Manley SLAM! Stereo Limiter and Mic Pre (Mastering Version)  From Manley

SLAM! stands for "Stereo Limiter And Micpre" and it pretty much describes what it will do to most VU meters.

Manley Laboratories Inc

$8,599.00

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Manufacturer's Description from Manley

DIFFERENCES AND FEATURES

First off: no microphone preamps. You mastering engineers certainly don't need those. The mic pre and input select switch are removed and the switches become dedicated "mode" switches one each for the ELOP and the FET limiters.

 

1) The ELOP limiter gets more Ratios - 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.

 

2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP. 

 

The "50%" setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain 'reads' off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix. 

 

The "LP Lim" setting only comes into play for hot signals and reduces the depth of gain reduction for high freqs. This translates to - hot signals + moderate gain reduction = brighter, more present signal, less distortion, more balls. This mode allows more high frequencies to pass through without being limited.

 

The "CLIP" setting introduces a fixed threshold clipper circuit set up about -2 dB DFS or +18 dBv at the XLR. Within normal usage "CLIP" generally prevents outputs from passing beyond +18 dBv, and 97% of the time, clips in a controlled fast-recovery manner before a converter would (in generally a less than desirable sounding way).

 

Finally, the "BOTH" setting on the FET limiter engages both the "LP Limit" and the "CLIP" functions at the same time. This might be appropriate for metal and projects demanding intense volume. The "BOTH" mode is designed for situations where extreme processing and loudness is required but where attack, brightness and aggressiveness needs to be preserved or enhanced.

 

3) The LEFT blue erstwhile-"limit" button becomes a master stereo LIMIT bypass switch here in the Mastering Version. When it is not engaged, it becomes a true hard-wire bypass (This was not possible on the mic preamp regular version obviously).

 

4) The Right blue button becomes the DAC select switch (stereo).

 

5) The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1/4" jack input select in this new mastering version.

 

6) There are no pots on the faceplate of the Mastering Version of the SLAM! All of the knobs in the Mastering Version are discrete detented switches in mostly 1 dB steps, with some appropriate 1/2 dB and 2 dB steps, right where they should be.

 

More than that, we really like the way it works and sounds and we generally prefer it to the non-mastering version for stereo tracks. There is a lot less fiddling involved to maintain L/R balances and the new modes are subtle but fun. It is easy to make just about anything sound better.

Manley Laboratories Inc

About Manufacturer

The MANLEY brand has been around since the late 1980's. Manley's first commercially available products were upper echelon high-fidelity vacuum tube amplifiers and preamplifiers constructed at the old Vacuum Tube Logic of America factory.

In this history lesson, we'd like to direct special focus on our people at Manley Labs. The people whose years of dedication, service, and expertise bring you people, our customers, these products. It's all about the people...

On January 30, 1989, a 20 year old EveAnna on sabbatical from her studies at Columbia University met the crew and was hired on to the production team. Baltazar Hernandez, already with two years experience, taught her how to solder in those first few days. It was in 1989 that the first Manley professional products were developed, starting with the original 1u Reference 60dB Microphone Preamplifier and soon followed by our Manley Enhanced Pultec and Mid Frequency Equalizers. Baltazar and EveAnna, busy building gear, were soon joined by Saulo and Ramiro. Just next door, Elias was employed by a printed circuit board maker later brought into the Manley Labs fold when in 1993, Manley Laboratories, Inc. became a separate entity apart from VTL. The new Manley Labs factory at 13880 Magnolia Ave. in beautiful and bovine Chino, California was outfitted to house the Manley HiFi and Pro Studio manufacturing as well as the Langevin production lines, our newly acquired machine shop, and printed circuit board facilities.

Specifications

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

Gain: 20dB max Limiter Gain

Input Impedance balanced input XLR combo jack: 2 kOhms

Input Impedance unbalanced input 1/4” combo jack: 10 kOhms

FET Limiter: Attack: approx. 100μS; 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 = 57.6 Watts

0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts

Outboard Power Supply: 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: 25 lbs.