As part of his 1988 Soldano/Cornish Guitar Routing System, Eric Clapton used the Furman PL-8 Power Conditioner and Light Module, a SAMSON UR-5D UHF wireless receiver, a SAMSON BR-3 VHF receiver, a Drawmer 1960 tube compressor, a YAMAHA SPX-90 multi-effect processor, a Dyno-My-Piano CS-5 Tri-Stereo Chorus, a TC Electronics 2290 dynamic digital delay, a DYNACORD CLS 222 Leslie simulator, a YAMAHA GEP 50 multi-effect processor, a Roland SDE-3000 digital delay as well as the TC1210 spatial expander with VHS/UHF aerial unit at rear.

The Drawmer 1960 Compressor & Mic Preamp was sold on his official Reverb.com shop. Corgan stated that it was utilized during the production of Mellon Collie & The Infinite Sadness and Machina, as well as in many of his home demos.

Seen in the picture of his studio rack in the May 2018 Sound on Sound interview.

Bernard is asked, "What other equipment do you use when writing/recording?" He responds, "We record my vocals through a Drawmer 1960 Compressor and EQ mic pre-amp," in this interview.

Well, speaking of that evolution, “Losing Sleep” goes through some pretty interesting changes in dynamics, which makes it stand out from the rest of the album. The guitar is just a clean Strat with some direct signal, and we may have switched to a Fender Champ. I can’t remember exactly, but sometimes I get that sound by going direct into a Drawmer 1960 [mic pre/compressor]. The stereo tube compression just slams it, and it’s got the EQ on the front end so you can brighten it up. I remember the day we put it up to mix. Beau was like, “What do we do with this?” I was still trying to write words for the last song, so I told him to have some fun for five hours and went in the other room. The demo had that same sparseness and structure, but it was nowhere near as colorful as what Beau came up with. That one’s the outlier on the album for sure, so everybody’s talking about it.

In a video on VK, Lorn is seen using the Drawmer 1960 Compressor & Mic Preamp, highlighting its role in his studio recording setup.

Used mainly on room microphones to find nice tones. This can be seen as part of the rack-mountable equipment in the studio in this video.

"As you would expect, the studio contains some of the finest processors in the world, including an SPL Transient Designer, two Empirical Labs Distressors, an Audio & Design F760XRS compressor/limiter/expander, a Focusrite Platinum Compounder, a Drawmer LX20 dual expander/compressor and two DS201 dual gates, Fairman and Smart Research C2 compressors, a Mutronics Mutator filter bank, an Electrix Filter Factory, a Teletronix LA2A compressor, a Massenburg Model 8000 EQ, a Tubetech LCA2B compressor, a Drawmer 1960 valve compressor/preamp, a Focusrite Red 7 mic preamp/dynamics processor, and a Joemeek stereo compressor."

In this photo, Waters is seen with Drawmer 1960 Compressor. Many thanks to jimmarchi1 for identifying the model!

“This is really lovely. The compression is very subtle but it gives mixes this finesse – a great big orange swell.”

In response to a tweet that said "Show me a picture on your phone that has your energy. Not a selfie." Skee quoted tweeted with his rackmount setup.

"I use six dbx 160A compressors for the bass and acoustic guitars, then two dbx 160XT for the kicks and snares, coupled with four Drawmer DS201s stereo gates so you have a gate/compressor setup there, where the signal goes into the Drawmers then into the 160XTs. I also have a Drawmer 1960 tube compressor that I use on the guitars. I also use a dbx 1046 compressor; I use two lines for the keys and two for the stereo Leslie inputs."

— Terry Pearson, Morissette's FOH engineer for Under Rug Swept's promotional tour