Manley MTNT TNT 2-Channel Mic Pre 1 Tube 1 Solid State Vari Impedance and Color Switch

One channel with Manley's SLAM! tube preamp and one channel with a solid state pre based on the classic British consoles.




The Manley TNT (Tubes – No Tubes) 2-Channel Mic
Preamp has two different and discrepant mic preamps in one box for two
different sound colors. By popular demand, one channel is the exact same
mic pre as in the Manley SLAM! with tubes and transformers. The second
preamp is a fresh "No Tubes" design from Hutch and is inspired by old
British console preamps with a tasty combination of "No Tubes" design
with transformers. This one is not a clone of anything preexisting. It
is a new flavor but reminiscent of that classic discrete sound. Both
channels on the Manley TNT preamp are designed around the basic goal of
"just plug a mic in and it sounds great." The tube channel excels on
traditionally difficult sources like some bright guitars, reed and
brass, cymbals and some vocals. The "No Tubes" channel might be more
suited for smoother vocals, drums, bass and raunchy guitars, but you
never really knows which preamp is best for the job at hand until you
try them. At least you'll have two qualified candidates in one handy 1U
chassis.

The Manley TNT is a new concept in microphone
preamplification for those who don't always need stereo everything but
often need choices and often need the best. Besides, you probably have a
number of typical stereo preamps and are still looking for that one
killer preamp.

Manley participated in 3D Audio's "Preamps in
Paradise" forum, which was a remarkable opportunity to discuss preamps
in depth and more importantly listen to what top engineers liked,
disliked, and desired in the next generation of preamps. Manley Labs saw
a need for a different unit that truly offered a rainbow of high-end
preamp colors at an affordable price. The "T" (Tubes) channel starts off
with the highly acclaimed vacuum tube micpre from the SLAM! that is
certainly a contender amongst the best cost-no-object tube preamps. The
"NT" (No Tubes) channel adds a no-compromise solid-state preamp that
sets new sonic standards. Because the solid-state side uses two opposite
topologies in tandem that are user controllable, it is like getting two
preamp 'sounds' on that side alone.

The number one request was
variable input impedance somewhat tempered by the number one complaint
that so far, the typical gain changes associated with that feature were
not fun. Manley offers variable impedance done right, with typically
near-zero gain changes. In fact, on the solid-state side a current-mode
preamp is used for the lowest impedance and a voltage mode preamp is
used for the highest impedance, and these two preamps are appropriately
blended for the medium impedance settings. All of the microphone signal
is used and almost none thrown away. Both the voltage-mode and
current-mode stages are truly optimized and when one changes impedance
settings, one hears the effects of how this changes microphone and cable
characteristics as opposed to other approaches which mostly take the
mic preamp out of its ideal conditions. In other words, doing variable
impedance the right way required fresh, new, and clever circuits and
topologies. Manley also added a 3-way impedance switch to the tube side
that also compensates for the typical gain changes.

Another
request the engineers requested was to have a switch to bypass the
output transformer. Manley went a step further and put that concept on a
knob so that the engineer could dial in the amount of "Iron" which is a
novel and inventive approach. With the knob centered at 12:00, you get
the basic untouched sound of the output transformer, and like an EQ for
cut, turning the knob counter clockwise, reduces the effect of the
transformer thru zero and into the negative zone or 'anti-iron'. Of
course, turning the knob clockwise allows one to exaggerate the
transformer effect to about triple. This is not a simulation and truly
is based on the actual output transformer and leans more towards subtle
than an obvious effect.

A third request involved Input and
Output controls so that the engineer could create some overdriven
effects one day and keep it clean the next. Again Manley saw this as an
opportunity to figure this out and finally do it right. So they added a
toggle switch to that idea and labeled it "Clean", "60's" and "70's".
"Clean" is very clean, very low noise, very accurate and very musical.
Both the "60's" and "70's" positions introduce discrete class-A circuits
for vintage colors, controlled overload characteristics and creative
opportunities. Essentially this gives a range from incredibly clean thru
subtle warmth or 3D-like thru to heavy grunge. Now you are beginning to
appreciate how a single 1U box can provide a rainbow of tone especially
when each aspect is done to Manley Labs' standards.

The Manley
TNT is a remarkable and desirable tube preamp on one side and its
equivalent in solid-state on the other side. These are not simulations,
not samples, nor are they a clone or a toy. It is really good ol' analog
done right.

The first request for the microphone preamp and
what started the project, was two-part: 1) Provide the SLAM! Mic Pre, by
itself at a great price and 2) don't abandon the concept of a basic
preamp where "one just plugs in a mic and it sounds great" (without
needing to adjust 6 controls). The solid-state side helps keep the price
reasonable while providing a much bigger range of colors and options
and while there a few more knobs and switches, their action tends to be
subtle and intuitive while difficult to dial in a bad setting. You don't
have to tweak, but if you want to, it's there without much possibility
of going wrong. Now there is a challenge: Give me a really useful range
of colors because I don't want to buy 6 preamps, yet it's gotta be fast
and safe to operate, and not too expensive, please, but you had better
give me Manley quality.

Of course, all the usual front panel
features: phantom power, phase switch, HP filters, LED overload and
level indicators, and instrument inputs are there. Phantom is
soft-switched and shunt regulated for lowest noise. (There are 6 low
noise shunt regulators, and 5 standard regulators in the solid-state
side). The High Pass Filter is an improved approach, but suffice it to
say that with it bypassed, the preamp is designed to have almost DC
response (.01Hz) at all gain settings. The LED meter is set up to
indicate first and second stage clipping, even though the output is
capable of greater than +30 dBu (70 volts peak to peak into 50 ohms from
the solid-state side actually!). Both the current mode and voltage mode
preamps sport EIN (equivelent input noise) numbers of 130dB, very
close to the theoretical minimum noise possible. So this thing is
gravely quiet!

And for the true connoisseurs, the mic preamps
don't suffer at the highest (80 dB) or lowest (10 dB) gain settings,
however you connoisseurs might be disappointed that this level of
performance won't be exclusive and only available for the elite or very
wealthy.




Features

Versatile 2-channel analog microphone preamplifier
Channel 1 has tube circuitry
Channel 2 has "cool" solid-state circuitry
Variable input impedance offers near-zero gain change
Variable output transformer bypass switch
Switchable overdrive effects




The perfect box for those or want lots of sonic options, or just want to plug in a mic and have great sound.







MTNT TNT 2-Channel Mic Pre 1 Tube 1 Solid State Vari Impedance and Color Switch Specifications:

Tube Channel (Left Channel)
Tube Channel Vacuum Tubes: 1 x 12AT7EH + 1 x NOS 6414 or 6414W
Gain Range: +10 dB to +80 dB (20 to 70dB in 5 dB steps)
Mic Input Impedance: 600, 2400, 10,000 Ohms
Instrument Input Impedance: 300K,1Meg, 3 Meg Ohms
Frequency Response: (-1 dB) 10 Hz to 30 kHz; (-3dB) 5 Hz to 45 kH
THD & NOISE (1 kHz @ 20 dB gain): 0.035% typical (-68 dB)
Noise Floor: -60 dB typical referenced to +4dBm
EIN: -120 dB
Signal to Noise @ 70 dB Gain: 95dB (TRIM has major effect)
Maximum Output for 1% THD via BALANCED +4 XLR: 31 dBu

Cool Channel (Right or Solid State Channel)
Gain Range: +10 dB to +80 dB (20 to 70dB in 5 dB steps)
Mic Input Impedance: 300, 600, 2000, 2 Meg Ohms
Instrument Input Impedance: 100K, 300K,1Meg, 3 Meg, 10 Meg Ohms
Frequency Response: (-1 dB) 15 Hz to 30 kHz; (-3dB) 5 Hz to 50 kHz
THD & NOISE (1 kHz @ 20 dB gain): 0.01% typical (-80 dB) (no distortion products measurable, noise dominates measurement)
Noise Floor: -66 dB typical referenced to +4dBm
EIN: -126 dB
Signal to Noise @ 70 dB Gain: 85dB (TRIM has little effect)
Maximum Output for 1% THD via BALANCED +4 XLR: 30 dBu; via UNBALANCED +4 output: 24 dBu; via UNBALANCED -10 output: 16 dBu
Distortion @ 1K using 60' / 70's switch: 1.5% typical with LED onset (+4 dBu out)
3% typical with LED fully lit (+7 dBu out)

General
Power consumption: 30 watts
Operating
mains voltage: Units' power transformers are wired for original
destination country's mains voltage: 100V, 120V, or 220-240VAC
as
indicated on the serial number badge. Power transformer must be rewired
on the pcb in order to change mains operating voltage. Fuse must be
changed to appropriate value.
Mains Voltage Frequency: 50 – 60Hz
Fuse Values: @ 100 - 120V operation: 2A; @ 220 - 240V operation: 1A size: ¼" x 1 ¼" MDL or MDA SLO-BLO (time delay) type
Dimensions: 19" x 1¾" x 10" (occupies 1u)
Weight: 11 lb.


*Estimate Shipping between 5 - 12 weeks, or please call (083) 497-2227 for a faster air freight service with special price rate.





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