Manley

Manley DMMP Dual Mono Tube Mic Preamp
The Manley DMMP Dual Mono Microphone Preamp is an all-tube microphone primarily intended for use with modern capacitor (condenser) microphones. Now, 40 to 60dB gain, enough for most ribbon mics, is selectable in precise 5dB steps by varying the amount of overall negative feedback on the GAIN switch. This is a very interesting feature, allowing you to change the slew rate (speed), placement, and tonal balance of the sound from mellow and "tubey-er" through to faster, punchier, and more aggressive. Tube complements include 1 x 12AX7EH hand-selected for lowest noise, and 1 x 6414 per channel for each high-current output stage. Each tube preamp in the Manley DMMP is painstakingly hand-wired using silver solder and audiophile-grade components. Double-shielded custom-built power transformers and custom-built high-capacity reservoir capacitors demonstrate Manley's modern power supply design approach. When you need to get your tunes through some tubes before hitting a sterile digital recorder, the front-panel 1/4" Direct Input jack lets the Dual Mono Mic Pre serve double duty as a pure tube line stage for instruments such as bass, drum machines, and keyboards. Total gain in this mode becomes 20dB less than indicated on the Gain switch. Both transformer-coupled balanced, and direct (via humongous metalized film MultiCaps) capacitor-coupled unbalanced outputs are provided giving you the choice of audiophile/purist or big iron sounds. Perennial shoot-out winners, Manley single-ended preamp designs have become favorites among top engineers and home recordists looking for "that rich Manley sound with the tight bass and the top end that goes on forever" which begs to go direct to tape. It's a BIG sounding mic preamp.What's so cool about variable Feedback? The Manley tube microphone preamp's global negative feedback takes a small portion of the output signal and re-injects it back into the input stage, which greatly improves linearity and distortion performance of an amplifier. A tasteful amount of negative feedback is the key: too much and you're into poor transient response and phase shift problems. Manley generally uses somewhere between 4 to 14dB of feedback in their line preamplifiers. Within that window is a definite point of maximized stability with optimum sonic performance, giving you the choice of where you want to be. Changing the amount of feedback alters the overall gain of the amplifier as well as the slew rate (speed).In the context of a hifi amplifier or preamplifier with the Variable Feedback feature, EveAnna (Manley) uses variable feedback to suit different CD's and recording styles when she's listening to music at home. "For the most part I keep the variable feedback controls around the middle but sometimes when I'm playing a CD which is kind of harsh and aggressive sounding or I just want to mellow out, I just turn those controls down and apply more feedback to get a smoother, ric...details

Manley VOXBOX Combo
When Manley created the VOXBOX Combo voice processor they decided to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and thought-out ergonomicsMicrophone preamplifier section: The mic preamp is a clone of a highly regarded and popular mic pre: the Manley Mono Microphone Preamplifier! The mic input transformer is Manley's own design wound in-house at the Manley Labs factory. High current 48V Phantom power is switchable from the front panel. A simple and effective passive BASS CUT switch kills rumble and reduces popping. The VOXBOX's INPUT ATTENUATOR is a variable pad control situated before the first tube stage allowing the preamplifier to accommodate +4 line level signals via the balanced LINE INPUT and instruments via the front panel 1/4" DIRECT INPUT. These inputs are selected in the middle position of the dual-function phase invert switch. Manley provided both transformer balanced XLR output as well as a transformerless "audiophile" 1/4" phone jack output. The Gain switch is actually a clever variable feedback control that changes not only the gain but the slew rate and flavor of the circuit. With it you can choose how laid back and mellow or how up-front and aggressive you want it to get. See "Notes on Variable Feedback" for more info. Headroom is a strong point in this circuit, +31dBu capable. This is 5 to 10 dB better than almost all other pro gear. The music passes through only super-clean pure Class A vacuum tube circuitry. There are obvious advantages to Manley's purist approach and foremost is the non-electronic final sound that carries emotion into the digital realm.Compressor section: This cool compressor design is the result of blending the control ideas in Manley's best selling Variable MU Compressor Limiter with the opto-isolator approach of the Manley ELOP Limiter. Manley figured out how to compress the signal before it hit the tubes with no detrimental effect on distortion or frequency response. This way, it can prevent mic-pre clipping and eliminate whole stages of electronics. This cuts the typical path of mic to tape in half! Manley also pioneered new thinking in the sidechain. Rather than compromise, Manley developed a technique of using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls. Manley call the approach "Parametric Compression". Manley developed optimum settings or presets based on the Light Dependent Resistors of Manley's own fast ELOP Limiter, the quick LA-2A, the slower LA-3A and then created more complex special settings. This extended range and method of timing delivers fresh s...details

Manley ELOP Limiter
Set it and forget it! The Manley Optical ELOP Limiter makes your job easy. The principle of operation is based around using a rectified sample of the audio to shine an LED (Light Emitting Diode) onto an LDR (Light Dependent Resistor). The photo-resistor in combination with a fixed resistor simply act as a changing voltage divider to attenuate the signal &mdash like a smart volume control. A similar principle was found in the older Teletronix & Urei LA-2A, LA-3, and LA-4 units, which used a slower electro-luminescent panel-light on a conventional LDR encased in a light-tight enclosure. The Manley ELOP Limiter uses modern VACTROL technology (but with a trick!) for exact sample-to-sample tracking and no high frequency loss while digging deep into limiting &mdash problems commonly associated with older LA-series limiters and other opto-based units. The audio signal passes only through Manley's super-clean single-ended vacuum tube line amplifier. Due to its inherently quick attack, this Electro-Optical Limiter is a skilled soldier for tracking vocals or individual instruments, although now with the addition of a very useful sidechain high-pass filter that can switch between 100Hz or 200Hz (or OUT) to allow the limiter to ignore heavy bass lines, the Manley ELOP limiter is proving more useful for modern urban music where you don't want the limiter only responding to the loudest "thing" i.e., the BIG bass. If you want the bass line to leave the rest of the mix alone, then this switch is for you!...details

Manley Massive Passive Stereo EQ
The Manley Massive Passive is a two-channel, four-band equalizer with additional high-pass and low-pass filters. "Passive" refers to the tone-shaping part of this clever EQ design, which doesn't use any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound—kinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. Creating natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. The Manley Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. Manley knows that recording and mastering equalizers are used by artists for artistic goals and they balanced this design with a little more art than science. The Massive Passive Equalizer is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Manley Massive allows twice as much EQ with half the coloration. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure.The Filters — 5 frequencies Hi Pass and bypass, PLUS 5 frequencies Lo Pass with bypass. Manley made them extra steep. 36dB/oct! Why? When you need to remove the garbage, this does the trick and allows more of the real music to be untouched. The other reason is that it sounds killer when combined with the regular bands. Towards the mids this degree of steepness may be tamed somewhat. Thinking drums and guitar stacks, and other tough jobs. These filters are passive too....details

Manley Reference Cardioid Microphone
The Manley Reference Cardioid Microphone shares the same electronic attributes as the Gold Reference Series, but has a center-fixed cardioid-only capsule with a thicker gauge (6 micron) gold sputtered diaphragm. With similar film thickness and construction; high frequency resonance (a little edge); proximity effect; and pretty good immunity from pops and sibilance problems, the Reference Cardioid more closely recalls how many of the vintage European tube mics such as the beloved U47 sounded like when they were new.The Manley mic's rich tonal balance and liquid character is consistently admired for instruments such as guitars, drum overheads, saxophone, and especially vocals. With your present mic, if you find yourself leaning on your compressors and boosting 5 or 10K to score a bit more testosterone, then the Reference Cardioid just might be the mic you're looking for. If you seem to be constantly boosting 12-18K and trying to get a clean, intimate sound, then the Reference Gold is definitely a safe bet.A proven hit-maker, the Manley Reference Cardioid Microphone was used to record all the vocals for Britney Spears, N'Sync, and The Backstreet Boys....details

Manley M162L 16x2 Line Mixer
For years a small studio has had two choices: Spend big bucks for a big console or petty cash for a mini mixer with a mini sound. One is overkill and the other kills the music. These days, recording studios based around workstations need a simple, but superb mixer. Manley addresses this problem by presenting a choice of three different versions of the 16 into 2 Mixer: LINE, MIC, and an 8+8 MIC/LINE combination that let users select a configuration to best accommodate their recording studio needs.The Manley M162L Mixer has 16 line inputs with one aux send per channel. The LINE version is intended for workstations and allows users to avoid the digital mix buss, which is often less than great sounding. This mixing console is ideal for recording keyboards, electronic drums and direct from instrument amplifiers.The channel input jack is a Neutrik Combo which accepts XLR or 1/4" phone plugs. It is perfectly happy with either balanced or unbalanced sources. In the MIC version, the XLR has the appropriate 2400 ohm impedance and switches to 68K for the 1/4" plugs. There are balanced direct outputs on every channel post fade and pre cut for multitrack recording. Each channel on the M162L line mixer uses the best sounding chips Manley knows of (Burr Brown INA103, OPA2604, Linear Technology LT1010) in Hutch's circuits with exceptional headroom and very low noise, real pro level input and output levels, and bulletproof Manley quality throughout. Spec-wise experts know of few mixers with better headroom or higher output levels and, well, the mixer's subterranean noise floor and crosstalk figures are simply amazing. The signal path has just 3 superb polystyrene caps from input to output. No carbon resistors, just 1/2 watt metal film, Bourns conductive plastic pots, Grayhill stepped attenuators, etc. All the good stuff. Manley didn't make this mixing console all-tube for "ad appeal" and sales hype. They certainly could have, but this puppy would have grown into the size of a small house, and needed an accompanying 5-Ton AC unit. However, the tube mix amps/line drivers are right at the end and impart that "Manley Sound" to your final outputs with all the richness, loudness and BIG sound you expect from us. Built like a tank and easy to service. Mutes and Solos use superior relay switching techniques not crummy FETs or CMOS switching. The Solo is of the "mute everything else" type. The buttons are EAO Series 19 and light up to indicate Mute and Solo. Insert and Phase Reverse also use high quality relays and both functions have tiny switches and red LED's to clearly indicate when they're selected. The Manley M162L Mixer's master section provides mixdown to 2 channels achieved with similar tube circuits as used in the Massive Passive, featuring two each 12AT7 NOS Phillips & 6414 NOS GE or Raytheon dual triodes. External inputs allow two or more mixers to be combined for 32 or more channels with a mini-b...details

Manley M1624L 16x2x4 Line Mixer 2 Buss 4-Aux
For years, a small studio has had two choices: Spend big bucks for a big mixing console or petty cash for a mini mixer with a mini sound. One is overkill and the other kills the music. These days, recording studios based around workstations need a simple, but superb mixer. Manley addresses this problem by presenting a choice of three different versions of the 16 into 2 audio mixer: LINE, MIC, and an 8+8 MIC/LINE combination that let users select a configuration to best accommodate their studio needs.This 16x2x4 is a line mixer with 4-AUX-sends and 16 channels into tubes on the 2-bus. The two microtoggles next to each dual-concentric AUX send select whether that channel's AUX goes to AUX 1, AUX 2, or Both for the lower pot, or AUX 3, AUX 4, or both for the top pot. This particular mixing console is ideal for recording keyboards, electronic drums, and direct from instrument amplifiers.The Manley mixer's channel input jack is a Neutrik Combo which accepts XLR or 1/4" phone plugs. It is perfectly happy with either balanced or unbalanced sources. In the MIC version, the XLR has the appropriate 2400 ohm impedance and switches to 68K for the 1/4" plugs. There are balanced direct outputs on every channel post fade and pre cut for multitrack recording. Each channel uses the best sounding chips Manley knows of (Burr Brown INA103, OPA2604, Linear Technology LT1010) in Hutch's circuits with exceptional headroom and very low noise, real pro level input and output levels, and bulletproof Manley quality throughout. Spec-wise experts know of few mixers with better headroom or higher output levels and, well, this mixer's subterranean noise floor and crosstalk figures are simply amazing. The signal path has just 3 superb polystyrene caps from input to output. No carbon resistors, just 1/2 watt metal film, Bourns conductive plastic pots, Grayhill stepped attenuators, etc. All the good stuff. Manley didn't make this M1624L Line Mixer all-tube for "ad appeal" and sales hype. They certainly could have, but this mixing console would have grown into the size of a small house, and needed an accompanying 5-Ton AC unit. However, the tube mix amps/line drivers are right at the end and impart that "Manley Sound" to your final outputs with all the richness, loudness and BIG sound you expect from us. Built like a tank and easy to service. Mutes and Solos use superior relay switching techniques not crummy FETs or CMOS switching. The Solo is of the "mute everything else" type. The buttons are EAO Series 19 and light up to indicate Mute and Solo. Insert and Phase Reverse also use high quality relays and both functions have tiny switches and red LED's to clearly indicate when they're selected. The Manley M1624L's master section provides mixdown to 2 channels achieved with similar tube circuits as used in the Massive Passive, featuring two each 12AT7 NOS Phillips & 6414 NOS GE or Raytheon dual triodes. External...details

Manley Starbird Microphone Boom Stand
Manley purchased the seminal design by George Starbird plus the associated tooling and made some important refinements to this mic boom stand that make it perfect for recording studios, movie sets, and other applications where a heavy-duty boom is necessary. Improved features include a heavier, wider-spread base which dismantles conveniently for transportation, plus a variable-weight counterbalance which can be filled as needed with sand or lead-shot enabling the Manley Starbird to be used with very heavy older ribbon microphones or cameras.Vertical rise and fall is managed by air-damped compression valves, making the boom gentle for precious microphones. Silent mobility is provided by the mic stand's heavy-duty solid rubber wheeled Darnell casters.The problem with these Manley Starbird booms is that they last forever! Thousands have been manufactured since World War II and most of them are still in use in every major music and film scoring stage.The Starbird microphone boom stand is fully manufactured in Manley's own machine shop. A labor of love…Yes, the Manley Starbird deluxe studio boom is UPS shippable! Total shipping weight: 45+9 lbs. (2 boxes)...details

Manley Stereo Variable Mu Limiter Compressor Standard
The Manley Variable Mu Limiter Compressor has been Manley's best selling product for many years. It is one of the very few compressors that have become a real standard in mastering studios and contributed to most hit records over the last decade—and probably the next. "Mu" is tube-speak for gain. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The highly revered vintage Fairchild 670 also uses this technique, and is one of few all-tube compressors to do so. Even the side-chain has glowing rectifier bottles. How's it work? The unique 5670 dual triode is at the center of the peak-reduction and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages, which cause this tube to smoothly change its gain. Just like that. The Compress mode is a soft-knee 1.5:1 ratio, while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: "It's like pouring a bowl of sweet cream over the mix." Mmmmmm. Yummy. Give your music a big hug. (See "Which Manley Limiter Should I Buy" below)Manley Variable Mu Limiter Compressor Modifications: High-Pass Side Chain option: Also available on the mastering version of the Variable Mu (#620909), this adds two switches to the front panel, one for each channel, so that when engaged, the side chain will not respond to frequencies lower than 100Hz. (100Hz is standard as the -3dB point. Other frequencies can be custom-ordered.) This HP SC Mod can be used with music with heavy bass lines or bass-heavy mixes where you don't want the bass driving the whole action of the compressor. The filter is a very gentle 6db per octave 1 pole filter, and will typically be down 1-3db at 100 Hz, and down 4-6db at 50Hz. As you decrease the frequency the amount of limiting will decrease also. At the extreme LF (<20hz) there should be very little gain reduction going on. The purpose of the filter is to keep very LF stuff (like a heavy kick drum) from activating the compression/limiting so that the overall level doesn't duck with every drumbeat.Mid-Side mod upgrade (Vertical/Lateral or Sum...details

Manley Stereo Variable Mu Limiter Compressor Hi Pass Mod
The Manley Variable Mu Limiter Compressor has been Manley's best selling product for many years. It is one of the very few compressors that have become a real standard in mastering studios and contributed to most hit records over the last decade—and probably the next. "Mu" is tube-speak for gain. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The highly revered vintage Fairchild 670 also uses this technique, and is one of few all-tube compressors to do so. Even the side-chain has glowing rectifier bottles. How's it work? The unique 5670 dual triode is at the center of the peak-reduction and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages, which cause this tube to smoothly change its gain. Just like that. The Compress mode is a soft-knee 1.5:1 ratio, while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: "It's like pouring a bowl of sweet cream over the mix." Mmmmmm. Yummy. Give your music a big hug. (See "Which Manley Limiter Should I Buy" below)Manley Variable Mu Limiter Compressor Modifications: High-Pass Side Chain option: Also available on the mastering version of the Variable Mu (#620909), this adds two switches to the front panel, one for each channel, so that when engaged, the side chain will not respond to frequencies lower than 100Hz. (100Hz is standard as the -3dB point. Other frequencies can be custom-ordered.) This HP SC Mod can be used with music with heavy bass lines or bass-heavy mixes where you don't want the bass driving the whole action of the compressor. The filter is a very gentle 6db per octave 1 pole filter, and will typically be down 1-3db at 100 Hz, and down 4-6db at 50Hz. As you decrease the frequency the amount of limiting will decrease also. At the extreme LF (<20hz) there should be very little gain reduction going on. The purpose of the filter is to keep very LF stuff (like a heavy kick drum) from activating the compression/limiting so that the overall level doesn't duck with every drumbeat.Mid-Side mod upgrade (Vertical/Lateral or Sum...details

Manley Stereo Variable Mu Limiter Compressor M/S Mod
The Manley Variable Mu Limiter Compressor has been Manley's best selling product for many years. It is one of the very few compressors that have become a real standard in mastering studios and contributed to most hit records over the last decade—and probably the next. "Mu" is tube-speak for gain. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The highly revered vintage Fairchild 670 also uses this technique, and is one of few all-tube compressors to do so. Even the side-chain has glowing rectifier bottles. How's it work? The unique 5670 dual triode is at the center of the peak-reduction and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages, which cause this tube to smoothly change its gain. Just like that. The Compress mode is a soft-knee 1.5:1 ratio, while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: "It's like pouring a bowl of sweet cream over the mix." Mmmmmm. Yummy. Give your music a big hug. (See "Which Manley Limiter Should I Buy" below)Manley Variable Mu Limiter Compressor Modifications: High-Pass Side Chain option: Also available on the mastering version of the Variable Mu (#620909), this adds two switches to the front panel, one for each channel, so that when engaged, the side chain will not respond to frequencies lower than 100Hz. (100Hz is standard as the -3dB point. Other frequencies can be custom-ordered.) This HP SC Mod can be used with music with heavy bass lines or bass-heavy mixes where you don't want the bass driving the whole action of the compressor. The filter is a very gentle 6db per octave 1 pole filter, and will typically be down 1-3db at 100 Hz, and down 4-6db at 50Hz. As you decrease the frequency the amount of limiting will decrease also. At the extreme LF (<20hz) there should be very little gain reduction going on. The purpose of the filter is to keep very LF stuff (like a heavy kick drum) from activating the compression/limiting so that the overall level doesn't duck with every drumbeat.Mid-Side mod upgrade (Vertical/Lateral or Sum...details

Manley Stereo Variable Mu Limiter Compressor T-Bar Mod
The Manley Variable Mu Limiter Compressor has been Manley's best selling product for many years. It is one of the very few compressors that have become a real standard in mastering studios and contributed to most hit records over the last decade—and probably the next. "Mu" is tube-speak for gain. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The highly revered vintage Fairchild 670 also uses this technique, and is one of few all-tube compressors to do so. Even the side-chain has glowing rectifier bottles. How's it work? The unique 5670 dual triode is at the center of the peak-reduction and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages, which cause this tube to smoothly change its gain. Just like that. The Compress mode is a soft-knee 1.5:1 ratio, while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: "It's like pouring a bowl of sweet cream over the mix." Mmmmmm. Yummy. Give your music a big hug. (See "Which Manley Limiter Should I Buy" below)Manley Variable Mu Limiter Compressor Modifications: High-Pass Side Chain option: Also available on the mastering version of the Variable Mu (#620909), this adds two switches to the front panel, one for each channel, so that when engaged, the side chain will not respond to frequencies lower than 100Hz. (100Hz is standard as the -3dB point. Other frequencies can be custom-ordered.) This HP SC Mod can be used with music with heavy bass lines or bass-heavy mixes where you don't want the bass driving the whole action of the compressor. The filter is a very gentle 6db per octave 1 pole filter, and will typically be down 1-3db at 100 Hz, and down 4-6db at 50Hz. As you decrease the frequency the amount of limiting will decrease also. At the extreme LF (<20hz) there should be very little gain reduction going on. The purpose of the filter is to keep very LF stuff (like a heavy kick drum) from activating the compression/limiting so that the overall level doesn't duck with every drumbeat.Mid-Side mod upgrade (Vertical/Lateral or Sum...details

Manley Mastering Stereo Variable Mu Limiter Compressor Standard
The Mastering Version of the Manley Variable Mu Limiter Compressor incorporates detented and logable steps, built with 1% metal film resistors on sealed gold-contact Grayhill switches.The Manley Variable Mu Limiter Compressor has been Manley's best selling product for many years. It is one of the very few compressors that have become a real standard in mastering studios and contributed to most hit records over the last decade—and probably the next. "Mu" is tube-speak for gain. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The highly revered vintage Fairchild 670 also uses this technique, and is one of few all-tube compressors to do so. Even the side-chain has glowing rectifier bottles. How's it work? The unique 5670 dual triode is at the center of the peak-reduction and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages, which cause this tube to smoothly change its gain. Just like that. The Compress mode is a soft-knee 1.5:1 ratio, while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: "It's like pouring a bowl of sweet cream over the mix." Mmmmmm. Yummy. Give your music a big hug.Manley Variable Mu Modifications: High-Pass Side Chain option: Also available on the mastering version of the Variable Mu (#620909), this adds two switches to the front panel, one for each channel, so that when engaged, the side chain will not respond to frequencies lower than 100Hz. (100Hz is standard as the -3dB point. Other frequencies can be custom-ordered.) This HP SC Mod can be used with music with heavy bass lines or bass-heavy mixes where you don't want the bass driving the whole action of the compressor. The filter is a very gentle 6db per octave 1 pole filter, and will typically be down 1-3db at 100 Hz, and down 4-6db at 50Hz. As you decrease the frequency the amount of limiting will decrease also. At the extreme LF (<20hz) there should be very little gain reduction going on. The purpose of the filter is to keep very LF stuff (like a heavy kick drum) from activating the compression/limiting s...details

Manley Mastering Stereo Variable Mu Limiter Compressor Hi Pass Mod
The Mastering Version of the Manley Variable Mu Limiter Compressor incorporates detented and logable steps, built with 1% metal film resistors on sealed gold-contact Grayhill switches.The Manley Variable Mu Limiter Compressor has been Manley's best selling product for many years. It is one of the very few compressors that have become a real standard in mastering studios and contributed to most hit records over the last decade—and probably the next. "Mu" is tube-speak for gain. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The highly revered vintage Fairchild 670 also uses this technique, and is one of few all-tube compressors to do so. Even the side-chain has glowing rectifier bottles. How's it work? The unique 5670 dual triode is at the center of the peak-reduction and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages, which cause this tube to smoothly change its gain. Just like that. The Compress mode is a soft-knee 1.5:1 ratio, while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: "It's like pouring a bowl of sweet cream over the mix." Mmmmmm. Yummy. Give your music a big hug.Manley Variable Mu Modifications: High-Pass Side Chain option: Also available on the mastering version of the Variable Mu (#620909), this adds two switches to the front panel, one for each channel, so that when engaged, the side chain will not respond to frequencies lower than 100Hz. (100Hz is standard as the -3dB point. Other frequencies can be custom-ordered.) This HP SC Mod can be used with music with heavy bass lines or bass-heavy mixes where you don't want the bass driving the whole action of the compressor. The filter is a very gentle 6db per octave 1 pole filter, and will typically be down 1-3db at 100 Hz, and down 4-6db at 50Hz. As you decrease the frequency the amount of limiting will decrease also. At the extreme LF (<20hz) there should be very little gain reduction going on. The purpose of the filter is to keep very LF stuff (like a heavy kick drum) from activating the compression/limiting s...details

Manley Tube Direct Interface - Mono
The Manley Tube Direct Interface features exceptionally clean and quiet tube circuits, which will warm up any electric guitar, bass, violin, and especially those sterile sounding synths. Unique with the Manley Tube DI's is the added 5-position high pass shelf EQ, there to fight unwanted resonances. As a splitter device, the transformer-coupled balanced XLR output can be sent directly to a mic level input, such as through your console channel, while the 1/4" output drives the guitar amplifier cabinet, which can be miked and mixed with the direct feed. Low impedance outputs, Ground lift and Console Out Boost switches make the Manley tube DI box both versatile and compatible. Keep your Manley interface close at hand to get that noisy high impedance guitar cable into quiet lo-Z territory fast!...details

Manley Mastering Stereo Variable Mu Limiter Compressor M/S Mod
The Mastering Version of the Manley Variable Mu Limiter Compressor incorporates detented and logable steps, built with 1% metal film resistors on sealed gold-contact Grayhill switches.The Manley Variable Mu Limiter Compressor has been Manley's best selling product for many years. It is one of the very few compressors that have become a real standard in mastering studios and contributed to most hit records over the last decade—and probably the next. "Mu" is tube-speak for gain. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The highly revered vintage Fairchild 670 also uses this technique, and is one of few all-tube compressors to do so. Even the side-chain has glowing rectifier bottles. How's it work? The unique 5670 dual triode is at the center of the peak-reduction and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages, which cause this tube to smoothly change its gain. Just like that. The Compress mode is a soft-knee 1.5:1 ratio, while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: "It's like pouring a bowl of sweet cream over the mix." Mmmmmm. Yummy. Give your music a big hug.Manley Variable Mu Modifications: High-Pass Side Chain option: Also available on the mastering version of the Variable Mu (#620909), this adds two switches to the front panel, one for each channel, so that when engaged, the side chain will not respond to frequencies lower than 100Hz. (100Hz is standard as the -3dB point. Other frequencies can be custom-ordered.) This HP SC Mod can be used with music with heavy bass lines or bass-heavy mixes where you don't want the bass driving the whole action of the compressor. The filter is a very gentle 6db per octave 1 pole filter, and will typically be down 1-3db at 100 Hz, and down 4-6db at 50Hz. As you decrease the frequency the amount of limiting will decrease also. At the extreme LF (<20hz) there should be very little gain reduction going on. The purpose of the filter is to keep very LF stuff (like a heavy kick drum) from activating the compression/limiting s...details

Manley Mastering Stereo Variable Mu Limiter Compressor T-Bar Mod
The Mastering Version of the Manley Variable Mu Limiter Compressor incorporates detented and logable steps, built with 1% metal film resistors on sealed gold-contact Grayhill switches.The Manley Variable Mu Limiter Compressor has been Manley's best selling product for many years. It is one of the very few compressors that have become a real standard in mastering studios and contributed to most hit records over the last decade—and probably the next. "Mu" is tube-speak for gain. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The highly revered vintage Fairchild 670 also uses this technique, and is one of few all-tube compressors to do so. Even the side-chain has glowing rectifier bottles. How's it work? The unique 5670 dual triode is at the center of the peak-reduction and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages, which cause this tube to smoothly change its gain. Just like that. The Compress mode is a soft-knee 1.5:1 ratio, while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: "It's like pouring a bowl of sweet cream over the mix." Mmmmmm. Yummy. Give your music a big hug.Manley Variable Mu Modifications: High-Pass Side Chain option: Also available on the mastering version of the Variable Mu (#620909), this adds two switches to the front panel, one for each channel, so that when engaged, the side chain will not respond to frequencies lower than 100Hz. (100Hz is standard as the -3dB point. Other frequencies can be custom-ordered.) This HP SC Mod can be used with music with heavy bass lines or bass-heavy mixes where you don't want the bass driving the whole action of the compressor. The filter is a very gentle 6db per octave 1 pole filter, and will typically be down 1-3db at 100 Hz, and down 4-6db at 50Hz. As you decrease the frequency the amount of limiting will decrease also. At the extreme LF (<20hz) there should be very little gain reduction going on. The purpose of the filter is to keep very LF stuff (like a heavy kick drum) from activating the compression/limiting s...details

Manley TNT 2-channel Mic Preamp
The Manley TNT (Tubes – No Tubes) 2-Channel Mic Preamp has two different and discrepant mic preamps in one box for two different sound colors. By popular demand, one channel is the exact same mic pre as in the Manley SLAM! with tubes and transformers. The second preamp is a fresh "No Tubes" design from Hutch and is inspired by old British console preamps with a tasty combination of "No Tubes" design with transformers. This one is not a clone of anything preexisting. It is a new flavor but reminiscent of that classic discrete sound. Both channels on the Manley TNT preamp are designed around the basic goal of "just plug a mic in and it sounds great." The tube channel excels on traditionally difficult sources like some bright guitars, reed and brass, cymbals and some vocals. The "No Tubes" channel might be more suited for smoother vocals, drums, bass and raunchy guitars, but you never really knows which preamp is best for the job at hand until you try them. At least you'll have two qualified candidates in one handy 1U chassis.The Manley TNT is a new concept in microphone preamplification for those who don't always need stereo everything but often need choices and often need the best. Besides, you probably have a number of typical stereo preamps and are still looking for that one killer preamp. Manley participated in 3D Audio's "Preamps in Paradise" forum, which was a remarkable opportunity to discuss preamps in depth and more importantly listen to what top engineers liked, disliked, and desired in the next generation of preamps. Manley Labs saw a need for a different unit that truly offered a rainbow of high-end preamp colors at an affordable price. The "T" (Tubes) channel starts off with the highly acclaimed vacuum tube micpre from the SLAM! that is certainly a contender amongst the best cost-no-object tube preamps. The "NT" (No Tubes) channel adds a no-compromise solid-state preamp that sets new sonic standards. Because the solid-state side uses two opposite topologies in tandem that are user controllable, it is like getting two preamp 'sounds' on that side alone.The number one request was variable input impedance somewhat tempered by the number one complaint that so far, the typical gain changes associated with that feature were not fun. Manley offers variable impedance done right, with typically near-zero gain changes. In fact, on the solid-state side a current-mode preamp is used for the lowest impedance and a voltage mode preamp is used for the highest impedance, and these two preamps are appropriately blended for the medium impedance settings. All of the microphone signal is used and almost none thrown away. Both the voltage-mode and current-mode stages are truly optimized and when one changes impedance settings, one hears the effects of how this changes microphone and cable characteristics as opposed to other approaches which mostly take the mic p...details

Manley M162M 16x2 Mic Mixer
For years, a small studio has had two choices: Spend big bucks for a big mixing console or petty cash for a mini mixer with a mini sound. One is overkill and the other kills the music. These days, recording studios based around workstations need a simple, but superb mixer. Manley addresses this problem by presenting a choice of three different versions of the 16 into 2 Mixer: LINE, MIC, and an 8+8 MIC/LINE combination that let users select a configuration to best accommodate their studio needs.The Manley M162M MIC version has very low noise mic preamps with up to 60 dB of gain selectable on a rotary switch which replaces the aux knob. The XLR has the appropriate 2400 ohm impedance and switches to 68k ohm for the 1/4" plugs. (so yes you can run line level signals into it.) It also has phase reverse and inserts on every channel. This Manley MIC mixing console offers the maximum amount of input flexibility.The Manley mixer's channel input jack is a Neutrik Combo which accepts XLR or 1/4" phone plugs. It is perfectly happy with either balanced or unbalanced sources. In the MIC version, the XLR has the appropriate 2400 ohm impedance and switches to 68K for the 1/4" plugs. There are balanced direct outputs on every channel post fade and pre cut for multitrack recording. Each channel uses the best sounding chips Manley knows of (Burr Brown INA103, OPA2604, Linear Technology LT1010) in Hutch's circuits with exceptional headroom and very low noise, real pro level input and output levels, and bulletproof Manley quality throughout. Spec-wise experts know of few mixers with better headroom or higher output levels and, well, the mixer's subterranean noise floor and crosstalk figures are simply quite amazing. The signal path has just 3 superb polystyrene caps from input to output. No carbon resistors, just 1/2 watt metal film, Bourns conductive plastic pots, Grayhill stepped attenuators, etc. All the good stuff. Manley didn't make this mixing console all-tube for "ad appeal" and sales hype. They certainly could have, but this puppy would have grown into the size of a small house, and needed an accompanying 5-Ton AC unit. However, the tube mix amps/line drivers are right at the end and impart that "Manley Sound" to your final outputs with all the richness, loudness and BIG sound you expect from us. Built like a tank and easy to service. Mutes and Solos use superior relay switching techniques not crummy FETs or CMOS switching. The Solo is of the "mute everything else" type. The buttons are EAO Series 19 and light up to indicate Mute and Solo. Insert and Phase Reverse also use high quality relays and both functions have tiny switches and red LED's to clearly indicate when they're selected. The master section provides mixdown to 2 channels achieved with similar tube circuits as used in the Massive Passive, featuring two each 12AT7 NOS Phillips & 6414 NOS GE or Raytheon dual triodes. External inpu...details

Manley M162ML16x2 8+8 Mic/Line Mixer
For years, a small recording studio has had two choices: Spend big bucks for a big console or petty cash for a mini mixer with a mini sound. One is overkill and the other kills the music. These days, studios based around workstations need a simple, but superb mixer. Manley has addressed this problem by presenting a choice of three different versions of the 16 into 2 Mixer: LINE, MIC, and an 8+8 MIC/LINE combination that let users select a configuration to best accommodate their studio needs.The 8+8 version mixes it up, with 8 mic channels and 8 line channels, making it a great mixing console for location recording, keyboard rigs and general purpose tasks.The Manley mixer's channel input jack is a Neutrik Combo which accepts XLR or 1/4" phone plugs. It is perfectly happy with either balanced or unbalanced sources. In the MIC version, the XLR has the appropriate 2400 ohm impedance and switches to 68K for the 1/4" plugs. There are balanced direct outputs on every channel post fade and pre cut for multitrack recording. Each channel uses the best sounding chips Manley knows of (Burr Brown INA103, OPA2604, Linear Technology LT1010) in Hutch's circuits with exceptional headroom and very low noise, real pro level input and output levels, and bulletproof Manley quality throughout. Spec-wise experts know of few mixers ever with better headroom or higher output levels and, well, this Manley mixer's subterranean noise floor and crosstalk figures are simply quite amazing. The signal path has just 3 superb polystyrene caps from input to output. No carbon resistors, just 1/2 watt metal film, Bourns conductive plastic pots, Grayhill stepped attenuators, etc. All the good stuff. Manley didn't make this thing all-tube for "ad appeal" and sales hype. They certainly could have, but the 8+8 mixer would have grown into the size of a small house, and needed an accompanying 5-Ton AC unit. However, the tube mix amps/line drivers are right at the end and impart that "Manley Sound" to your final outputs with all the richness, loudness and BIG sound you expect from us. Built like a tank and easy to service. Mutes and Solos use superior relay switching techniques not crummy FETs or CMOS switching. The Solo is of the "mute everything else" type. The buttons are EAO Series 19 and light up to indicate Mute and Solo. Insert and Phase Reverse also use high quality relays and both functions have tiny switches and red LED's to clearly indicate when they're selected. The master section provides mixdown to 2 channels achieved with similar tube circuits as used in the Massive Passive, featuring two each 12AT7 NOS Phillips & 6414 NOS GE or Raytheon dual triodes. The M162ML console's external inputs allow two or more mixers to be combined for 32 or more channels with a mini-banana post linking the Solo functions. There are both transformer balanced and transformerless unbalanced (+4dBm) outputs with tons of headroom, +3...details

Manley Dual Mono Tube Direct Interface
The Manley Dual Mono Tube Direct Interface offers the flexibility that allows the user to create stereo recordings or simultaneously go direct with two separate instruments. This outstanding DI Box features exceptionally clean and quiet tube circuits, which will warm up any electric guitar, bass, violin, and especially those sterile sounding synths. Unique with the Manley Tube DI is the added 5-position high pass shelf EQ, there to fight unwanted resonances. As a splitter device, the transformer-coupled balanced XLR output can be sent directly to a mic level input, such as through your console channel, while the 1/4" output drives the guitar amplifier cabinet, which can be miked and mixed with the direct feed. Low impedance outputs, Ground lift and Console Out Boost switches make the Manley DI Box both versatile and compatible. It turns that noisy high impedance guitar cable into quiet lo-Z territory fast! Keep your Manley Dual Mono DI close at hand to solve a variety of studio problems and improve the quality of your recordings....details

Manley EQP-1A Enhanced 'Pultec' Equalizer
The Manley Enhanced Pultec EQP-1A is Manley's interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. Manley has been building Pultec EQs since 1990 after they hunted down Eugene Shenk in New Jersey to ask for his permission and blessings to produce their own version of his classic piece. This Manley Pultec EQ employs a simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit.Manley Enhanced Pultec Equalizers use a transformerless signal path and has a vastly superior B+ power supply, with regulated and balanced heater supply. The Manley line amp is known to be killer-sounding. The components Manley uses today on the EQP-1A equalizer just weren't available in the 1960's. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec.The Manley Pultec EQP-1A uses 1 x 12AU7WA and 1 x 6414 in it's all-tube single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like Manley 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.The rackmount Pultec EQ may be set to 'flat' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Manley's single rack unit mono blocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. Manley added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4" jack) may be selected in that switch's middle position.Kick drum? Bring on the Pultecs and all the iron you can muster! You'll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You'll see. There's no substitute for what a Manley Pultec EQ can do!...details

Manley EQP-1A Limited Edition Stereo 'Pultec' Equalizer
The Manley EQP-1A Limited Edition Stereo 'Pultec' Equalizer is Manley's interpretation of the historic Pultec Equalizer times two! This amazing studio tool offers the flexibility that allows users to create stereo recordings or simultaneously EQ two separate instruments.Originally produced by Pulse Techniques, Inc. Manley has been building Pultec EQs since 1990 after they hunted down Eugene Shenk in New Jersey to ask for his permission and blessings to produce their own version of his classic piece. These Manley Pultec EQs employ a simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit. It offers the flexibility that allows the user to create stereo recordings or simultaneously go direct with two separate instruments.Manley Enhanced Pultecs use a transformerless signal path and has a vastly superior B+ power supply, with regulated and balanced heater supply. The Manley line amp is known to be killer-sounding. The components Manley uses today just weren't available in the 1960's. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec!The Manley EQP-1A Limited Edition Stereo 'Pultec' Equalizer uses 1 x 12AU7WA and 1 x 6414 in it's ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like Manley 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.The EQ may be set to 'flat' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Manley's single rack EQ unit mono blocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. Manley added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1/4" jack) may be selected in that switch's middle position.Kick drum? Bring on the Manley Pultec EQs and all the iron you can muster! You'll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You'll see. There's no substitute for what a Limited edition stereo Manley Pultec EQ can do!...details

Manley Mid Frequency EQ
Specially useful for midband oriented instruments such as guitars, vocals, harmonicas, and violins, the MID Frequency Enhanced Pultec EQ (MEQ-5 type) shares the same features and specifications as the Manley 'EQP-1A' version. The differences lie in the passive EQ section: In the MID EQ, the DIP and PEAK controls function on much sharper bell-shaped curves centered on the selected frequencies, which gives the engineer-producer more precise control over the vitally important midrange and makes the Manley Mid Frequency Equalizer indispensable for mastering engineers. The Manley MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of our Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering....details

Manley Gold Reference Microphone
The Manley Gold Reference Multi-Pattern Microphone delivers truly accurate musical recordings. The Gold Reference Series employs Manley's own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter), which is executed to precise tolerances made possible by modern micro-milling machinery. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, "air", and superb ultra-high frequency response you have only dreamt about.The all-tube electronics in the Manley Reference Microphones are built around two triodes in cascade forming an entire gain-block. Manley recently switched to a dual-triode 12AX7WA, easily obtainable and replaceable, mounted in a ceramic socket. The output is coupled through a Manley output transformer of unparalleled quality and substantial physical size employing nickel laminations with "hum bucking" bi-filar windings, encased in mu-metal. The recording mic's polar pattern control is continuously variable between the OMNI, CARDIOID, and FIGURE 8 positions vastly increasing this mic's versatility. The Gold mics make it possible to exactly tailor the proximity effect to achieve the desired character. Manley has chosen a very open weave stainless-steel grille for the capsule window which allows all the highs to reach the capsule unimpaired letting the engineer choose if, when, and how much pop screen is appropriate. As a result, the Reference Gold reaches to the furthest extremes of highs and lows with gorgeous natural acoustic smoothness. Some engineers tell us it sometimes "hears" more than they do! The base of the Manley recording microphone holds a locking 3 pin gold XLR connector for the audio signal output to allow you to use whatever audio cable you prefer— as exotic as you wish. A detachable threaded 4-pin connector for the 30 foot power supply cable carries the stringently filtered B+ and regulated heater voltages from the separate dedicated power supply. The microphone body is machined from brass providing excellent shielding properties, polished to a high lustre, then plated with 24 karat gold for an impressive finish, inspiring confidence in artists and producers.Manley's precision suspension system is provided with each reference microphone (the capsule itself is mounted onto a neoprene-rubber shock-mount.) Because the entire working "guts" of the microphone may be removed for service in one piece from the housing, it is envisioned that the microphone need not be removedfrom the suspension. Also included with this studio mic is a useful swivel of Manley's own design; its T-bar handle and locking clutch action require no tools to adjust. And no Manley microphone would be complete without a genuine leather capsule protector with soft velvet lining which slips (and ties)...details

Manley M1624ML 16x2x4 8 Mic/8 Line Mixer 2-Bus 4-Aux
For years, a small studio has had two choices. Spend big bucks for a big console or petty cash for a mini mixer with a mini sound. One is overkill and the other kills the music. These days, studios based around workstations need a simple, but superb mixer. Manley has addressed this problem by presenting a choice of three different versions of the 16 into 2 audio mixer: LINE, MIC, and an 8+8 MIC/LINE combination that let users select a configuration to best accommodate their studio needs.The 8+8 version mixes it up with 8 mic channels and 8 line channels. This 16x2x4 is a line mixer with 4-AUX-sends and 16 channels into tubes on the 2-bus. The two microtoggles next to each dual-concentric AUX send select whether that channel's AUX goes to AUX 1, AUX 2, or Both for the lower pot, or AUX 3, AUX 4, or both for the top pot. Great for location recording, keyboard rigs and general purpose tasks.The channel input jack is a Neutrik Combo which accepts XLR or 1/4" phone plugs. It is perfectly happy with either balanced or unbalanced sources. In the MIC version, the XLR has the appropriate 2400 ohm impedance and switches to 68K for the 1/4" plugs. The mixing console has balanced direct outputs on every channel post fade and pre cut for multitrack recording. Each channel uses the best sounding chips Manley knows of (Burr Brown INA103, OPA2604, Linear Technology LT1010) in Hutch's circuits with exceptional headroom and very low noise, real pro level input and output levels, and bulletproof Manley quality throughout. Spec-wise experts know of few mixers with better headroom or higher output levels and, well, this Manley mixer's subterranean noise floor and crosstalk figures are simply quite amazing. The M1624ML mixer's signal path has just 3 superb polystyrene caps from input to output. No carbon resistors, just 1/2 watt metal film, Bourns conductive plastic pots, Grayhill stepped attenuators, etc. All the good stuff. Manley didn't make the M1624ML mixer all-tube for "ad appeal" and sales hype. They certainly could have, but this puppy would have grown into the size of a small house, and needed an accompanying 5-Ton AC unit. However, the tube mix amps/line drivers are right at the end and impart that "Manley Sound" to your final outputs with all the richness, loudness and BIG sound you expect from us. Built like a tank and easy to service. Mutes and Solos use superior relay switching techniques not crummy FETs or CMOS switching. The Solo is of the "mute everything else" type. The buttons are EAO Series 19 and light up to indicate Mute and Solo. Insert and Phase Reverse also use high quality relays and both functions have tiny switches and red LED's to clearly indicate when they're selected. The master section provides mixdown to 2 channels achieved with similar tube circuits as used in the Massive Passive, featuring two each 12AT7 NOS Phillips & 6414 NOS GE or Raytheon dual triodes. External i...details

Manley Faceplate for Rackmount Power Supply
This cosmetic faceplate is designed for Manley 16 Into 2 Mixers which have a rackmountable external power supply. It keeps your rack looking neat while allowing the power supply to safely operate without overheating....details

Manley SLAM! Stereo Limiter and Micpre
SLAM! stands for "Stereo Limiter and Micpre" and it pretty much describes what it will do to most VU meters. Manley had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending—it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym. When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? Manley combined their favorite Electro-Optical circuit (ELOP) with a fast FET based brick-wall limiter reminiscent of some cool classics. Manley added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, "it just works" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimizes the signal for digital recording, due to the brick-wall capability, and lets you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Get in: The Manley SLAM! starts with tube mic preamps on both channels with switchable phantom power and phase reverse. Manley provided plenty of gain for you in this tube circuit, up to 60dB with 20dB more in the limiter—plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock 'n' rollers won't cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the Manley SLAM! for processing. Get it LOUD… two different and distinct limiters per channel: The ELOP Limiter: Manley's beloved Electro-Optical Levelling Amplifier circuit, the ELOP, still the favorite for vocal tracking, shows up here with its switchable side-chain high pass filter making it much more useful for mixes and other tracks as well. One of the most appreciated aspects of Manley's original ELOP is the simplicity of a two knob limiter, which is optimum for demanding pro recording pressures. You can still grab two knobs and have complete control of level and dynamics and be ready to hit that record button. Intuitive controls and a straight ahead signal path through quality components simply works. The FET LIMITER: Here's a fast FET based "brick wall" limiter that spans the range of clean predictable limiting to the grunge and gravel that other FET-based limiters only dream of achieving. The FET RELEASE control allows you to dial up a variety of colors. There is even a "CLIP" setting that provides as round a shape as has ever been available. (Read more below about the CLIP settings.) Manley aimed at "sound&qu...details

Manley Gold Reference Stereo Microphone
The Manley Gold Reference Multi-Pattern Microphone gives you truly accurate musical recordings. The Gold Reference Studio Mics employ Manley's own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter), which are executed to precise tolerances made possible by modern micro-milling machinery available today. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, "air", and superb ultra-high frequency response you have only dreamt about.The stereo version of the Manley Gold Reference microphone is identical in every respect to the Mono Gold Reference but with two complete and carefully matched systems installed in one case with the upper capsule being fixed and the lower capsule being continuously rotatable through 90° for M-S and X-Y Blumlein-Style coincident pair recording technique. Each capsule has its own continuously variable pattern control and individual -10dB PAD switch.The all-tube electronics in the Manley Reference Stereo Microphone is built around two triodes in cascade forming an entire gain-block. Manley has recently switched to a dual-triode 12AX7WA, easily obtainable and replaceable, mounted in a ceramic socket. The output is coupled through a Manley output transformer of unparalleled quality and substantial physical size employing nickel laminations with "hum bucking" bi-filar windings, encased in mu-metal. The polar pattern control is continuously variable between the OMNI, CARDIOID, and FIGURE 8 positions vastly increasing this mic's versatility. The Gold studio mics make it possible to exactly tailor the proximity effect to achieve the desired character. Manley has chosen a very open weave stainless-steel grille for the capsule window which allows all the highs to reach the capsule unimpaired letting the engineer choose if, when, and how much pop screen is appropriate. As a result, the Reference Gold studio mic reaches to the furthest extremes of highs and lows with gorgeous natural acoustic smoothness. Some engineers say it sometimes "hears" more than they do!The base of the recording microphone holds a locking 5 pin gold XLR connector for the audio signal out enabling usage of your own preference of audio cable — as exotic as you wish. A low capacitance 5-pin XLR-F to two 3-Pin XLR-M "Y" cable is included for your convenience. A detachable threaded 4-pin connector for the 30 foot power supply cable carries the stringently filtered B+ and regulated heater voltages from the separate dedicated power supply. The microphone body is machined from brass providing excellent shielding properties, polished to a high lustre, then plated with 24 karat gold for an impressive finish, inspiring confidence in artists and producers.Manley's precision suspension system is provided with eac...details

Manley 40MP Mono Mic Tube Preamp
The Manley 40MP all-tube Mono microphone preamplifier is primarily intended for use with modern condenser microphones. 40 to 60dB gain, enough for most ribbon mics, is selectable in precise 5dB steps by varying the amount of overall negative feedback on the Gain switch. This is a very interesting feature indeed, allowing you to change the slew rate (speed), placement, and tonal balance of the sound from mellow and "tubey-er" through to faster, punchier, and more aggressive.Tube complements include a 1 x 12AX7EH hand-selected for lowest noise, and 1 x 6414 for each high-current output stage. Each Manley 40MP Mono Tube Preamp is painstakingly hand-wired using silver solder and audiophile-grade components. Double-shielded custom-built power transformers and custom-built high-capacity reservoir capacitors demonstrate Manley's modern power supply design approach. When you need to get your tunes through some tubes before hitting a sterile digital recorder, the front panel 1/4" DI jack lets the Manley Mono Microphone Preamp serve double duty as a pure tube line stage for instruments such as bass, drum machines, and keyboards. Total gain in this mode becomes 20dB less than indicated on the Gain switch. Both transformer-coupled balanced, and direct (via humongous metalized film MultiCaps) capacitor-coupled unbalanced outputs are provided, giving you the choice of audiophile/purist or big iron sounds. Perennial shoot-out winners, Manley single-ended preamp designs have become favorites among top engineers and home recordists who are looking for "that rich Manley sound with the tight bass and the top end that goes on forever," that begs to go direct to tape. It's a BIG sounding micpre!What's so cool about variable Feedback? Global negative feedback takes a small portion of the output signal and re-injects it back into the input stage, which greatly improves linearity and distortion performance of an amplifier. A tasteful amount of negative feedback is the key: too much and you're into poor transient response and phase shift problems. Manley generally uses somewhere between 4 to 14dB of feedback in their line preamplifiers. Within that window is a definite point of maximized stability with optimum sonic performance, giving you the choice of where you want to be. Changing the amount of feedback alters the overall gain of the amplifier as well as the slew rate (speed).In the context of a hifi amplifier or preamplifier with the Variable Feedback feature, EveAnna (Manley) uses variable feedback to suit different CD's and recording styles when she's listening to music at home. "For the most part I keep the variable feedback controls around the middle but sometimes when I'm playing a CD which is kind of harsh and aggressive sounding or I just want to mellow out, I just turn those control down and apply more feedback to get a smoother, richer texture. But when I'm the one in the aggressive mood, I crank...details

Manley Backbone Mastering Insert Switcher with ELCO Connectors
Winner of the 2009 TEC award, the Manley Backbone Mastering Insert Switcher accepts up to three balanced source inputs, selectable on the left side. Left & right can be reversed and absolute polarity can be flipped. The 24 position input & Output gains can be switched active or left passive. Up to eight inserts can be switched in or bypassed. A sum – Difference MS Matrix can be addressed between inserts 2 and 3. The order of inserts 4 & 5 can be swapped. The Manley Backbone Switcher has an injection point between inputs 7 & 8 to allow for several functions on the 3-Function mix – Fade output control. You can mix in the Difference signal from the input. This mixes in some out-of-phase signal from the input to the output in order to widen the image if desired or you can mix in a parallel signal in between inserts 7 & 8. A lot of folks run a reverb or parallel compressor in this fashion. Or you can use the knob as a fader to make smooth and accurate level fades with the Penny & Giles rotary fader.This Manley Backbone comes with ELCO connectors for the INSERTS I/O. Cables sold separately....details

Manley SLAM! Stereo Limiter and Micpre - Mastering Version
The Manley Mastering SLAM! incorporates detented and logable 1/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches. •The Mastering SLAM! has no mic preamps or instrument inputs. Instead the tube sections are paralleled for low noise and distortion •All pots are replaced with rotary switches for detented resettability and easier calibration •The mastering version has a true hard-wire bypass function, which is not possible on the regular version with mic preamps, etc. What was the Left Bypass, becomes the full Bypass (in stereo and hardwired). No separate L & R bypass buttons •The right BYPASS button becomes either the DAC select if the Digital Converter Option is installed — or — Limiter Bypass (tubes & transformers still active) •The SLAM! has a dedicated unbalanced transformerless inputs on the mastering version. What was the Phantom Por switch on the back now selects XLR or 1/4" inputs •The ELOP limiter now has 5 ratios, which may put it into the compressor/ limiter category. The low ratios may be better suited for complex mixes •The FET limiter has 5 modes (these last two features replace the INPUT selector) About item 6, the ELOP can be selected for 10:1, 5:1, 3:1, 2:1 and an 'AUTO HF' mode where high frequencies get a higher ratio and low frequencies get a low ratio. This mode is the most gentle. As with most compressors one might need to lower the threshold as one lowers the ratio, if keeping a similar depth of gain reduction is wanted. The threshold markings are based on the 10:1 ratio and a setting of +18 is intended to help reduce DFS overs with a converter with 14 dB of headroom over +4 dBm. Many mastering converters are set for 14 dB of headroom and the +18 setting would be a good starting point. Of course being an Opto-based limiter, it cannot be ultra-fast and some peaks will probably get through and it generally will have the typical (puffy) sound of an opto (because of its inherent time constants). It should be pointed out that much of that character is reduced when used in conjunction with the FET limiter. The FET usually catches some of the overshoots and time/gain behavior of the Vactrol and that can reduce the familiar Optical sonic signature.The FET limiter has some subtle enhancements, some of which will not be apparent on all sessions. In particular, the LP LIM function will not be obvious unless the input signals are rather hot and more than a few dB of limiting is taking place. LP LIM is meant for those jobs that require more drastic treatments. If those conditions are met, 1) the NORM setting may be verging on 'crunchy' and might seem dulled due to reduced transients, 2) the LP LIM setting can be less crunchy, and seem to have more 'presence' because the FET limiter won't be pulling down as much mids and highs as it will lows where most of the energy is. It may also be difficult to compare NORM and LP LI...details

Manley BACKBONE Mastering Insert Switcher with DB25 Connectors
Winner of the 2009 TEC award, the Manley BACKBONE Mastering Insert Switcher accepts up to three balanced source inputs, selectable on the left side. Left and right can be reversed and Abolute Polarity can be flipped. The 24 position input & Output gains can be switched active or left passive. Up to 8 inserts can be switched in or bypassed. A Sum – Difference MS Matrix can be addressed between inserts 2 and 3. The order of inserts 4 & 5 can be swapped. The Manley Backbone is an injection point between inputs 7 & 8 to allow for several functions on the 3-Function mix – Fade output control. You can mix in the Difference signal from the input. This mixes in some out of phase signal from the input to the output in order to widen the image if desired. OR you can mix in a parallel signal in between inserts 7 & 8. A lot of folks run a reverb or parallel compressor in this fashion. Or you can use the knob as a fader to make smooth and accurate level fades with the Penny & Giles rotary fader.This Manley Backbone comes with DB25 connectors for the INSERTS I/O. Cables sold separately....details