Manley

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

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

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.