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1968

Dual Vacuum Tube Compressor

The Drawmer 1968 MkII is a stereo tube bus compressor that blends classic valve warmth with the speed and accuracy of modern FET compression. Designed for mix-bus, mastering, and critical subgroup duties, it delivers smooth, transparent control that remains open and musical even under heavy gain reduction.

Replacing the original valve gain-reduction stage with a fast-acting J-FET circuit, the 1968 MkII offers superior transient response and precision, while a 12AX7 valve make-up gain stage restores weight, depth, and harmonic richness. Its soft-knee compression characteristic removes the need for ratio controls, ensuring a natural, progressive transition into compression that flatters full mixes, vocals, and acoustic material alike.

Extensive attack and release options, full side-chain access, and Drawmer’s signature BIG and BIGGER modes allow low frequencies to remain powerful and controlled without pumping. With comprehensive metering, flexible monitoring modes, and a compact 1U chassis, the 1968 MkII is a refined yet powerful tool for modern analogue compression.

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Vintage Tube Compression with Modern Precision
The Drawmer 1968 MkII combines classic valve warmth with fast, accurate FET compression to deliver refined stereo bus control for mixing and mastering. Designed to remain open and musical even under heavy gain reduction, it offers transparent dynamics management while preserving depth, punch, and stereo clarity — all within a compact 1U rackmount chassis.

Building on the legacy of the original Drawmer 1960, the 1968 MkII replaces the valve gain-reduction stage with a high-speed J-FET circuit. This delivers greater transient accuracy and control than traditional opto designs, while a 12AX7 valve make-up gain amplifier restores harmonic richness and weight, providing up to +20dB of output gain.

Smooth Soft-Knee Compression
The compressor’s soft-knee characteristic removes the need for ratio controls, allowing compression to engage gradually and musically as signals approach the threshold. This ensures a natural transition into gain reduction, making the 1968 MkII especially well suited to stereo buses, full mixes, vocals, and acoustic instruments.

Extensive Timing Control
Six selectable attack times (2, 9, 15, 25, 30, and 50 ms) allow precise transient shaping, from fast, assertive control to slower, more forgiving compression. Release options include three fixed settings (100 ms, 500 ms, 1 s) and three programme-dependent modes that automatically adapt to complex material, maintaining smooth, consistent dynamics across evolving performances.

BIG & BIGGER Low-Frequency Control
Each channel features Drawmer’s signature BIG and BIGGER modes, designed to reduce compression of fundamental low frequencies while still controlling their harmonics. This prevents low-end pumping and preserves punch, allowing heavier compression without sacrificing clarity or bass impact. The result is a tighter, more extended low end with a smoother overall balance.

Side-Chain & Monitoring Flexibility
Full side-chain access enables external equalisation for de-essing or frequency-conscious compression, expanding creative and corrective possibilities. Dual illuminated VU meters display output level, gain reduction, or VU +10dB mode for higher operating levels, with clear visual warning as clipping is approached.

Output & Bypass Control
A three-way output switch allows selection between normal operation, hard-wired bypass, or side-chain listen, providing complete monitoring confidence and easy A/B comparison. With its blend of speed, warmth, and musical control, the Drawmer 1968 MkII remains a trusted analogue centrepiece for modern mix and mastering workflows.

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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