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1961

Dual Four-band Vacuum Tube Equaliser

The Drawmer 1961 is a dual-channel valve equalizer designed to deliver the warmth and musicality of classic tube EQs with the precision, accuracy, and repeatability required for modern production. Built around twelve active tube stages and advanced low-noise circuitry, it provides highly controlled, harmonically rich equalisation suitable for mixing, mastering, and post-production environments.

Each channel features four fully parametric EQ bands with stepped frequency selection for exact recall and superior stereo matching, alongside high-pass and low-pass filters for detailed spectral shaping. With variable input drive, dedicated tube output stages, comprehensive bypass options, and flexible connectivity, the 1961 excels at everything from subtle tonal refinement to bold, character-driven shaping. When paired with the Drawmer 1960, it forms a powerful all-valve front-end system for critical analogue processing.

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Precision EQ with Unmistakable Valve Tone
The Drawmer 1961 brings the musical warmth of classic tube equalizers into modern, high-resolution production environments. While vintage valve EQs are prized for their character, many lack the accuracy, consistency, and repeatability demanded by today’s workflows. The 1961 overcomes this with advanced low-noise circuitry and twelve active tube stages, delivering two channels of precise, musical equalisation with unmistakable analogue depth.

Rather than relying on continuously variable controls, the 1961 employs rotary stepped switches across all EQ bands. This vintage-inspired approach allows each circuit to be fully optimised throughout the frequency spectrum, ensuring superior stereo matching, absolute recall, and dependable results for mixing, mastering, and post-production.

Control the Warmth
The 1961 gives you direct control over how hard the tubes are driven. From clean, transparent tonal shaping to rich, harmonically saturated colour, it adapts effortlessly to your intent. When paired with the Drawmer 1960, it forms a powerful two-channel tube processing system, ideal for mastering chains, analogue sweetening, or critical post-production work.

Input & Connectivity
A wide-range input level control from -20dB to +20dB ensures seamless compatibility with a broad range of sources, while also allowing precise control over tube drive and harmonic character. LED bar-graph metering provides clear, immediate visual feedback of input levels.

Balanced XLR inputs and outputs are standard, with operating levels switchable between -10dBu and +4dBu. Insert points on 1/4" jacks allow direct connection to the side-chain or insert loop of a Drawmer 1960, creating a cohesive front-end system where gain control, equalisation, and compression are available directly from mic or line sources.

Equalisation & Filters
At its core, the 1961 features four fully parametric EQ bands per channel, each with six overlapping frequency selections and its own dedicated tube stage. Every band offers up to ±18dB of cut or boost, with adjustable bandwidth from 0.3 to 3 octaves, providing exceptional control across the entire audible spectrum.

Complementing the EQ are a 12dB/octave high-pass filter adjustable from 15Hz to 500Hz, and a matching low-pass filter covering 2.5kHz to 56kHz. Together, they allow unwanted low-end, excessive highs, or RF interference to be removed with surgical precision, from subtle tonal refinement to critical mastering tasks.

Output & Control
Each channel’s output section incorporates two additional tube stages, allowing smooth, musical soft clipping when driven harder. ‘Soft’ and ‘O/L’ indicators provide clear visual feedback of tube behaviour, while switchable VU metering displays either output level or gain reduction for accurate monitoring.

Individual bypass switches on each EQ band, along with a master channel bypass, allow instant A/B comparisons or the option to route audio solely through the tube output stages for added warmth without equalisation. With its intuitive layout, musical response, and uncompromising build quality, the Drawmer 1961 is equally at home delivering subtle enhancement or bold creative shaping.

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Testimonials

Our Raving Fans

★★★★★

I picked up two of their 500 Series modules and I’m blown away. The noise floor is low, the gain is clean, and the knobs feel like they belong on a much pricier unit. They’ve definitely become permanent residents in my…

Read moreI picked up two of their 500 Series modules and I’m blown away. The noise floor is low, the gain is clean, and the knobs feel like they belong on a much pricier unit. They’ve definitely become permanent residents in my signal chain.

Nur Hakim
★★★★★

We needed hardware that looks good in client-facing environments and performs consistently. Their products tick both boxes. The minimalist design is beautiful on camera, and the durability has been excellent.

Cheryl Wong
★★★★★

The dynamics processor is ridiculously good. Smooth compression, no weird pumping, and the controls respond exactly as expected. It’s become my go-to for vocals and acoustic guitars.

Darren Tan
★★★★★

We installed their signal distribution system across two rooms, and it’s been flawless. Zero hum, zero dropouts. The build quality is impressive — you can tell it’s made to last. Easily one of our best purchases this year.

Faridah Sulaiman
★★★★★

Our studio upgraded to their 19″ rackmount units and the improvement was immediate. The layout is intuitive, connections are rock solid, and the unit hasn’t glitched once. Setup took minutes and everything just works.

Asha Ravi
★★★★★

I’ve been mixing on these studio monitors for the past three months, and the clarity is honestly next level. The stereo imaging is tight, the low end is controlled, and the build feels solid. It’s the first time I’ve used…

Read moreI’ve been mixing on these studio monitors for the past three months, and the clarity is honestly next level. The stereo imaging is tight, the low end is controlled, and the build feels solid. It’s the first time I’ve used monitors in this price range that actually translate well outside the studio.

Jason Lim