DRAWMER / DS201

The world's first ""frequency detection"" model, it is synonymous with DRAWMER and noise gates. It is a classic noise gate loved by engineers around the world.

Features
- Dual-channel stereo linking possible
- Unique variable low-pass/high-pass filters prevent gate triggering issues caused by signals in unwanted frequency ranges or microphone bleed from nearby cymbals or snares
- Finely tuned envelope parameters (ATTACK, HOLD, DECAY) expand the possibilities of this standard unit as a gated reverb and other new effects
- Fast attack time preserves the natural attack of program sources
- Each channel can be switched from GATING to DUCKING, allowing for attenuation of background music in sync with narration or for removing clicks and pops
- Equipped with a key input jack for external gate triggering (with KEY LISTEN for monitoring key input)

Specifications
- Input: BAL XLR/20kΩ/21dBu (max)
- Output: BAL XLR/50Ω/ 21dBu (max)
Frequency response: 23Hz-31kHz/-1dB
Dynamic range: 116dB
Noise: -95dB (22Hz-22kHz)
Distortion: Less than 0.025% (100Hz-10kHz)
Power supply: AC100V/5W
Dimensions: W482 x H44 x D178 (mm)
Weight: 2.7kg

The DS201 has become the industry standard worldwide for its ease of use.

Setting up a noise gate can be tedious and unrewarding. For example, when trying to separate a signal from relatively high levels of unwanted noise or crosstalk, spurious gate triggering by unwanted components in the sound can be a serious problem. This is a common experience when recording a drum kit in the studio. When using a gate to clean up a snare drum sound, a nearby hi-hat often leaks into the snare drum microphone, causing the gate to open. Raising the threshold level might solve this problem, but then there's the risk that the gate won't open at all on softer snare drum beats, easily ruining your performance.

DRAWMER's solution to this problem is two variable filters, one high-pass and one low-pass, that act on the sidechain keying circuit. By setting the output switch to Key Listen, users can hear the filter's operation and adjust it to remove high frequencies from the hi-hat. This ensures the gate only opens on the low frequencies present in the snare drum.

Drawmer pioneered frequency-conscious gating, and the Drawmer DS201 was the first noise gate to feature this feature.

The DS201's ultra-fast attack, which can open in microseconds, preserves the natural attack of the sound being gated, and comprehensive envelope controls allow you to change the gain at a speed optimal for the material being processed. For example, vocals require a fairly fast attack to avoid clipping the initial consonants, while a slower release time prevents clipping at the end of words and allows noise to fade out gradually rather than being cut off suddenly. This latter point is crucial, as the human ear is much more sensitive to rapidly changing noise levels than to constant, low-level noise.

Another important role gates play is reshaping existing sounds. For example, a simple sampling delay line can be used to store a sound and later retrigger it for addition to the mix. Carefully setting the decay envelope can also effectively hide noise present at the end of a sample. When using a sampler or drum machine, the gate can be thought of as a triggered envelope shaper, and the DS201's wide envelope control range makes it ideal for this purpose.

The unit can be switched to a key input, allowing the gate to be triggered externally. For example, a snare drum signal can be used to gate another ambient microphone, creating a natural alternative to a gated reverb.

Each channel can be individually switched from gating to ducking, allowing for ""voice-over"" applications and the elimination of ""clicks"" and ""pops.""