Manley SLAM! Stereo Limiter and Micpre

A studio processor that lets you dial in how clean or crunchy, or punchy, and
as loud and proud you want it.




SLAM! stands for "Stereo Limiter and Micpre" and it pretty
much describes what it will do to most VU meters. Manley had to put a switch on
this limiter to drop its internal VU meters down 3 & 6dB to keep the poor
little needles from bending—it'll get LOUD fast (hence the exclamation mark).
And on top of being an amazing pair of (actually four) Limiters, and Class A
tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM
but that was too much for an acronym.

When it comes to classic gear,
especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s,
and others come to mind. What if all those sounds were to be found in one stereo
tube unit. Interested? Manley combined their favorite Electro-Optical circuit
(ELOP) with a fast FET based brick-wall limiter reminiscent of some cool
classics. Manley added a sidechain filter that can remove low frequencies that
makes it more useful for a variety of tasks, while retaining that easy, "it just
works" quality that has made it a favorite for vocals everywhere. The FET-based
limiter has different desirable characteristics that both optimizes the signal
for digital recording, due to the brick-wall capability, and lets you dial in
how clean or crunchy, or punchy, and how loud and proud you want it.


Get in: The Manley SLAM! starts with tube mic preamps
on both channels with switchable phantom power and phase reverse. Manley
provided plenty of gain for you in this tube circuit, up to 60dB with 20dB more
in the limiter—plenty for soft singers using low output ribbon mics. The input
attenuator is right up front, like a variable pad so your loud rock 'n' rollers
won't cause a problem either. Track direct with the Direct Instrument input or
bring your line level inputs into the Manley SLAM! for processing.


Get it LOUD… two different and distinct limiters per
channel:
The ELOP Limiter: Manley's beloved
Electro-Optical Levelling Amplifier circuit, the ELOP, still the favorite for
vocal tracking, shows up here with its switchable side-chain high pass filter
making it much more useful for mixes and other tracks as well. One of the most
appreciated aspects of Manley's original ELOP is the simplicity of a two knob
limiter, which is optimum for demanding pro recording pressures. You can still
grab two knobs and have complete control of level and dynamics and be ready to
hit that record button. Intuitive controls and a straight ahead signal path
through quality components simply works.

The FET
LIMITER: Here's a fast FET based "brick wall" limiter that spans the
range of clean predictable limiting to the grunge and gravel that other
FET-based limiters only dream of achieving. The FET RELEASE control allows you
to dial up a variety of colors. There is even a "CLIP" setting that provides as
round a shape as has ever been available. (Read more below about the CLIP
settings.) Manley aimed at "sound" first, then experimented with circuits until
the folks at Manley heard what they wanted discovering fresh approaches that
provide a very wide range of useful dynamic control. For example, you can set up
for a fast brick wall limiter with slower releases for minimum artifacts, or go
with the faster releases to get some crunch and then get extreme loudness. The
Attack control is unusual too providing the sonic control common with its
historic brothers but very unusually retaining the zero overshoot
"none-shall-pass" brick wall that defines a real limiter. And it's punchy! As
the saying goes, "Louder is better." The SLAM! optimizes levels to analog to
digital converters with ballz, warmth and loudness verging on silly or just
clean and safe.

What is especially nifty is the ability to use the ELOP
and FET limiters together at the same time dialing in whatever amounts of each
effect you like. Every limiter has its own character or sound and here Manley
has combined two powerful world-class tools that can be uniquely blended and
mixed to taste and purpose. Even the metering is appropriate for each limiter so
you can easily see how each is contributing.

Metering on the
Manley SLAM! is exceptional. The signal processor's two full-size real
VU meters show you the raw input levels, the final output levels, and the ELOP
Limiter gain reduction in the traditionally preferred format for visually
displaying apparent loudness. VU's are cool. Noticing how mastering engineers
often need a switchable pad on their VU's because the "optimized" levels tend to
pin the needles in the red, the SLAM! VU's also have a 0, -3dB, -6dB switch to
help with this situation. There are also very fast and super accurate
multi-color LED ladder peak meters that display the input and output levels and
the FET gain reduction, and some combinations. They will do Peak, Peak Hold
timed, and Peak Hold until reset, and also allow you to manually set where the
individual bars change colors to match your other gear. With maximum clean I/O
levels of +30 dBu, it is a lot more likely you will use these meters to see
what's clipping downstream. It probably won't be the Manley tube line drivers
inside!

The back panel should keep everybody happy. All
the usual XLR's for transformer balanced I/O and ¼" phone jacks for direct
unbalanced I/O. There are four TRS jacks for inserting external EQ into the
sidechains and another connector for linking multiple units for surround. It's
all here.

The Manley SLAM! also seems a natural as an audio
mastering tool. The FET limiter works great on mixes, and the ELOP now
has a high pass filter switch that is spot-on for mastering. Manley offers a
mastering version, which eliminates the mic preamps, adds detented controls
replacing the pots, and provides extra metering options. Manley compressors and
EQs seem to be the most popular pieces of gear ever when it comes to mastering.
The ultimate analog rack for the final important touches to the mix would have
included the SLAM!, The Variable Mu and The Massive Passive. Combine this with
some digital processors of similar caliber and one has a respectable and very
effective set of mastering tools. That Manley rack plus some Manley microphones
would make an ultimate stereo recording chain too. Recording equipment you'll
want to keep for a lifetime.



Features

Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for
lo-noise and stable bias
Output Tubes: 2 x 6414W NOS USA dual triodes
I/O: MANLEY transformer coupled Balanced Inputs and Outputs
Micpre: Selectable 48V phantom power and PHASE REVERSE
Gain: 60dB max Micpre, 43dB max DI, 20dB max Limiter Gain
Input Impedance: 2000&Omega Micpre, 1MΩ DI
FET Limiter: Attack: approx. 100 S; Release: 10mS to 2Sec; Ratio: better
than 20:1
ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio:
10:1
Frequency response: 5Hz to 60kHz
Maximum Output: +32dBm, +30dBm (into 1KΩ load)
THD+N: <.05% @ 1kHz
Dynamic Range: 115dB typical
Output Impedance: 200Ω
Power Consumption Slam! Analog:
0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6W
0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6W
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
switch and fuse value change
Mains Voltage Frequency: 50~ 60Hz
Size: 19" X 12" X 3.5" (occupies 2u)
Shipping Weight: 25lb.




Have it your way! Order it today.


www.music-blvd.com






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