Manley

Brand new for 2024, The Manley OASIS Phono Stage replaces the CHINOOKAt last, our favorite phono stage has been updated to operate with MANLEY POWER® which provides an even quieter blacker black background, yielding quicker sonic extremes over our older linear PSU designs. President EveAnna Manley recalls the moment she first made the comparison, “I brought a regular CHINOOK with its linear power supply, a stock unit, to Los Angeles to listen to it against a second CHINOOK that had been modified to work with our new MANLEY POWER® switch mode power supply. My buddy Pete Lyman at Infrasonic Mastering spun up some vinyl records that he had cut the masters for on his lathe. Using his mastering studio environment, we were able to conduct a very precise comparative listening test between the two units. And even though we could not see which unit we were listening to, the sonic differences were unmistakable, and we both heard the same superiority in the new power supply design. I still can’t believe what a stunning technical and sonic accomplishment MANLEY POWER represents, and delivers as we adopt more of our designs to take advantage of our proprietary system.”The OASIS Phono Stage offers an improvement in convenience over the older CHINOOK as the GAIN selections have been brought out from inside the chassis to the rear panel for easier access residing next to the resistive and capacitive loading DIP switches. There are tons of loading options to mate with any Moving Coil or Moving Magnet cartridge. Once you have set your GAIN and Loading for your cartridge, you’re done! Set it and forget it! The OASIS sports an upgraded more luxurious chassis design while its efficient internal build keeps the price affordable. And like all Manley products, each OASIS Phono Stage is loyally handcrafted in the USA by American men and women at our Southern Californian factory located just 35 miles east of Los Angeles.

Brand new for 2024, The Manley OASIS Phono Stage replaces the CHINOOKAt last, our favorite phono stage has been updated to operate with MANLEY POWER® which provides an even quieter blacker black background, yielding quicker sonic extremes over our older linear PSU designs. President EveAnna Manley recalls the moment she first made the comparison, “I brought a regular CHINOOK with its linear power supply, a stock unit, to Los Angeles to listen to it against a second CHINOOK that had been modified to work with our new MANLEY POWER® switch mode power supply. My buddy Pete Lyman at Infrasonic Mastering spun up some vinyl records that he had cut the masters for on his lathe. Using his mastering studio environment, we were able to conduct a very precise comparative listening test between the two units. And even though we could not see which unit we were listening to, the sonic differences were unmistakable, and we both heard the same superiority in the new power supply design. I still can’t believe what a stunning technical and sonic accomplishment MANLEY POWER represents, and delivers as we adopt more of our designs to take advantage of our proprietary system.”The OASIS Phono Stage offers an improvement in convenience over the older CHINOOK as the GAIN selections have been brought out from inside the chassis to the rear panel for easier access residing next to the resistive and capacitive loading DIP switches. There are tons of loading options to mate with any Moving Coil or Moving Magnet cartridge. Once you have set your GAIN and Loading for your cartridge, you’re done! Set it and forget it! The OASIS sports an upgraded more luxurious chassis design while its efficient internal build keeps the price affordable. And like all Manley products, each OASIS Phono Stage is loyally handcrafted in the USA by American men and women at our Southern Californian factory located just 35 miles east of Los Angeles.

Brand new for 2024, The Manley OASIS Phono Stage replaces the CHINOOKAt last, our favorite phono stage has been updated to operate with MANLEY POWER® which provides an even quieter blacker black background, yielding quicker sonic extremes over our older linear PSU designs. President EveAnna Manley recalls the moment she first made the comparison, “I brought a regular CHINOOK with its linear power supply, a stock unit, to Los Angeles to listen to it against a second CHINOOK that had been modified to work with our new MANLEY POWER® switch mode power supply. My buddy Pete Lyman at Infrasonic Mastering spun up some vinyl records that he had cut the masters for on his lathe. Using his mastering studio environment, we were able to conduct a very precise comparative listening test between the two units. And even though we could not see which unit we were listening to, the sonic differences were unmistakable, and we both heard the same superiority in the new power supply design. I still can’t believe what a stunning technical and sonic accomplishment MANLEY POWER represents, and delivers as we adopt more of our designs to take advantage of our proprietary system.”The OASIS Phono Stage offers an improvement in convenience over the older CHINOOK as the GAIN selections have been brought out from inside the chassis to the rear panel for easier access residing next to the resistive and capacitive loading DIP switches. There are tons of loading options to mate with any Moving Coil or Moving Magnet cartridge. Once you have set your GAIN and Loading for your cartridge, you’re done! Set it and forget it! The OASIS sports an upgraded more luxurious chassis design while its efficient internal build keeps the price affordable. And like all Manley products, each OASIS Phono Stage is loyally handcrafted in the USA by American men and women at our Southern Californian factory located just 35 miles east of Los Angeles.

Manley’s modern take on the Pultec EQ - in stereo! - with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Magic on drums, killer on guitars.The MANLEY ENHANCED PULTEC EQP-1A is our own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. We have been building these Manley Pultec EQs since 1990 after we bothered to hunt down Eugene Shenk in New Jersey to ask for his permission and blessings to produce our own version of his classic piece. These Manley Pultec units employ our own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit. 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. Our single rack unit monoblocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. And if you notice, we've 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.People often ask us if our Pultec EQ's sound like the old ones to which we reply, "Yes! But better!" The originals had three transformers in the signal path whereas ours can be used completely transformerless. Our Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. Our line amp is known to be killer-sounding. The components we use 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 PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our 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 our 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety. 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 a what a Manley Pultec EQ can do!

Manley’s modern take on the Pultec EQ with extra frequencies the original never had; a vastly superior power supply and famous Manley line amps complete the package. Magic on kick drum, killer on guitars.The MANLEY ENHANCED PULTEC EQP-1A is our own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. We have been building these Manley Pultec EQs since 1990 after we bothered to hunt down Eugene Shenk in New Jersey to ask for his permission and blessings to produce our own version of his classic piece. These Manley Pultec units employ our own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit. 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. Our single rack unit monoblocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. And if you notice, we've 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.People often ask us if our Pultec EQ's sound like the old ones to which we reply, "Yes! But better!" The originals had three transformers in the signal path whereas ours can be used completely transformerless. Our Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. Our line amp is known to be killer-sounding. The components we use 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 PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) in our 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 our 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety. 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 a what a Manley Pultec EQ can do!

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has 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, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing 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 soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 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. See the gain reduction curves here!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.Specifications:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 Ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

Commemorating two and a half decades of world-class tone shaping, the Manley 25th-anniversary Massive Passive delivers natural, organic sonic sculpting via a simple, passive design that's tailor-made for delicate applications. You'll appreciate this Massive Passive's mechanically detented Gain and Bandwidth knobs, ensuring easy repeatability, and its specially tailored filters. This is one of the most transparent-sounding hardware equalizers you'll ever run a mix through; it delivers amazing sound with zero coloration or overprocessing. Limited to 100 units, the Manley 25th-anniversary Massive Passive comes adorned with an eye-grabbing cobalt blue faceplate and custom laser-engraved artwork.

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has 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, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing 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 soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 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. See the gain reduction curves here!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.Specifications:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 Ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

 Brooklyn is a reference USB2 DAC, line and phono analog preamplifier and a reference headphone amplifier.It integrates digital and vinyl hi-res playback for reference listening on headphones and speakers.SPECIFICATIONS :CONVERSION: up to 384k, 32bit PCM, native DSDup to DSD256,DXD, 130dB Dynamic RangeMQA HI-RES DECODER: built in certified hardwareMQA™ decoder DIGITAL INPUTS: USB2 Class2 (OSX, Linux driverless,all formats), AES/EBU (PCM up to 192k, up to DSD64 DOP), 2x S/PDIF (PCM up to 192k, up to DSD64 DOP), Toslink/ADAT 2x S/PDIF (PCM up to 192k, up to DSD64 DOP), SDIF3 DSD up to DSD256CLOCK: “Mytek Femtoclock Generator™” 0.82ps internal jitter, Wordclock Input and Output (allows stacking multiple units for multichannel operation,includesmch DSD)ANALOG OUTPUTS: RCA, balanced XLR, simultaneous,50 Ohm impedanceHEADPHONE OUTPUTS: Reference High Current,High transient Headphone Amp, 500mA, 6 Watts,dual headphone jacks, designed to drive hard todrive headphones.   BUILT-IN ATTENUATOR: Choice of 1dB step analog attenuator, separate for main out and head- phones,1dB step digital32 bit attenuator and purist relay bypass.BUILT-IN ANALOG PREAMP: Line level input orPhono M/M, M/C input, relay controlled.   AUDIO INTERFACE FUNCTION: All digital inputs canberoutedinto computer via USB2. Allows connectionof external digital sources such as CD Players anddigitizing ADCs.REMOTE: Included, universal remote capableFIRMWARE: Upgradable via USB Control panelWORLDWIDE POWER SUPPLYOPTIONAL DC/BATTERY POWER INPUT: 12VDCDIMENSIONS: WxDxH=8.5x8.5x1.74”=216x216x44mmWEIGHT: 4lbs, 2kgWARRANTY: 2 years  

The Manley Silver Tube Microphone is large condenser microphone inspired by the legendary Sony C-37A and built in collaboration with Josephson.The Manley Silver Tube Microphone uses a capsule designed by David Josephson who has provided a stunning recreation of the C-3 capsule originally used on the C-37 microphone in the ‘50s. This capsule is single-ended and boasts an adjustable acoustic chamber on the back allowing the user to change between omni and cardioid polar patterns. This capsule delivers a rich a creamy tone associated with the original Sony microphone.Inside the microphone, lies a unique circuit design which combines a FET and vacuum tube cathode used to amplify the signal before hitting Manley’s IRON transformer. This design provides a bit less output than other microphones and can, therefore, accommodate loud sources very well.The power supply has been specifically designed for audio fidelity with all regulated lines, super low impedance rails and no 50Hz/60Hz ripple component present in the chassis. It works at any voltages between 90V and 250V so all you need to do is plug it in.This microphone offers a rich and warm sound that will complement female vocals and saxophones particularly well without any boxiness or sibilance. It will also impart its sonic glory on drum overheard with a warm mid frequency response shaving off the harshness produced by cymbals when used with other microphones. Its dark tone means that it can often be used instead of a ribbon microphone.  Manley Silver Tube Microphone Main Features:Condenser Transducer based on vintage Sony C-37A Hand Made in USA by Josephson AudioSingle-Sided Large Diaphragm Capsule Edge Tensioned5 Micron Evaporated Gold Diaphragm 1" diameterDual Pattern Cardioid or Omni Directional adjustable via vent on the backplate5670 Internal Vacuum Tube Head AmplifierConstant Current Source for Tube Minimizes Noise and Tube SelectionHand Wound Nickel Core Manley Iron Output TransformerOutput Impedance: 30 OhmsHigh Pass Filter Switch -3dB @ 55Hz 6dB/8vaFREQUENCY RESPONSE: 10Hz-30kHz, AMP to 60kHzMAXIMUM INPUT SPL: 150 dB SPL at CapsuleSENSITIVITY: 7mV/PaAMPLIFIER TYPE: 2 Triode Gain Block Lo Z OutputOUTPUT POLARITY: Balanced XLR, Pin 2 Hot, Pin 3 LowAMPLIFIER DISTORTION: Less Than 0.05 % THD+N BW 22-22 kHz (1kOhm Load, 1kHz -40dBV Output)AMPLIFIER NOISE: Typically -108 dBV “A Weighted”BODY: Etched Silver Anodized AluminumWeight: 1.5 lbs (mic)Weight: 2 lbs (PSU)Size: 2" x 9.7" x 4.5" (mic including suspension)Size: 5" x 8.2" x 3.4" (PSU)Custom Designed Outboard Switched Mode PSU 90V ~ 250VAC Universal Voltage Operation 50Hz-60HzPower Consumption: 15 WattsPSU External Mains Fuse: 5mm X 20mm, 2A @ 250V, CERAMIC, Slo-Blo

Since the early 1990’s, the Manley ELOP® stereo electro-optical limiter has been a tracking hero effortlessly controlling dynamics on countless records around the globe, delivering the coveted classic, all-tube sound that Manley Labs is known for. So how do you improve on something this good? Well, for starters, we have now added a 3:1 compression ratio feature which opens up the doors to greater versatility, especially for 2-buss applications. The 2016 ELOP+ has been completely re-engineered from the ground-up, beginning with our amazing modern high voltage switching power supply purpose-designed for our vacuum tube audio circuits. With careful reference to our sonic past, we have deployed our highest performance vacuum tube line amplifier and White Follower output stage in this new version all housed in a build-efficient chassis behind a drop-dead gorgeous precision-CNC-milled faceplate, all proudly made in America, of course. The new Manley ELOP+ is everything you love about our legendary ELOP, plus!Features:10:1 Limiter and 3:1 Compressor ratiosAll-tube audio path uses 5751 and 6922 dual triodesBalanced Manley IRON® transformer-coupled XLR InputsXLR impedance-balanced outputsBYPASS switches and AUTOMUTE with warm-up delayLarge illuminated VU meters read Gain Reduction or Output levelsSTEREO LINKSide-Chain High-Pass FilterUniversal internal power supply operates worldwide 90-250V~AC 50/60Hz

The Manley Nu Mu gives you the best sonic qualities of both tube and transistor compressors. Manley spec'd the Nu Mu with the all-tube, T-Bar-modded front end of their fabled Variable Mu and followed it with a state-of-the-art solid-state audio chain. At Sweetwater, we're quite impressed by the results - silky smooth, fat, and punchy! Manley's innovative HIP circuit is onboard, enhancing low-level detail without taking a toll on dramatic transients. Handcrafted in the company's Chino, California, factory, the Nu Mu delivers superior sonics, performance, build quality, and value - exactly what you'd expect from Manley.Advanced dynamics control is yours with the Manley Nu Mu!Manley Nu Mu Features:Hybrid tube/solid-state compressor/limiterDual channel (stereo linkable)Features Manley's IRON input transformers4 hand-selected and matched 6BA6 vacuum tubesBalanced XLR I/OHIP circuit elevates softer dynamics without crushing louder onesLighted VU meters, switchable between Gain Reduction and Output LevelCustom, internal, universal high-voltage switched-mode power supply, for worldwide operation SpecificationsType: Tube/solid state (4 x 6BA6 vacuum tubes)Number of Channels:    2Controls: Threshold, Attack, Recovery, OutputRatio: 1.5:1, 4:1 to 20:1Side Chain Inserts:  2 x 1/4" TRSInputs:  2 x XLROutputs:  2 x XLRRack Spaces:  2UHeight:  3.5"Depth:  7"Width;  19"Weight:  8.5 lbs.Manufacturer Part Number:  NuMu​

Manley designed the Core reference channel strip so that you can hit record and focus on your performance, not your signal chain. It sports the quality, performance, and flexibility their VOXBOX is known for, at a price that makes it accessible to any serious artist or engineer. You get a world-class Manley mic pre, followed by a 3:1 ELOP style compressor for effortless dynamic control. Engineers at Athens Mastering are ecstatic over the active Baxandall EQ, and a fast attack FET brickwall limiter at the end of the chain protects your converters from accidental clipping. Even if you plug right in without tweaking a single knob, you're sure to get an amazing sound.Manley Core Reference Channel Strip Features:Easy to use and awesome-sounding channel strip based on the award-winning VOXBOXClass A tube mic preamplifier with Manley's hand-wound transformersDirect input uses the same circuit as the Manley SLAM! for fantastic direct-instrument recordingsELOP compressor with 3:1 ratio tames any signal transparentlyBaxandall EQ with low/high shelving and sweepable mid for flexible sonic sculptingFast attack FET brickwall limiter ensures you don't clip your converters during recordingFlexible metering can display input, output, and compressor gain reduction levels 

The MANLEY GOLD REFERENCE MULTI-PATTERN MICROPHONE are a statement, quite simply, of the finest microphones that money can buy in the pursuit of truly accurate musical recordings. The Gold Reference Series employ our 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 in California. 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 SERIES MICROPHONES are built around two triodes in cascade forming an entire gain-block. We have recently switched to a dual-triode 12AT7 tube, easily obtainable and replaceable, mounted in a ceramic socket. (We originally used 6072A until it became impossible to find quiet ones out of the NOS dreck left on the market, then we used 12AX7 for awhile.) 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 Mics make it possible to exactly tailor the proximity effect to achieve the desired character. We have 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! A locking 6-pin XLR connector for the 30 foot power supply cable carries the stringently filtered B+ and regulated heater voltages from the separate dedicated power supply. The audio signal exits the PSU via a traditional 3-pin XLR jack. 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. Our proprietary 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 removed from the suspension. We also provide a very useful swivel of our own design with every REFERENCE MICROPHONE; 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 which slips (and ties) onto the end of the microphone to protect the capsule when not in use. Specifications: All Tube design using 12AT7 dual triode. (Previous versions used 6072 or 12AX7.) -10dB switchable PAD Sensitivity: 17mV/Pa Noise: typically -120 dB EIN Max SPL: 150dB Actual output impedance 200 Ohms Weight: 2.25 lbs (mic) Weight: 2.5 lbs (PSU) Size: 4.5" x 9.7" x 4.5" (mic) Size: 5" x 8.2" x 3.4" (PSU) Shipping weight: 15 lbs Selected matched pairs available Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage. Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change. Mains Voltage Frequency: 50~ 60Hz Mains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operation Power Consumption: 70mA @ 120V = 8.4 Watts

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has 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, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How’s it work? The unique 5670 dual triode is at the center of the peak-reducing 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 soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 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. See the gain reduction curves here!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.Specifications:MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHzBALANCED INPUTS & OUTPUTS (600 Ohms)Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044 or 5687, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire BYPASS switchStepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer)RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.Variable ATTACK: 25msec-70msecContinuously variable THRESHOLDLIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)HP SC: High Pass Side Chain Filter -3dB @ 100HzLarge ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting)STEREO LINK SWITCHSeveral units can be linked for Surround (custom order )Maximum gain: 35dBMax. output: +30dBu (26Vrms) 26dB Headroom

It has two Moving Coil inputs with selectable impedance load 25, 50, 100, 200 and 400 Ohms via Mr. Clever "Steelhead" transformer/autoformer. It also has variable and selectable Moving Magnet input impedances too 25, 50, 100, 200 Ohms and 47 kOhms. It's got six tubes. 2 x 6922 plus 4 x 7044 (or 5687). It's got a big honkin' volume control. It can drive an amplifier directly if you want, if you don't "do" digital. Hey and if you happen to have three turntables set up, we give you 2 x MC and 1 x MM selectable inputs. It's got selectable gain 50, 55, 60, 65dB on a switch that even auto-mutes as you change it so no nasty bangs. Gain switch markings are referred to from the input of the 1st active electronics at 1 kHz to the fixed output @ 10k load, regardless of whether source is MM or XFMR stepped-up MC. Specifications: Vacuum tube complement: 6922 SOVTEK Russian x 2 (gain) plus JAN NOS GE 7044 or 5687 x 4 (output buffers) Fuse type and ratings 117 VAC operation: MAINS fuse: 1.6 Amp 3AG slow-blow use glass body Littlefuse Series 239 LOGIC fuse: 0.5 Amp 3AG slow-blow logic fuse Fuse type and ratings 230 VAC operation: MAINS fuse: 0.800 Amp 3AG slow-blow use glass body Littlefuse Series 239 LOGIC fuse: 0.25 Amp 3AG slow-blow logic fuse Moving Magnet input impedance: 5-step user adjustable via fixed low-noise resistors. 25, 50, 100, 200 and 47000 Ohms. Moving Coil input impedance: 5-step user adjustable via multi-tap autoformer: 25, 50, 100, 200 and 400 Ohms. Input Termination Capacitance: Front Panel Selectable in 10 picofarad steps from 10 to 1100 pF (1.1nF) Residual input capacitance less than 40 pF. Gain: 4-step user adjustable, 50, 55, 60 and 65 dB active gain at 1 kHz referred to the FIXED output jack into a 10 kOhm load. Additional gain available via the MC input's step-up autoformer. See Owner's Manual for discussion. Deviation from RIAA curve: Less than +0.5 / -0.3 dB from 20 Hz to 20 kHz at any gain setting. Typically less than ±1 dB from 10 Hz to 100 kHz Inter-channel differential phase: Less than 4 degrees from 20 Hz to 20 kHz at any gain setting. Typically less than 2 degrees. Inter-channel differential gain: Less than ±0.5 dB from 20 Hz to 20 kHz at any gain setting. Dynamic Range: 101 dB 1 kHz, 1% THD measured with 200 Ohm source, 47 kOhm input, 55dB Gain 97 dB 1 kHz, 0.1% THD THD: 0.0042% at 1V output 1kHz REMORA RF REMOTE: controls motorised volume control up/down functions; uses 9v battery Maximum LINE input level: +30.6dBu 1KHz for an output of +29.3dBu 0.07% THD 26.5Vrms 1KHz for an output of 22.8Vrms 0.07% THD Maximum Output: +27dBm 1KHz with 3% THD into 100 kOhm load FIXed Output impedance: 150 Ohms. Minimum suggested load greater than 1500 Ohms. VARIable Output impedance: 75 Ohms. Minimum suggested load greater than 600 Ohms.

Yes the Shrimp is entirely a single-ended design. The circuitry uses single-ended topology. In order to be able to provide balanced inputs or outputs we would have to convert the signal to balanced using something like some IC's or transformers. Both these options would add more "stuff" to the signal and be certainly audible detracting from the pure sound the Shrimp provides.If you are dealing with balanced source outputs or driving a balanced amplifier with the Shrimp, check to see if you also have unbalanced connections on that gear, change your cables and go with that. You might be pleasantly surprised that they too added extra audible "stuff" in order to provide balanced XLRs and the RCAs that don't have that extra "stuff" in the signal path actually sound better. (Depends on a given unit's specific design.) Or use some RCA to XLR adaptors. Most balanced gear has no problem being driven single ended but check with the manufacturer if they are going to want the negative pin 3 of the XLR grounded or floating. Transformer-coupled XLR jacks always can be driven single-ended by running HOT into Pin 2 and grounding pin 3 to pin 1. Some IC coupled XLR inputs will want pin 3 floating, others will require it to be grounded when running single-ended into it. Check with the manufacturer of your gear to see how to hook it up single-ended. Specifications:ALL-TUBE: Vacuum Tube all-triode designInput Tubes: 2 x 12AT7EH large plate Electro-Harmonix RussianInterstage Follower Tubes: 2 x 5670 GE USA dual triodesOutput Tubes: 2 x 7044 or 5687 GE JAN NOSFive Line Level Inputs: unbalanced RCAMUTE switch and Warm-Up muting delayALPS motorised volume control: Accurate tracking usually within 0.5dB. Smooth operation. (no detents)ALPS balance control: Center detentedRecord Output: (AKA "TAPE OUT") Unbalanced RCA jacks, unbuffered, passive (always ON)Main Outputs: Two sets of unbalanced RCA main outs for bi-amping or driving a powered subwooferGain: 12dBInput Impedance: 250 kOhmInput Sensitivity:Volume Control at MAX: 200mV in yields 0.8V out (12dB GAIN)Volume Control at 3 o'clock: 200mV in yields 0.380V out (5.6dB GAIN)Volume Control at 12 o'clock: 200mV in yields 0.115V out (-4.8dB GAIN)Maximum Input Level: 5V in produces 1.5% THD at outputFrequency Response: 10 Hz - 80 KHz; 20 Hz - 20KHz, -0.3dBNoise Floor: Typically -83 dB 20-20K with volume control fully openNoise Floor: Typically -95 dB A WGT 20-20K with volume control fully openNoise Floor (shorted input): Typically -94 dB 20-20K with volume control fully closedNoise Floor (shorted input): Typically -106 dB A WGT 20-20K with volume control fully closedS/N Ratio: typically 95 dB A WGT 20-20KTHD: 0.02% at 1V rms outputOutput Impedance: 50 OhmsMaximum Output: +23dBu  1.5% THD into 100K load (10.9V rms)Maximum Output: +20dBm  1.5% THD into 600 Ohm loadBadge Lamp: LED illuminationRF Remote Control: commands volume control UP/DOWN; uses 9V batteryPower Consumption: 55 Watts (485mA  120VAC)Operating Mains Voltage: Units are purpose built for original destination country's mains voltage: 100V, 120V, or 220-240VAC as indicated on the serial number badge. Power transformer must be replaced in order to change mains operating voltage. 120VAC units may NOT be rewired to put the primaries of the power transformer in series for 220-240V operation or a large radiated field of hum will develop. If changing locations/voltages, the power transformer must be replaced with the dedicated one for the voltage at which it will operate.Mains Voltage Frequency:Dimensions: W=19", L=11", H=3 1/2"Shipping Weight: 15 Lbs.

Our most esoteric product is THE 300B PREAMPLlFIER. This is the first and only preamp to feature these classic tubes. We had been designing the 300B into small power amps for many years and have always had great respect for the smooth natural sound of this tube. However, a single 300B provides truly appropriate power and voltage swing for headphones and makes a remarkable line driver. Here is where the impedances are not too low and the power requirements are not too high: ideal for this kind of tube in a single-ended configuration. This was the genesis of a new preamp. Specifications:Inputs: 5 stereo pair unbalanced RCA jacksOutputs: 2 stereo pairs MAIN out same as SUB out unbalanced RCA jacksRECORD output: 1 stereo pair pre-volume control unbalanced RCA jacksHEADPHONE Outs: 2 front panel 1/4" headphone jacksOptimized headphone impedance switching: 30-400 Ohms to 300-4000 OhmsMUTE: Selecting HEADPHONE operation mutes LlNE outputsOutput Vacuum Tubes: 2 x 300B Electro-HarmonixInput Tubes: 2 x 6SL7GT Russian (Electro-Harmonix or SOVTEK)Rectifier Tubes: 2 x 5U4GBEH Electro-Harmonix or 5AR4C by RubyRegulator Tubes: 2 x OD3 NOS JAN USAGain: factory set at 12 dB at max VolumeInternal Variable Feedback: 8.5 dB of global NFB is used  12 dB of gain, adjustable trim -1.7dB to +1dBNoise Floor: typically -70 dB (1 Hz - 100 KHz)S/N Ratio: typically 105 dB (A WGT, 20 Hz - 20 KHz)Frequency Response: 5 Hz to 50 KHz 1dBChannel-to-Channel Separation (L to R): 1KHz 48 dB - 10KHz 35 dB - 20KHz 34 dBChannel-to-Channel Separation (R to L): 1KHz 50 dB - 10KHz 40 dB - 20KHz 37 dBTHD: 0.08 %  1KHz at 1V rms outDistortion THD+N: -80 dB (.01 %) zero "crossover" distortion, mostly 2nd harmonicInput Sensitivity: 250mV (-9.8dBu) yields 1V outInput Impedance: 100 kOhm Noble volume controlMaximum Input Level: 5.5dBu or 1.459 Vrms  1KHz, volume control at maximumOutput Impedance (LINE STAGE): 100 OhmsMaximum Output Level: 17.2dBu or 5.636 Vrms  1KHz, volume control at maximumOutput Power (100 Ohm Headphones): 1W (10 V RMS) (28 V P-P)Output Power (600 Ohm Headphones): 1W( 25 V RMS) (70 V P-P)Power Consumption: 170 Watts (1.4 A  120VAC)Operating Mains Voltage: Factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.Operating Mains Voltage: changeable with power transformer re-wiring and fuse value change.Mains Voltage Frequency: 50~ 60HzDimensions: W=19" x L=13"Top Deck Height: 4"Transformer Height: 3 1/2"Suggested shelf height minimum: 10" (depending on height of 300B tube)Shipping Weight: 28 Ibs.

The famous Manley Stingray stereo integrated amplifier has been renewed and refreshed. Allow us to present to you the Stingray II integrated tube amplifier with full featured RF and IR remote control.The STINGRAY II is the next evolution from our acclaimed Stingray Integrated Amplifier, legendary in the hifi world since it first swam from our labs in 1997. Originally conceived with particular attention paid to optimal component placement for the purity and symmetry of the signal path layout, the Stingray quickly became one of our best-selling products.Specifications:3 x Stereo Line RCA Inputs1 x Stereo Line 1/8" TRS mini-jack InputTRIODE - UL Output Stage Mode SwitchingRECORDING OUTSUBWOOFER OUTTAPE LOOP (Insert) with Bypass switch1/4" Headphone OUTPUT (mutes speakers and subwoofer output when deployed)Logic controlled Volume and Balance functionsAll-Vacuum Tube Lo-feedback Stereo Integrated DesignOutput Tubes: 8 x EL84 Ships with Russian NOS EL84M (aka 6Pi14Pi-EB)Driver Tubes: 2 x 6414 Ships with GE or RAYTHEON JAN NOS USA or 6414WInput Tubes: 2 x 12AT7EH Ships with: 12AT7EH large plate Electro-Harmonix Russian

These cute little guys produce around 40 watts RMS in Ultra-Linear mode or around 20 watts in TRIODE from a quartet of EL84 / 6BQ5 tubes driven by a 6414 dual triode driver and a 12AT7EH input dual triode.Specifications:Input Tube: 1 x 12AT7EH large plate Eletcro-Harmonix RussianDriver Tube: 1 x 6414 JAN NOS GE or Raytheon brandedOutput Tubes: 8 x EL84 Ships with Russian NOS EL84M (aka 6Pi14Pi-EB) We are out of Ei 6BQ5.Output Tube Quiescent Standing Current: 25mASet Bias for 250mVDC measured across each 10 Ohm cathode resistorInput Impedance: 110 kOhmNegative Feedback: MIN= 3dB; STD=6dB; MAX=10dB of global NFBGain:TRIODE/ULFB MIN: 30.7 dB 32.1 dBFB STD: 28.5 dB 29.1 dBFB MAX: 26.1 dB 27.1 dBInput Sensitivity for Maximum Output Power: defined as input voltage required in order to produce maximum power output reaching 1.5% THD  1KHzTRIODE/ULFB MIN: 175mV 155mVFB STD: 312mV 340mVFB MAX: 480mV 566mVInput Sensitivity for 1W into 8 Ohms: 61mV 53mVMaximum Output Power: defined as power output reaching 1.5% THD  1KHzSignal to Noise Ratio Ref. 1W: Typically 82 dB A-WGT 20-20KNoise Floor: Typically 150µV = -74dBu A-WGTNoise Floor: Typically 650µV = -62dBu unweightedWill Scratch Your Floor: Use pennies under pointed feet to avoid marring cabinetry. Try quarters if you are in upper tax brackets. The bargain performer would be nickels. Paper currency does not function as well. Euro coins work 1.54 times better. Concrete pavers or wooden chopping blocks serve fine for amplifier platforms.Dynamic Range: 83dBTHD+Noise  5W: less than 0.15%Frequency Response at full power UL mode w/MAX NFB: 20 Hz to 20 kHz FLATFrequency Response at 5W into 5 Ohms: 10 Hz to 30 kHz FLAT, -3.75dB  100KHzRecommended Speaker Load: Optimized for 5 OhmsOutput Impedance:TRIODE / ULFB MIN: 2.43 Ohms TRIODE; 3.10 Ohms ULFB STD: 1.47 Ohms TRIODE; 1.67 Ohms ULFB MAX: 0.90 Ohms TRIODE; 0.95 Ohms ULDamping Factor:TRIODE / ULFB MIN: 3.29 TRIODE; 2.58 ULFB STD: 5.45 TRIODE; 4.78 ULFB MAX: 8.90 TRIODE; 8.43 ULPower Consumption (idle): 102 Watts (0.85A  120VAC)Maximum Power Consumption (at Full Power): 168 Watts (1.4A  120VAC)Operating Mains Voltage: Factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.Operating Mains Voltage: changeable with power transformer re-wiring and fuse value change.Mains Voltage Frequency: 50 ~ 60 HzFuse type and ratings  117 VAC operation:MAINS fuse: 3 Amp 3AG slow-blow use glass body Littlefuse Series 239Fuse type and ratings  230 VAC operation:MAINS fuse: 1.6 Amp 3AG slow-blow use glass body Littlefuse Series 239B+ Fuse: MDA 400 mA SLO-BLO Ceramic Time-Delay fuseBadge Illumination: Units produced before 3/2003 use 8V, 0.3A "Fuse-Lamp" 1/4" X 1 1/4" - Serial numbers after MAHI036 use LED illumination which probably won't burn outDimensions: 11" deep x 10" wide x 5" tallShipping weight each: 18 pounds

In 2002 we launched a very tasty all-tube 100 watt monoblock called The Snapper. Another brilliant design from Mitch Margolis features a quartet of EL34 or 6CA7 or KT77's in a fully differential circuit topology, including the input and driver stages. This Snapper can be driven fully balanced all the way through via the XLR inputs.Specifications:100 Watt partial triode (UltraLinear) EL-34 output stage is tolerant of a wider variety of output load conditions than pure pentode.Precise and balanced signal path from input to output. Circuit self-balances with either single-ended or balanced inputs. [Don't let either speaker terminal contact chassis, earth or any other ground.Switch-selectable RCA unbalanced inputs, or XLR balanced inputs. RCA jack input impedance about 330 kOhms, XLR 15 kOhms. If one input is not occupied, the input selector switch may then be used as a poor-man's MUTE switch. Handy for checking the bias, swapping input cables, etc..Input Sensitivity RCA jack: 750 mV RMS for full output into 5 OhmsInput Sensitivity RCA jack: 71 mV RMS for 1 watt output into 8 OhmsInput Sensitivity XLR jack: 1.5 V RMS for full output into 5 OhmsOverall voltage gain RCA jack to Output: 31 dBu, or about 32 volts per volt.Signal to A-weighted noise ratio on Humberto's bench is about 110 dB.Damping Factor: 4.7All-balanced amp topology keeps B+ voltage variations from degrading the performance of the input and driver stages. This technique can help make a push-pull amplifier very revealing of signal detail, in part by canceling power-supply-related perturbations and increasing signal-to-noise ratios.Portly 180 Joule energy storage reservoir in the main B+ supply channel for explosive transient response and athletic musical stamina. Also reduces B+ fluctuations due to varying current demands of output stage.Wideband transformerless balanced input with bridged 15 kOhm input impedance. Balanced input sensitivity may be selected by changing one resistor to suit whatever operating level may be required. 0 dBu, +4, +8, etc... If desired, the user may safely ground either pin 2 or 3 for single-ended drive of the balanced XLR input... [Be careful NOT to drive pins 2 and 3 of the XLR with a large common-mode signal, or the internal B+ fuse could blow.]Quiet DC supply for the input and driver tube filaments.Excellent square-wave response, and very low excess phase-shift with frequency.Amp actually puts out 110W  5 Ohm load  2 kHz  onset of clipping, 117 VAC mains voltage, 3.5 amps mains current.100 W spec: 15 Hz - 40 kHz into 5 OhmsPuts out 100W into an 8 Ohm load.Snapper unit weight: 38 lbs.

The wonderfully simple 300B directly heated triode is virtually Lee De Forest's very first evolutionary 3-element piece, comprising only filament, input grid and anode output. Brought to reliable perfection by Western Electric USA and later by Standard Telephones UK as the 4300B, the 300B was very much intended and widely used for telephony amplification.Specifications:Vacuum Tubes: 2 x 300B (Output), 1 x 6SN7 (Driver), 1 x 6SL7 (Input),2 x 5AR4 (Rectifier). (Units prior to 2011 used 5U4 rectifier tubes.)Output Power  1kHz with 5 dB FeedBack in SINGLE-ENDED: 11 Watts  3% THDOutput Power  1kHz with 5 dB FeedBack in PUSH-PULL: 24 Watts  1.5% THDFrequency Response with 5 dB FB in SINGLE-ENDED: 15 Hz - 15 kHz ±0.5 dB (measured at 5 watts)Frequency Response with 5 dB FB in PUSH-PULL: 10 Hz - 20 kHz ±0.5 dBGAIN SE Mode 0dB Feedback Setting: 30 dBGAIN SE Mode 10dB Feedback Setting: 20 dBInput Sensitivity with 5db FB SINGLE ENDED: 700mV for Maximum PowerInput Sensitivity with 5db FB PUSH-PULL: 450mV for Maximum PowerInput Sensitivity with 5db FB SINGLE ENDED: 165mV for 1V output into 8 OhmsInput Sensitivity with 5db FB PUSH-PULL: 160mV for 1V output into 8 OhmsS/N Ratio: SINGLE ENDED: 83.5dB Ref. 1W; 2.83v//8 Ohms,20KHz BW; 5dB FB.S/N Ratio: PUSH-PULL: 85.4dB Ref. 1W; 2.83v//8 Ohms; 20KHz BW; 5dB FB.Dynamic Range: SINGLE ENDED: 94dB Ref. 3% THD; 20KHz BW; 5dB FB.Dynamic Range: PUSH-PULL: 99.5dB Ref. 1.5% THD; 20KHz BW; 5dB FB.Input Impedance: 100 kOhm, direct coupled.Optimum Speaker Load (switchable): 4 to 12 Ohm range appropriate for 4 & 8 Ohm speakers - 12 to 20 Ohm range appropriate for 16 Ohm speakersActual Output Impedance SINGLE ENDED: 2.25 OhmsActual Output Impedance PUSH-PULL: 1.86 OhmsDamping Factor SINGLE ENDED: 3.5Damping Factor PUSH-PULL: 4.3Maximum Power Consumption: 240 WattsMains Voltage Frequency: 50~ 60HzPower transformer factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.Operating Mains Voltage changeable with power transformer re-wiring and fuse value change.Fuse type and ratings  117 VAC operation:MAINS fuse: 3 Amp 3AG slow-blow use glass body Littlefuse Series 239Fuse type and ratings  230 VAC operation:MAINS fuse: 1.6 Amp 3AG slow-blow use glass body Littlefuse Series 239B+ Fuse: MDA 400 mA SLO-BLO Ceramic Time-Delay fuseBadge Illumination: Units produced before 7/2003 use 8V, 0.3A "Fuse-Lamp" 1/4" X 1 1/4" - Serial numbers after NSEPP314 use LED illumination which probably won't burn outDimensions: W= 8.5, D= 23, H= 9 inches, Including projecting controls and partsMinimum Mounting Surface Dimensions: Feet Footprint = W= 7.5" D= 18"Shipping Weight: 41 lbs. Each.

The Manley 500 and 250 Watt Monoblocks are our most powerful push-pull production-models. Both the circuit design and the selected componentry have been refined over years and years of development. Reliability that you can depend upon combined with musical accuracy and emotional authority is what these amplifiers promise- and deliver. They are able to switch operation modes allowing the listener to choose between the sonically seductive qualities of triode and the more powerful Ultra-Linear configuration. We use big, beefy reservoir capacitors in the high voltage supplies giving plenty of instant energy for dynamic performance of transient peaks and bass impact and weight which often exceeds that of rival solid-state amplifiers.Specifications:ALL-TUBE monoblock design: uses 10 x EL34JJ output tubesDriver Stage: High current double 12BH7EH (x2) Electro-Harmonix RussianInput Tube: 12AT7EH large plate Electro-Harmonix RussianBALANCED & UNBALANCED inputs: RCA and XLR jacks (switchable)MUTE switch: on front panelTRIODE / Ultra-Linear output mode switching: on front panelSOFT-START turn on mode: minimizes in-rush current by first powering up amplifier to half voltagesEVER-WARM mode: for standby keeps tubes warmed up at half voltagesMANLEY Precision Output Transformer: designed and wound at Manley LabsFront panel bias measurement and adjust: Concealed under the black oval insertOutput Tube Standing Current: 27.5mASet Bias for: 275mVDC measured across each bias tip jack to groundLarge filter / reservoir capacitors: 3800uF x 2Angled rear of chassis: provides for easy connectionsWBT binding posts: CE compliant for European modelsInput Sensitivity RCA: Triode = 1.637 V, Tetrode = 1.837 V for full powerInput Sensitivity XLR: Triode = 3.2 V, Tetrode = 3.6 V for full powerInput Sensitivity Triode: 174mV for 1 watt into 8 OhmsInput Sensitivity Tetrode: 146mV for 1 watt into 8 OhmsGain Triode: 30dBGain Tetrode: 32dBInput Impedance RCA: 116 kOhm  1KHzInput Impedance XLR: 270 kOhm  1KHz - 20 kOhms  20KHz - 38 kOhm  20HzActual Output Impedance Triode: 0.538 OhmActual Output Impedance Tetrode: 0.465 OhmOptimum Speaker Load: 5 OhmsDamping Factor Triode: 14.8Damping Factor Tetrode: 17.2S/N Ratio Ref 1W into 8 Ohms: -80 dB -90dB A-WGTDynamic Range: 93dBFLAT frequency response: 10 Hz - 30 KHz continuousFull Power Tetrode: 250W  1.5% THD into 5 OhmsFull Power Triode: 100W  1.5% THD into 5 OhmsPower Consumption: 30 Watts in "EVER-WARM" modeMaximum Power Consumption: 815 Watts at full powerOperating Mains Voltage: Factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.Operating Mains Voltage: changeable with power transformer re-wiring and fuse value change.Mains Voltage Frequency:Mains Fuse 100-120VAC operation: MDA 10 Amp SLO-BLO Ceramic Time-Delay fuseMains Fuse 220-240VAC operation: MDA 8 Amp SLO-BLO Ceramic Time-Delay fuseB+ Fuse: MDA 1 1/2A SLO-BLO Ceramic Time-Delay fuseBadge Illumination: Units produced before 4/2003 use 8V, 0.3A "Fuse-Lamp" 1/4" X 1 1/4" - Serial numbers after N250188 use LED illumination which probably won't burn outPower Cord: Detachable IEC standard. Appropriate power cord supplied for destination countryDimensions: W=19" x D=13" x H=9"Shipping Weight: 73 Lbs. each

The Manley 500 and 250 Watt Monoblocks are our most powerful push-pull production-models. Both the circuit design and the selected componentry have been refined over years and years of development. Reliability that you can depend upon combined with musical accuracy and emotional authority is what these amplifiers promise- and deliver. They are able to switch operation modes allowing the listener to choose between the sonically seductive qualities of triode and the more powerful Ultra-Linear configuration. We use big, beefy reservoir capacitors in the high voltage supplies giving plenty of instant energy for dynamic performance of transient peaks and bass impact and weight which often exceeds that of rival solid-state amplifiers.Specifications:ALL-TUBE monoblock design 10 x KT90EH Electro-Harmonix Russian output tubesHigh current double 12BH7EH driver stage12AT7EH large plate Electro-Harmonix Russian input tubeBALANCED & UNBALANCED inputsMUTE switchTRIODE / Ultra-Linear switchingSOFT-START/ EVER-WARM standby modeMANLEY Precision output transformerFactory set for 5 Ohms nominalFront panel bias measurement and adjust (hiding under the black insert)Large filter / reservoir capacitors 3800uF x 2Angled rear of chassis provides for easy connectionsWBT binding postsInput sensitivity: 1VGain: 32dB tetrode; 30dB in triodeInput Impedance RCA: 116 kOhm  1KHzInput Impedance XLR: 270 kOhm  1KHz - 20 kOhms  20KHz - 38 kOhm  20HzNoise Floor: Tetrode: -67dB; Triode -65dB typicalS/N Ratio: -80 dBDynamic Range: 96dBFLAT frequency response: 10 Hz - 30 KHz continuousPower Consumption: 30 Watts in "EVER-WARM"Full power (tetrode): 500WFull power (triode): 275WFactory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.Operating Mains Voltage changeable with power transformer re-wiring and fuse value change.Mains Voltage Frequency:Dims: W=19", D=13", H=9"Shipping weight: 82 lbs. each

The spawn of the Manley Steelhead - one of the world's greatest phono preamplifiers - Stereophile Class A Recommended Component and The Absolute Sound's Preamp of the Year, has arrived. The Chinook epitomizes the sound of the Steelhead. Designed for the music lover, not the switch tweaker. Setting up the Chinook couldn't be easier. There are two internal settings for optimal gain: 45dB for Moving-Magnet cartridges and 60dB for Moving-Coil cartridges. Set it and forget it! The back panel contains DIP switches for adjusting the input resistive and capacitance loading values. 31 possible options between 26 and 800 Ohms plus 47k Ohms and 7 capacitive loading choices between 50 pF and 350 pF provide flexibility to match any cartridge and fine tune the tone.Specifications:Gain: Internal DIP switches select 45dB or 60dBDeviation from RIAA curve: Less than ± 0.5 dB from 20Hz to 20kHz at any gain setting. Typically less than ±1dB from 10Hz to 100kHz.Distortion (THD+N) (47k Ohm Input Termination, 45dB gain, 1kHz sine, 0dBu output): Typical 0.010% THD+N, into 100k Ohm load, BW = 100Hz-22kHzDistortion (THD+N) (47k Ohm Input Termination, 45dB gain, 1kHz sine, 0dBu output): Typical 0.030% THD+N, into 600 Ohm load, BW = 100Hz-22kHzDynamic Range (MM input, Gain set to 45db, 200 Ohm source): 91dB  1kHz, 0.1% THD+N, BW = 22Hz-22kHzDynamic Range (MM input, Gain set to 45db, 200 Ohm source): 107dB  1kHz, 1.0% THD+N, BW = 22Hz-22kHzNoise Floor at 45dB gain setting with shorted input: -84 dBu, A-weightedNoise Floor at 60dB gain setting with shorted input: -75 dBu, A-weightedMaximum Input at 45dB gain setting with 20 Ohm Source Z  1kHz into 10 kOhm load: 250mV RMS = +34.5 dBu  1% THD+N BW=22Hz-22kHzMaximum Input at 60dB gain setting with 20 Ohm Source Z  1kHz into 10 kOhm load: 40mV RMS = +34.2 dBu  1% THD+N BW=22Hz-22kHzMaximum Output: +37dBu  1kHz, 1.5% THD+N into 100 kOhm loadOutput Impedance: 91 OhmsMinimum Recommended Load: 2500 OhmsInternal Power Supply: Fully regulated linear B+, Heater, and control voltage rails.Operating Mains Voltage: Units are built for original destination country's mains voltage: 100V, 120V, or 220-240VAC as indicated on the serial number badge.Power Consumption in Standby mode: 1 Watt (8.0mA  120VAC)Power Consumption: 42 Watts (345mA  120VAC)Mains Voltage Frequency: 50~60HzPower Transformer: Toroid contruction for low radiation.Mains Fuse for 100V operation:800mA SLO-BLO Glass Littlefuse Series 239 size 5mm x 20mmMains Fuse for 117V-120V operation:800mA SLO-BLO Glass Littlefuse Series 239 size 5mm x 20mmMains Fuse for 220V-240V operation:400mA SLO-BLO Glass Littlefuse Series 239 size 5mm x 20mmStandby Transformer Fuse for all voltage operation 100V-240V: 10mA, SLO-BLO, MDL type size 1/4" x 1 1/4"Badge Lamp: LED illuminationDimensions: W=19", L=11", H=3 1/2"Shipping Weight: 15 Lbs.

SLAM! stands for "Stereo Limiter And Micpre" and it pretty much describes what it will do to most VU meters. We 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? We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we 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 optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM! Specifications:Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable biasOutput Tubes: 2 x 6414W NOS USA dual triodesI/O: MANLEY transformer coupled Balanced Inputs and OutputsMicpre: Selectable 48V phantom power and PHASE REVERSEGain: 60dB max Micpre, 43dB max DI, 20dB max Limiter GainInput Impedance: 2000Ω Micpre, 1MegΩ DIFET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1Frequency Response: 5Hz to 60KHzMaximum Output: +32dBm, +30dBm (into 1KΩ load)THD+N:

The Manley VOXBOX shatters all your preconceptions of what a mic preamp can do. It's a voice processor, but that's only the beginning. Besides the fully professional, great sounding mic preamp section, the VOXBOX also offers an innovative opto-compressor; Manley's special EQ section with the extended Pultec Mid Frequency Equalizer; and a de-esser and peak limiter section. You also have tight control over all your parameters, no matter what section your using. Top it all off with Manley's state-of-the-art design specifications and you've got an impressive piece of gear with great versatility. The VOXBOX is not only a vocal processor; it also works its magic on instruments, featuring great settings for drums, bass, guitars, keyboards, etc. The VOXBOX is easily one of the most comprehensive audio processors you can find and is highly respected in the world's audio community.Specifications:Stunning mic preamp, with opto-compressor, EQ with the extended Pultec Mid Frequency Equalizer, de-esser and peak limiter for vocal and instrument tracking applicationsManley Transformers w/nickel laminations in mu-metal cases2K ohm MIC INPUT Z w/High current 48V Phantom power built-inHi-Z (100K) Direct Instrument InputLINE & INSERT INPUTS (balanced XLR & 1/4 inch)PREAMP & EQ outputs LO-Z (50 ohm)Transformer balanced XLR outputTransformerless unbalanced 1/4 inch outputsSTEREO LINK for Compressor & De-esser/Limiter offers expandability if you get another VOXBOXSIDE CHAIN MONITOR for De-EsserLarge ILLUMINATED Sifam METER with FIVE readout modesTHD + N (1kHz @ +20 dBu): 0.3%Maximum output: +31dBuDe-Ess Notch Frequencies: 3, 6, 9, 12KHzPower Consumption: 24 wattsDimensions: 19 x 5.25 x 10 inches (occupies 3U) 

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 the EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound. 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 shapes the signal with natural methods. The 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 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 with the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that this EQ allows twice as much EQ with half the colouration. It allows massive 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.The main features of the Manley MASSIVE PASSIVE include:Perhaps the ultimate studio EQ for tracking instruments, mastering and delivering powerful tonal control with characterAll-Passive tone sculpting circuitryUnique Shelf curves use the "bandwidth" controlOverlapping and Interleaved Frequency choicesEvery band switchable to shelf or bellVacuum tube make-up gain and line driversParallel symmetrical topologyPremium components throughoutHP and LP Filters plus gain trimsEach band can be bypassed or set to boost or cut. This provides twice the control resolution over conventional EQs. It also eliminates the problem of a centre detent not guaranteeing flat responseEach band is capable of 20 dB of boost or cut combined with amazing headroom and freedom from clippingSteep LP and HP filters for maximum effectiveness and achieved passively for minimal coloration. The minimum slope is 18 dB/octave and the 18kHz filter was designed for 60 dB/octaveModular design that allows future upgrades and special functionsTransformer balanced floating outputs for ease of installation and a touch of desirable flavourIns and Outs Balanced XLR and 1/4 inch (accepts unbalanced)Level +4 dBm nominal, internal switches for -10 operationBypass Switch bypasses EQ and tube circuits (not hardwire)44 Frequencies (roughly 1/4 octave spacing)Frequency Range: 22 Hz to 27 kHzEQ Boost/Cut Range : 20 dB boost, 20 dB cutNominal Q range: 1.5 to 3 (uniquely active in shelf modesFrequency Response: +/- 2 dB: 8 Hz to 60 kHzMaximum Output @ 1.5% THD +37 dBv; + 26dBv @ 20 HzTHD and Noise (1kHz @ +4 dBm): 0.06%Noise Floor (referred to + 4dBm): -85 dB (A Weight)Dynamic Range: 120 dBTube Complement: 5751 x 2, 6414 x 4Power Consumption 72 wattsSize (3U): 19 x 5.25 x 10 inchesWeight: Unit 21 lbs. Shipping weight: 27 lbs

An Industry-standard Mastering ToolThe Variable Mu Mastering Version is the perfect addition to any professional mastering facility. In fact, since its introduction, it's quickly become an industry standard mastering tool - and it's the limiter/compressor responsible for an incredible amount of hit records over the last decade. The Manley Variable Mu Mastering Version's detented switches let you easily dial up or log favorite settings. Likened to "pouring a bowl of sweet cream over a mix," if you're looking for the ultimate in mastering weaponry for your pro sound armory, you'll find it in the Manley Variable Mu Mastering Version.Behaves much like the vintage Fairchild 670The Variable Mu uses a compression/limiting technique similar to the beloved vintage Fairchild 670. As "mu" means gain, the Variable Mu Mastering Version offers true variable gain by constantly re-biasing the unique 5670 dual triode at the center of the peak-reducing and compression action, allowing the tube to smoothly change its gain. The Variable Mu Mastering Version offers a soft-knee 1.5:1 compression ratio while its limit mode is sharper knee, starting at 4:1 and moving to 20:1 when limiting over 12dB. The knee softens the more limiting is used. To achieve more sounds, you can creatively use distortion by turning up the input and turning down the output while minimizing your use of compression.Premium switches, for logging and recalling settingsUnlike the standard Variable Mu, which uses smooth-moving pots, the mastering-dedicated Variable Mu Mastering Version offers detented steps. This way, you can easily log your settings or recall them. The steps are built with 1% metal film resistors on sealed gold-contact Grayhill switches. Features:Detented steps using 1% metal film resistors on sealed gold-contact Grayhill switchesManley input & output transformers with pure nickel laminations in mu-metal case with flat frequency response20Hz-25KHz frequency responseBalanced Inputs & OutputsFully differential all-tube circuitry using one each 5670, 5751, 7044, & 12AL5 per channelIndependently regulated B+ and Heater suppliesHard-wire Bypass switchSilent conductive plastic input attenuatorRecovery 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec. (Not a 12-step recovery)Variable Attack: 25msec-70msecContinuously variable ThresholdSwitch for Limit or Compress modesFront-panel mounted Meter AdjustLimit (4:1 to 20:1) or Compress (1.5:1)Large Illuminated Sifam MetersStereo Link SwitchMaximum gain: 35 dB

O νέος τετρακάναλος λαμπάτος προενισχυτής μικροφώνων Manley Force Quad Mic Preamp απο την θρυλική Manley  είναι βασισμένος στο περίφημο channel strip  Manley Core. Διαθέτει, τον ίδιο έλεγχο στάθμης εισόδου και την ίδια switch control(διάταξη διακόπτών) , (μείον μια mic/line είσοδο ) .Δανείζεται απο τον Core επίσης τον μετασχηματιστή Mic εισόδου και το 12AX7 «vacuum tube gain stage» .Η κύρια τεχνική διαφορά μεταξύ των δύο μονάδων είναι το MOSFET “white follower” , τεχνολογία νέα για την Manley . Διαθέτει επίσης το ίδιο Entrodev PSU με τον Core .Χαρακτηριστικά:Τέσσερα κανάλια - προενισχυτών μικροφώνουΕίσοδος μικροφώνου ( XLR ) , Hi Ζ μέσο Direct Input ( TRS ) ανά κανάλι .Mετασχηματιστή Manley στην είσοδο μικροφώνου .Class A Vacuum Tube Gain-Stage .Stage εξόδου MOSFET “white Follower”

The 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 the similar film thickness and construction, similar high frequency resonance (a little edge), similar proximity effect and pretty good immunity from pops and sibilance problems, our Reference Cardioid more closely recalls how many of the vintage European tube mics such as the beloved U47 sounded like when they were new. Its 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 to cure what ails ya. If you seem to be constantly boosting 12-18K and trying to get a clean, intimate sound, then probably the Reference Gold would be the safest bet. Specifications:All-Tube triode design 12AT7 (2011 build. Previous versions used 12AX7 and 6072.)-10 dB switchable padFrequency response: 10Hz-30KHzSensitivity: 17mV/PaNoise typically -120dB EINMax SPL: 150dBActual output impedance 200 OhmsWeight: 2.25 lbs (mic)Weight: 2.5 lbs (PSU)Size: 4.5" x 9.7" x 4.5" (mic)Size: 5" x 8.2" x 3.4" (PSU)Shipping weight: 15 lbsSelected matched pairs availableOutboard Power Supply is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.Operating Mains Voltage changeable with power transformer re-wiring via internal jumpers and fuse value change.Mains Voltage Frequency: 50~ 60HzMains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operationPower Consumption: 70mA @ 120V = 8.4 Watts 

Yes! Manley Mastering Version Massive Passive Stereo Tube EQ WE CAME UP WITH A CLEVER WAY TO PULL THIS OFF...WITHOUT breaking your bank account thanks to these interesting mechanically detented knobs for the GAIN and BANDWIDTH controls! These knobs are of our own design. They are a clever two-part metal design using a ball and spring detent system. They ensure repeatability and a good, positive feel, without the incredible cost and space problems tons of Grayhill switches would have caused.Some notes pertinent to the Mastering Version:The Massive Passive is a passive design and not a "true parametric". A true parametric implies non-interacting controls. In the Massive Passive, the "GAIN" and "BANDWIDTH" controls DO interact (on purpose). We cannot create a "GAIN" switch that is set up for "consistent" 1/2 dB steps. When you change the "BANDWIDTH" the step size must and will change. On the regular version, you get a full 20dB boost or cut only when: the bandwidth is fully clockwise (narrow) in bell mode or fully counter-clockwise in shelf mode. Here on the Mastering Version, this maximum boost or cut is 11dB. Conversely at the widest bell, the maximum boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A similar situation is also true for the bandwidth detents. So in this new Mastering Version, do not expect a certain dB change per step as it will vary according to where the bandwidth is set. But whatever the step sizes are, they will be repeatably 16 steps. The FREQUENCY select is already detented as it is and always has been a Grayhill switch. It also interacts in shelf mode.On a similar note, the Massive Passive is a "parallel design" and not the conventional "series design". This means the bands interact with each other too. It is possible, to set a band to boost 20 dB but if another band is boosting near or at that frequency, very little will happen. On a conventional EQ the two bands "add" and you would be boosting 40 dB into clipping. Because the bands interact, predictable step sizes are unrealistic, however, with the Mastering Version, you will be able to repeat settings (if you log them of course). The price paid for interacting bands, is a better sounding EQ and bizarre looking settings (on purpose).Unlike virtually every other EQ, the Massive Passive allows much more EQ without sounding "processed". Where 5 or 6 dB is about all one could attempt with other EQs in mastering, the Massivo amazes engineers with how much EQ they can do and get more "natural" results at the same time. We could have squeezed 11 position Grayhill switches in the modules if we had wanted 1/2 dB steps but then the maximum range would have become only 5.5 dB. Remembering what we stated above, the minimum range would then become about 1.5 dB with approximately 0.2 dB steps. This approach would have essentially thrown away most of the useful range the unit is capable of. Going with these special mechanically detented knobs which use the same pots underneath that the normal Massivo uses, we get nearly all the range of the normal version, but with the repeatability of the detents.We have also custom tailored the FILTERS in the Mastering Version specifically for Mastering purposes, moving them lower and higher than the normal version, with mastering engineers specifically in mind. If you are looking for drastic effects (like telephone sounds) then get the normal version. These filters are really geared for mastering engineers.Additionally, the Master Gain Trim controls in the Mastering Version are true 11 position 1/2 dB stepped Grayhill switches set up for a range between -2.5 to +2.5 dB of master gain trim. This allows more confidence in left/right matching and calibration.The best advice is, before you decide, or even form an opinion about whether to go with a normal or mastering version Massivo, is to use a regular Massive Passive for a session or two in your own room. We have seen in the past that the only engineers who have asked about a mastering version had yet to try the Massive. Using your previous extensive and intensive experience with other EQs may be a mistake, especially if you expect the Massive Passive to be roughly similar to them. It isn't. Please, try it first, then decide.There are 5 High Pass Passive Filters and bypass, plus 5 Low Pass Passive Filters with bypass. We made them extra steep. Why? So you can remove the garbage and not mess up your music. The way these filters interface with the parametric EQ bands simply sound beautiful. The mastering version filters go higher and lower compared to the regular Massive Passive filters.High Pass Filters: OFF, 12, 16, 23, 30, 39 HzLow Pass Filters: OFF, 52kHz, 40kHz, 27kHz, 20kHz, 15 kHzThe Mastering Version filters are tuned specifically for mastering where they will be used to fix problems in the low and high extremes rather than to make effects in the mid-band. The slopes are all 18dB per octave on the mastering filters except for the highest 52kHz Low Pass filter which has a 30 dB/octave slope.Features:All-Passive tone sculpting circuitryUnique Shelf curves use the "bandwidth" controlOverlapping and Interleaved Frequency choicesEvery band switchable to shelf or bellVacuum tube make-up gain and line driversParallel symmetrical topologyPremium components throughoutHP and LP Filters plus gain trimsMetal Manley mechanically detented GAIN and BANDWIDTH control knobsSpecifications:Ins & Outs Balanced XLR & 1/4" (accepts unbalanced)Level +4 dBu nominal, internal switches for -10 operationBypass Switch bypasses EQ & tube circuits (not hardwire)44 Frequencies (roughly 1/4 octave spacing)Frequency Range: 22 Hz to 27 kHzEQ Boost/Cut Range : Maximum 11dB boost or cutNominal Q range: 1.5 to 3 (uniquely active in shelf modes)Frequency Response: ±2 dB: 8 Hz to 60 KHzMaximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 HzTHD & Noise (1KHz @ +4 dBu): 0.06%Noise Floor (referred to +4dBu): -85 dB (A Weight)Dynamic Range: 120 dBTube Complement: 2 x 12AU7, 4 x 6414Power Consumption (120/240VAC): 72 wattsUnit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.Mains Voltage Frequency: 50~ 60HzSize (3U): 19" x 5.25" x 10"Weight: Unit 21 lbs. Shipping Weight: 27 lbs.