rack Space Two Channel Compressor

The Tubestation 2 is dual compressor that can be operated either as two independent compressors or a stereo compressor. A variable tube drive circuit allows dialing in of the precise amount of tube warmth. This compressor has a soft knee characteristic modeled after the Drawmer 1969. Rather than the traditional Threshold and Compression Ratio controls, a single Compress control adjusts the level at which gain reduction begins, with the actual rate of gain reduction depending on the level of the input signal. It's simple to adjust and always sounds great.

The Tubestation 2 has a side chain insert for each channel to allow for frequency-dependent gain reduction such as de-essing. Each channel has both balanced XLR inputs and outputs at +4 dBu operating level and unbalanced ¼" jacks at -10 dBV to match up easily to anything in your studio. The Tubestation 2 is available with an optional 24-bit digital output module offering sample rates up to 96 kHz in S/PDIF and AES/EBU format.

Studio Applications:
The Tubestation 2 is a soft knee compressor suitable for tracking, mixing, and mastering. Unlike a traditional compressor, the Tubestation 2 doesn't use a compression ratio control. Compression starts off gradually, and the gain reduction ratio increases as the input level increases. Starting with the Attack and Release controls at their 12 o'clock positions, simply adjust the Compression control for the amount of gain reduction necessary to get a good solid track, then adjust the Attack and Release times if needed to reduce pumping or breathing effects on material with steep transients or long pauses.

A Bypass switch removes the compressor from the signal chain for comparison or if you really don't want compression, just the tube sound. The Tube Drive control is adjusted to taste, or the circuit can be switched out with its Active button. Gain Trim makes up for the amount of gain reduction in the compressor, and an Output Level control sets the final output, often necessary to optimize the record level of modern recorders and sound cards which have no input level controls of their own.

The Tubestation 2 works equally well as two independent compressors or as a stereo compressor, typically used for compressing a full mix or a stereo subgroup. When the Link button is pressed, the left (channel 1) compressor becomes the master, with its controls affecting both channels equally. In the Linked mode, the same amount of gain reduction is applied equally to both channels to prevent the stereo image from wandering.

When equipped with the optional digital output, the Tubestation 2 is great for smoothing out and warming up a mix with some analog character on the way to a CD recorder or DAW.

Live Sound Applications:
Compressors are used everywhere in live sound, from compressing individual channels to compressing the full mix. Because of its smooth soft knee characteristic and single control for setting the amount of gain reduction, the Tubestation is quick to adjust and its action is smooth and transparent. Its compact size, ease of operation, classic Drawmer tube sound, and low cost make it a good addition to a rental system.

When used in an instrument processing on-stage rack, the Tube Drive adds a bit of extra bite. It is particularly effective with electronic keyboards which often sound sterile when amplified by a large sound system.

When used on the output of a PA system, the dual outputs (XLR and ¼") make it easy to connect a recorder to record the mix. The optional digital output is perfect for connecting a CD recorder to hand the band a CD at the end of the show.

Installed Sound Applications:
In an installed sound system, it's often necessary to accommodate a wide range of speaking or singing voices without the need for an operator to make adjustments. The Tubestation 2 can be helpful to even out these differences. Patching the Tubestation 2 in line with a pair of overhead choir mic channels can help tame that alto that can be heard out in the parking lot. Adding mild compression to the entire mix is a good safety measure when there is no sound system operator present.

With its dual outputs at each of the common operating levels, the Tubestation 2 interfaces easily with a wide range of equipment, so level converters are never needed.