Building upon its 25-year legacy producing revered recording studio equipment; Manley Labs has distilled its core technologies from this lineage. 2014 delivered the Manley CORE, an innovative channel strip that combines Manley’s Greatest Hits with fresh technology.
The remarkably intuitive front panel combines musical and forgiving circuitry that allows the musician to concentrate on his performance instead of being lost in a sea of knobs. Ease of use and intelligently chosen operating points make it virtually impossible to cut a bad sounding track!

Manley’s experience and insight working with the industry’s top recording engineers and musicians culminates in the CORE. At this price, there is no other channel-strip with higher headroom or more seductive sound than the CORE. Handcrafted in the USA, built like a tank, built to endure, the epicenter of your recorded art will be the Manley CORE.
The signal enters through our renowned hand-wound MANLEY IRON® input transformer with nickel laminations in a mu-metal can. The tube amplifying stage is the latest implementation of our famous Class-A circuit topology found in the VOXBOX® and Manley Dual Mono & Mono Microphone Preamplifiers. This all-triode vacuum tube circuit runs on a regulated 300 Volt B+ supply yielding huge headroom and relentless output drive capability.

DETAILS

FRONT PANEL CONTROLS + DIRECT INPUT
48V Phantom power switch
120Hz High Pass Filter switch
Phase Invert switch
Input Attenuator (Variable Pad)
Mic Pre Selectable Gain 40dB or 60dB
Line Amp Selectable Gain 20dB or 40dB
DIRECT IN: Similar to the DI in the Manley SLAM!®, this all-discrete solid-state circuit with 10 Meg Ohm input impedance is perfect for guitars, bass, keyboards, etc.

COMPRESSOR
Featuring our successful ELOP® technology also found in our famous Manley VOXBOX®
Compressor is uniquely before the Mic Preamp making it virtually impossible to clip
Ratio 3:1
Continuously variable Attack, Release, and Threshold controls
Silent Bypass switch

EQUALIZER
Low and High Baxandall Shelves (80Hz and 12kHz) with ±12dB range
Sweepable Midrange Bell EQ (100Hz – 1kHz) or (1kHz – 10kHz) with ±10dB range

LIMITER
Fast attack FET “brickwall” limiter
Continuously Variable Threshold and Release controls
Peak Limit LED indicator
10dB range output gain control

METER
Large illuminated analog display
3-way meter-select switch shows Compressor Gain Reduction, Micpre Output Level, and Main Output audio levels.

INPUTS & OUTPUTS
Balanced XLR Mic Input
Balanced XLR Line Input
Front Panel Direct Instrument 1/4" Input
Insert point between Mic Preamp and EQ/Limiter via ¼” TRS jack
Balanced XLR Direct Output (after Preamp/Compressor section)
Balanced XLR Main Output
Deluxe CNC-machined 1/4" thick faceplate with inlaid laser-engraved inserts adorn the rigid 2U steel chassis – all locally sourced in Southern California.

SPECIFICATIONS

• ALL-TUBE preamplifier audio path using 1 x 12AX7 for gain and 1 x 6922 White Follower
• Balanced Transformer Coupled XLR Microphone Input Impedance: 1200 Ohms
• Balanced XLR Line Input Impedance: 10 kOhms
• Unbalanced 1/4" Direct Input Impedance: 10 Meg Ohm
• Hi-current drive Direct XLR output Impedance: 50 Ohms
• Silent conductive plastic INPUT attenuator
• Microphone preamp high pass filter starting at 120Hz with a 6dB/8va slope
• Compressor Maximum GAIN REDUCTION: 16 dB
• Compressor ATTACK time: 60ms slowest CCW, 30ms at 12:00, 5ms fastest CW for 6dB compression
• Compressor RELEASE time: 1.5s slowest CCW, 1s at 12:00, 100ms fastest CW from 6dB compression
• Maximum Input Mic input (Low Gain Setting): -5 dBu or 435mV RMS @ 0.5% THD
• Maximum Input Mic input (High Gain Setting): -25 dBu or 44 mV RMS @ 0.5% THD
• Maximum Input Line input (Low Gain Setting): +13 dBu or 3.5V RMS @ 0.5% THD
• Maximum Input Line input (High Gain Setting): -8 dBu or 300mV RMS @ 0.5% THD
• Maximum Input Direct input (Low Gain Setting): +24 dBu or 12V RMS @ 0.5% THD
• Maximum Input Direct input (High Gain Setting): +17 dBu or 5.5V RMS @ 0.5% THD
• Maximum Input Insert return: +20 dBu or 7.8V RMS @ 0.5% THD
• Maximum Preamp Output (Insert Send): +35 dBu or 43V RMS @ 0.5% THD
• Maximum Preamp Output (Insert Send): +22 dBu into 600 Ohms
• Maximum Main Output: +20 dBu
• Insert Send output impedance: 50 Ohms
• Insert Return input impedance: 13 kOhms
• Main Output Impedance: 50 Ohms
• Direct Output Headroom (referenced to +4 dBv): 31 dB
• Main Output Headroom (referenced to +4 dBv): 16 dB
• Dynamic Range: >90 dB
• Frequency Response: 10 Hz to 20 kHz ±0.5 dB
• Large LED illuminated VU METER
• Meters switch to read Direct Output (1) from preamp, Output (2) from Main Out, or Compressor Gain Reduction
• THD & Noise (1kHz @ +4 dBm): 0.02% at Low Gain setting
• Noise Floor (Gain set to minimum): -70 dB wideband typical
• Gain via Microphone Input: 40 or 60 dB
• Gain via Line Input: 20 or 40dB
• Maximum Gain of EQ & Limiter section: 10 dB
• AUTOMUTE warmup delay: 30 Seconds
• Power consumption: 35 watts
• Operating mains voltage: 90 to 254 VAC (internal universal supply)
• Mains Voltage Frequency: 50-60Hz
• Dimensions: 19" x 3 1/2" x 7" (occupies 2u)
• Unit Weight: 8.3 lbs.
• Shipping weight: 11.5 lbs.

El Manley ELOP Stereo Limiter Compressor ha sido utilizado literalmente en miles de grabaciones en el último cuarto de siglo. Su sonido clásico completamente a bulbos y su facilidad de uso "set it and forget it" lo han convertido en un elemento básico para muchos ingenieros de grabación.

Con el Manley Labs ELOP+, la gente de Manley Laboratories ha llevado ese codiciado limitador estéreo al siguiente nivel.

En primer lugar, hay una nueva característica de Ratio de 3:1 que "abre las puertas" a una mayor versilidad, especialmente en aplicaciones de 2 busses. A continuación, hay una moderna fuente de alimentación conmutada de alto voltaje, "diseñada especialmente" para los circuitos de audio a bulbos de Manley. En términos sónicos, la combinación de un amplificador de línea a bulbos de alta calidad y una etapa de salida de seguidor blanco ayuda a dar nueva vida a este clásico. ¡No puedes equivocarte con este!

CARACTERÍSTICAS:

• Ratio de compresión de 10:1 de limitador y 3:1 de compresor
• La ruta de audio completamente a bulbos utiliza tríodos duales 5751 y 6922
• Entradas balanceadas XLR acopladas a transformador Manley IRON
• Salidas balanceadas XLR con impedancia equilibrada
• Interruptores de BYPASS y AUTOMUTE con retardo de calentamiento
• Grandes medidores VU iluminados leen los niveles de reducción de ganancia o salida
• LINK STEREO
• HPF de side-chain
• Fuente de alimentación interna universal que opera en todo el mundo 90-250V~AC 50/60Hz

El Manley Enhanced Pultec EQP-1A Mono Tube EQ es la interpretación de Manley del histórico ecualizador Pultec producido originalmente por Pulse Techniques, Inc. Las unidades Manley Pultec utilizan su propio bloque de ganancia de tubo simple y limpio para reamplificar la señal después del circuito EQ pasivo. EQ se puede configurar en posiciones "flat" o hacer un BYPASS completo. Todos los controles de BOOST y CUT son potenciómetros de plástico conductivo de variación continua para una operación absolutamente silenciosa y larga vida útil. Los monobloques de nuestra unidad de rack única ocupan un tercio del espacio de los "antiguos Pultecs", una consideración para la asignación de espacio de externo. Y, si lo notan, también se han agregado un par de frecuencias adicionales. El interruptor de entrada montado en la parte trasera selecciona 0 grados o 180 grados PHASE INVERT para la entrada XLR dorada balanceada o la entrada no balanceada sin transformador (jack de 1/4") que se puede seleccionar en la posición intermedia de ese interruptor.

Los Pultecs originales tenían tres transformadores en la ruta de la señal, mientras que los de Manley se pueden usar completamente sin transformador. El Manley Enhanced Pultec tiene una fuente de alimentación B+ vastamente superior, con una fuente de calentamiento regulada y balanceada. Se sabe que el amplificador de línea de Manley suena impresionante. Los componentes utilizados hoy simplemente no estaban disponibles en los 60's.

El EQP-1A utiliza 1 bulbo 12AX7WA y 1 bulbo 6414 (o 5965) en su línea de amplificación all-tube single-ended, para la compensación de ganancia y un sonido extra grueso; la ganancia está preajustada en fábrica para la unidad, pero hay ganancias adicionales disponibles mediante un trimpot de ajuste retroalimentación montado en la parte trasera. Al igual que nuestros preamplificadores de micrófono de 40 dB, los Manley Pultecs ofrec salidas balanceadas acopladas mediante transformador y salidas no balanceadas acopladas directamente mediante capacitor para una interfaz fácil y variedad sonora.

¿Un bombo? ¡Traiga los Pultecs y todo el hierro que pueda reunir! Pronto descubrirá el poder y la magia de tener esos controles de BOOST y CUT de frecuencia baja individuales en ese circuito de estante LF. . .
¿Necesita un poco de claridad o extensión? Pruebe el dial de refuerzo en forma de campana en el medio para enfocar la nitidez del refuerzo en el control de ANCHO DE BANDA.
¿Algo que lo molesta? Suavícelo con el corte de estante HF.

No hay sustituto para lo que puede hacer un ecualizador Manley Pultec!

ESPECIFICACIONES:

• Transformador de entrada MANLEY con láminas de níquel encapsuladas en una caja de blindaje magnético, impedancia de entrada de 3 kOhms
• Interruptor de REVERSIÓN DE FASE para la entrada XLR balanceada
• Entrada de 1/4" HI-Z (5K Ohmios) sin transformador alternativa
• Interruptor BYPASS y AUTO-MUTE con retardo de calentamiento
• Controles de BOOST y CUT de plástico conductivo sellado silenciosos
• Interruptores selectores de frecuencia Greyhill con contactos sellados de oro
• Bulbos: 1 x 12AX7WA (ganancia) y 1 x 6414 (o 5965) seguidor blanco
• Conducción de alta corriente <50 Ohmios salidas XLR y 1/4" LO-Z
• Salidas XLR balanceadas acopladas mediante transformador a través de MANLEY 9611
• Respuesta de frecuencia plana de 10 Hz a 70 kHz
• <0,01% THD @ 1 kHz
• Relación señal / ruido: 116 dB
• RETROALIMENTACIÓN / GANANCIA ajustable: Unity ±5 dB
• Salida máxima: +30 dBv
• Consumo de energía: 18 watts

El Manley Enhanced Pultec EQP-1A es la interpretación de Manley del histórico ecualizador Pultec producido originalmente por Pulse Techniques, Inc. Las unidades Manley Pultec utilizan su propio bloque de ganancia de tubo simple y limpio para reamplificar la señal después del circuito EQ pasivo. EQ se puede configurar en posiciones "flat" o hacer un BYPASS completo. Todos los controles de BOOST y CUT son potenciómetros de plástico conductivo de variación continua para una operación absolutamente silenciosa y larga vida útil. Los monobloques de nuestra unidad de rack única ocupan un tercio del espacio de los "antiguos Pultecs", una consideración para la asignación de espacio de externo. Y, si lo notan, también se han agregado un par de frecuencias adicionales. El interruptor de entrada montado en la parte trasera selecciona 0 grados o 180 grados PHASE INVERT para la entrada XLR dorada balanceada o la entrada no balanceada sin transformador (jack de 1/4") que se puede seleccionar en la posición intermedia de ese interruptor.

Esta versión Stereo funciona como Dual-Channel, puedes controlar el canal A y B en forma completamente independiente en todas sus funcionalidades. 

Los Pultecs originales tenían tres transformadores en la ruta de la señal, mientras que los de Manley se pueden usar completamente sin transformador. El Manley Enhanced Pultec tiene una fuente de alimentación B+ vastamente superior, con una fuente de calentamiento regulada y balanceada. Se sabe que el amplificador de línea de Manley suena impresionante. Los componentes utilizados hoy simplemente no estaban disponibles en los 60's.

El EQP-1A utiliza 1 bulbo 12AX7WA y 1 bulbo 6414 (o 5965) en su línea de amplificación all-tube single-ended, para la compensación de ganancia y un sonido extra grueso; la ganancia está preajustada en fábrica para la unidad, pero hay ganancias adicionales disponibles mediante un trimpot de ajuste retroalimentación montado en la parte trasera. Al igual que nuestros preamplificadores de micrófono de 40 dB, los Manley Pultecs ofrec salidas balanceadas acopladas mediante transformador y salidas no balanceadas acopladas directamente mediante capacitor para una interfaz fácil y variedad sonora.

¿Un bombo? ¡Traiga los Pultecs y todo el hierro que pueda reunir! Pronto descubrirá el poder y la magia de tener esos controles de BOOST y CUT de frecuencia baja individuales en ese circuito de estante LF. . .
¿Necesita un poco de claridad o extensión? Pruebe el dial de refuerzo en forma de campana en el medio para enfocar la nitidez del refuerzo en el control de ANCHO DE BANDA.
¿Algo que lo molesta? Suavícelo con el corte de estante HF.

No hay sustituto para lo que puede hacer un ecualizador Manley Pultec!

ESPECIFICACIONES:

• Dos canales completamente independientes
• Transformador de entrada MANLEY con láminas de níquel encapsuladas en una caja de blindaje magnético, impedancia de entrada de 3 kOhms por canal
• Interruptor de REVERSIÓN DE FASE para cada entrada XLR balanceada
• 2 Entradas de 1/4" HI-Z (5K Ohmios) sin transformador alternativa
• Interruptor BYPASS y AUTO-MUTE con retardo de calentamiento por canal
• Controles de BOOST y CUT de plástico conductivo sellado silenciosos
• Interruptores selectores de frecuencia Greyhill con contactos sellados de oro
• Bulbos: 2 x 12AX7WA (ganancia) y 2 x 6414 (o 5965) White Follower.
• Conducción de alta corriente <50 Ohmios por canal salidas XLR y 1/4" LO-Z
• 2 Salidas XLR balanceadas acopladas mediante transformador a través de MANLEY 9611
• Respuesta de frecuencia plana de 10 Hz a 70 kHz
• <0,01% THD @ 1 kHz
• Relación señal / ruido: 116 dB
• RETROALIMENTACIÓN / GANANCIA ajustable: Unity ±5 dB
• Salida máxima: +30 dBv por canal
• Consumo de energía: 18 watts por canal

MANLEY FORCE^® 
4-CHANNEL MICROPHONE PREAMPLIFIER

High Voltage = High Headroom = High Fidelity.

From America's premier high-end studio gear manufacturer, the Manley FORCE bursts into 2015 with four channels of vacuum tube microphone preamplifiers extracted from the hugely popular and award winning Manley CORE®, housed in an exquisitely gorgeous chassis, meticulously hand-crafted, purposefully and efficiently California built for $2500 MSRP. That's right. FOUR channels of real High Voltage vacuum tube mic preamps for $2500!

A FORCE of Nature.

Your relationship with the FORCE begins with the ergonomic facia through its thoughtfully organized controls, silky and bulletproof rotary potentiometers, positive latching feature switches, and convenient Direct Input 1/4" jacks. Seven-way LED metering for each channel provides instant visible feedback for audio levels which are enhanced with a double-inlay CNC-milled accent. A feast for the eyes, yeah, we know. This is investment grade audio equipment that you will be as proud to showcase in your studio as we are to handcraft it here in Southern California.

A Sonic Tour de FORCE.

Your microphone signals enter through gold-plated XLR connectors straight into our MANLEY IRON® Mic input transformer. Your line level or instrument level guitars and keyboards come in via the front panel 1/4" Hi-Z 10 megOhm jacks before hitting the input level control which also acts as a Variable Input Pad. Phase Reverse and 120Hz High Pass filters can be invoked here in the circuit and then we're into the 12AX7 dual triode amplifying stage operating in pure Class A, of course. The amount of GAIN for each channel can be selected as 40dB or 50dB via the front panel switches. An additional 10dB of gain is available via internal jumpers. The output stage "can drive a truck" as we like to brag.

A Powerful FORCE.

The power supply is an innovative design developed specifically for Manley Labs, specifically for High Voltage vacuum tubes, and specifically for audio by the world expert team in this technology led by Bruno Putzeys. Proven reliable and sonically superior in the Manley CORE, this power supply provides 300 Volt DC rails to run the vacuum tubes, beefy 6 Volt lines to power them up, along with several other voltage rails for the phantom power and various solid-state control voltages. High Voltage = High Headroom, folks. You will not get near this sonic performance with in any 500-series design. Trust us. This is Full FORCE audio excellence which starts with this superior power supply. All lines are importantly regulated, low impedance, efficient, and super-quiet in this low radiating high frequency design. The universal mains input accepts any voltage or frequency from anywhere in the world making travel with the FORCE a breeze.

A FORCE to be Reckoned With. 

How did we deliver all this for just $2500? By prioritizing what really matters: that strong Manley sound, the proven componentry and rugged overbuilt construction, presented in an inspiring package. But engineered to build efficiently and by really paying attention to how it all goes together, proudly built by Manley’s American workFORCE. A Compelling FORCE for you. This is our Driving FORCE. Let us share it with you.

EACH CHANNEL FEATURES:

7-Segment LED Peak Metering

Selectable Gain, LOW vs HIGH

120Hz High Pass Filter switch

Phase Invert switch

48V Phantom power switch

Input Attenuator (Variable Pad)

Silent Input Level Control (Variable Input Pad)

1/4" DIRECT INPUT
Similar to the DI in the Manley SLAM!®, and exactly the same as found in the Manley CORE®, this all-discrete solid-state circuit with 10 Meg Ohm input impedance is perfect for guitars, bass, keyboards, etc.

The Manley Nu Mu Stereo Limiter Compressor uses the special T-Bar mod tube front end of the legendary Variable Mu® with same super smooth side chain and timing characteristics followed by a high voltage discrete and FET solid-state amplifying and output stage for a faster and punchier audio path. It is like a “clean” version of the Variable Mu, especially suited for modern digital and electronic music where you don’t necessarily need to color or mask the sound like we did in the early days of digital.

Featuring Manley’s new HIP function, the Manley Nu Mu finesses dynamic control to bring up lower level details without knocking the life out of exciting transients. Smartly engineered to build efficiently and esthetically designed to elicit ravishing compliments from your clients, both visually and ergonomically, the Manley Nu Mu breaks new ground in performance and value, all proudly hand-built in California, of course!

DETAILS

1. OUTPUT CONTROL. The OUTPUT control is available on both the L and R channels. It adjusts the output level of that audio channel. Unity gain is about the ninth marking, or 11 o'clock.
2. THRESHOLD CONTROL. The THRESHOLD control is available on both the L and R channels. THRESHOLD or gain reduction sets the necessary amplitude for compression or limiting to take effect. The most extreme effect is when the control knob is set to MIN or fully counter-clockwise.
3. COMPRESS / LIMIT SWITCH. This switch allows the Nu Mu to use two different compression ratios, offering either Compression at approximately 3:1 when the switch is engaged and illuminated, or Limiting at approximately a 10:1 ratio.
4. IN / BYPASS SWITCH. The BYPASS switch in the Nu Mu is a ‘Hardwire’ bypass for maximum performance. If the switch is engaged and illuminated to the “IN” position the audio will pass through either the Limiter or Compressor, so all the front panel controls will function. Use this switch to verify that the limiting or compressing is not messing up the original sound but enhancing it or at least leveling the volume.
5. VU METER. The Large custom VU meters allow easy tracking of both channels with the Nu Mu. It shows the amount of gain reduction in dB from the 0 dB mark, when the switch (7) is set to REDUCTION. When this switch is selected to O/P and illuminated, the meter measures the output in decibels.
6. HIP CONTROL. The "Hip" control allows compression to happen at lower volumes (lower in the dynamic range spectrum) but leaves the louder dynamics alone while still compressing the overall signal. You get louder soft sections and original dynamics of the louder sections. Previously the only way to get around this issue has been parallel compression, where the compressed signal is mixed with the uncompressed signal. Our "Hip" control achieves a similar effect while being easier to use, requiring less hardware (no need for extra mixing externally).
7. METER SELECT SWITCH. The Meter select switch allows the user to monitor either Gain Reduction or the Output of the unit. When the switch is engaged and illuminated, the output of the particular channel you are monitoring is visible in the corresponding VU Meter.
8. ATTACK CONTROL. The ATTACK control determines how long the compressor takes to respond to signals above the threshold. The Attack control is continuously variable and determines the necessary length of a transient to initiate gain reduction.
With 63% gain reduction: SLOW 0.13s, MID 0.07s, FAST 0.013s.
With 90% gain reduction: SLOW 0.64s, MID 0.35s, FAST 0.064s.
Fully counter clockwise at the slowest setting will prevent most percussive signals from causing limiting or compression. It is available on both the left and the right channel.
9.  RECOVERY CONTROL. The RECOVERY control determines how long the compressor takes to recover after the signal falls below the threshold level.
With 63% gain reduction recovery, five selections: 0.1s, 0.16, 0.32, 0.64s, 1.7s.
With 90% gain reduction recovery five selections: 0.227s, 0.368s, 0.736s, 1.6s, 3.87s.
10.  LINK FUNCTION. When The LINK function is used it links the two Stereo channels together. The Left channel controls become the master linking THRESHOLD, ATTACK & the RECOVERY CONTROLS.
11.  INPUT LEVEL SWITCH. The Input Level is controlled by a toggle switch. There is an Input Level control for each cannel. Three levels of attenuation are available. +3dB, 0dB and -3dB.
12.  HP SC SWITCH. The High Pass Side Chain filter is factory set a 100Hz. When this switch is engaged and illuminated, everything above 100Hz will have the effect of limiting or compression. Useful if you want the bass to come through with full impact and limit or compress everything else.
13.  POWER SWITCH. The Power Switch glows a soft blue color when an IEC power lead is connected to the unit. This indicates that the Nu Mu is in STANDBY mode. Engaging the power switch takes the Nu Mu out of standby mode and into warm-up mode. The power switch will illuminate to a brighter blue and the backlit VU meters will start to flash. This warm-up process last 30 seconds, after which the MUTE relays will lift and the VU meters will stop flashing.

SPECIFICATIONS

• Manley IRON® input transformers
• 4 x hand-matched 6BA6 vacuum tubes
• Balanced XLR inputs & outputs
• Manley HIP function raises soft dynamics without squashing louder passages
• High Voltage Switched Mode Power Supply custom designed for our vacuum tube audio circuits
• INPUT Level Preset 3-way switches -3dB, 0, +3dB
• Continuously variable OUTPUT level controls
• Unity Gain set INPUT to "0" and OUTPUT control to 11 o’clock. (Input source Z= 150 Ohms, Output load Z= 100 kOhms)
• Maximum input level: (1 kHz Sine, <0.3% THD+N)
 -3 = +25 dBu
  0 = +21 dBu
+3 = +18 dBu
• Maximum GAIN: 13dB
• GAIN makeup: 10dB (gain above unity)
• Output Headroom: 23dB (referenced to +4dBu)
• Variable ATTACK control: 13msec - 130msec
• RECOVERY switch 5 steps: 0.1s, 0.16s, 0.32s, 0.64s, 1.7sec.
• Continuously variable THRESHOLD controls
• Hardwired Relay Bypass Switch
• Ratio Mode switches between LIMIT (1.5:1 to 12:1) or COMPRESS (1.2:1 to 3:1)
• HP SC: High Pass Side Chain Filter -3dB @ 100Hz @ 6dB per Octave
• Stereo Link establishes Left-Master dynamic control for THRESHOLD, ATTACK, and RECOVERY controls
• Beautiful illuminated stereo VU meters read Gain Reduction or Output Level
• Sidechain INSERT per channel via 1/4" TRS jack TIP=SEND, RING=Return, SLEEVE=Ground
• Maximum Output: +27dBu (18Vrms) into 100K Ohm load; +24.5dBu (13Vrms) into 600 Ohm load. (1Khz Sine, < 0.3% THD+N, BW 20Hz - 20kHz).
• Frequency Response: - 0.8dB @ 20Hz, -0.5dB @ 50kHz
• Total Harmonic Distortion: <0.05% THD+N (1kHz Sine, +4dBu, BW: 20Hz - 22kHz)
• Noise floor: -85dB typical (BW: 20Hz - 22kHz)
• Dynamic Range: 112dB
• Signal to Noise Ratio: 89dB (referenced to +4dBu)
• Common-Mode Rejection Ratio (CMRR): 74dB (BW: 20Hz - 22kHz, +4dBu, 1kHz Sine)
• Output Impedance: 100 Ohms
• Input Impedance: -3dB= 1 kOhms, 0dB= 2.5 kOhms, +3dB= 4.5 kOhms
• AUTOMUTE warmup delay: 30 Seconds
• Power consumption: 35 Watts
• Standby Power Consumption: ?? Watts
• Operating mains voltage: 90 to 254 VAC (internal universal supply)
• Mains Voltage Frequency: 50-60Hz
• Dimensions: 19" x 3 1/2" x 7" (occupies 2u)
• Unit Weight: 8.5 lbs.
• Shipping weight: 11.5 lbs.

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.
 
Features:

• All-tube triode design
• 10dB switchable pad
• Frequency response: 10Hz-30kHz
• Sensitivity: 17mV / Pa
• Noise typically -120dB EIN
• Max S.P.L: 150dB
• Actual output impedance 200 ohms
• Weight: 2.25 Lbs.

Specification

• Package Contents: PSU, PSU cable, shock mount, case
• Length: 9.7 in
• Diameter: 4.5 in
• Unit Weight: 2.25 lb
• Transducer Type: Condenser
• Polar Pattern: Cardioid
• Number of Microphones: Single Microphone
• Phantom Required: Yes
• Impedance: Actual output: 200 Ohms
• Frequency Range: 10 Hz - 30 kHz
• input_pad: -10 dB
• Sensitivity: -35.4 dBV/Pa (17 mV)
• Max. S.P.L: 150 dB

The Manley Gold Reference Multi-Pattern microphones 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 Manley's own design of large capsules (1.25" overall, 1" diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery 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.

Specification

• Package Contents: PSU, PSU cable, shock mount, case
• Length: 9.7 in
• Diameter: 4.5 in
• Unit Weight: 2.25 lb
• Transducer Type: Condenser
• Polar Pattern: Cardioid, Bi-Directional / Figure-Eight, Omni-Directional
• Number of Microphones: Single Microphone
• Impedance: Actual output: 200 Ohms
• Frequency Range: 10 Hz - 30 kHz
• input_pad: -10 dB
• Sensitivity: -35.4 dBV/Pa (17 mV)
• Max. S.P.L: 150 dB

Taking inspiration from the fabled Sony C-37A, Manley Labs introduces the Manley Reference Silver Microphone. Featuring an American built capsule by David Josephson and a Manley designed circuit, this microphone has warm and rich tone.
The Manley Reference Silver Microphone offers a mechanical selector on the rear of the head basket that is switchable between cardioid and omni pick-up patterns. Boasting a mic grade 5670 vacuum tube, Manley IRON transformers, and a low-noise switch mode power supply, the Manley Reference Silver Microphone is a studio workhorse. This microphone is at home in-front of instruments that range from female vocalists, to saxophones, from drum overheads to banjos. Use the Manley Reference Silver Microphone where you might be thinking about a ribbon, and use it with confidence!

The audio inspiration for this handcrafted beauty begins with the 1950s classic Sony C-37a microphone, and specifically with California capsule maker David Josephson's fantastic recreation of the C-37’s C-3 capsule which features in adjustable acoustic chamber on the rear of the capsule for the user to switch between cardioid in omni pickup patterns. This distinctive capsule is the heart of the rich and creamy tone that the Manley Reference Silver Mic delivers today, and reliably with a five year factory warranty. The old SONY mics are super-rare at this point, if you can find a decent working example of one!
Inside the mic, there is a different circuit from Manely's other two microphones. The fragile high impedance signal from the capsule first hits a FET sitting underneath the 5670 vacuum tube’s cathode which then amplifies the signal into a more robust voltage that our hand-wound Manley IRON microphone output transformer sends out to your microphone preamplifier. Output level from this mic is a wee bit lower compared to the other two microphones, but after careful consideration coming through the Beta-testing phase of development, Manley decided to leave it there as this mic will find a forever-home in front of your loudest instruments such as snare drum, guitars, and toms. It's a real natural there!
Sonic character of the Reference Silver is on the rich and warm side. You'll find this microphone stunning with female vocals and saxophones, with a round character that is never sibilant or boxy. A brass section will sound rich and cohesive. This microphone with its bountiful and warm middle tonality also is a natural for drum overheads where you might have too much brightness off the cymbals from other microphones. It is a very classic sounding microphone, which is to be expected since its innovative capsule design harkens back to the 1950s. Use the Manley Reference Silver Microphone where you might be thinking about a ribbon, and use it with confidence!
The trailblazing power supply is a brand-new derivative of the wildly successful SMPS already in use in the Manley CORE Reference Channel Strip, Manley FORCE 4-channel microphone preamplifier, and Manley Nu Mu and ELOP+ Stereo Limiter Compressors designed for us by the worldwide experts in this technology, Bruno Putzeys and Nand Eeckhout. This power supply was designed for Manley, designed for vacuum tubes, and designed especially for audio fidelity. Numerous listening comparisons again prove the sonic superiority of this power supply. All lines are regulated, all rails come out at super-low impedance, and there is zero 50/60 Hz ripple component present in the chassis as the module runs at a much higher frequency well above the audible range. It is an efficient design in the high 90th percentile, and it functions it any mains input voltage from 90 to 250 V AC meaning no reconfiguration is necessary when traveling around the world. Just plug it in! It is a well-smart invention light years ahead of older linear power supply designs.
The proprietary precision suspension system is provided with each Reference Microphone (the capsule itself is mounted onto a 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. Manley also provide a very useful swivel of their 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.
Each REFERENCE MICROPHONE is packaged complete in a rugged carrying-case.
Like the other Manley Reference Microphones, all of the metalworking and construction is hand-assembled in the USA by their experienced staff in their Chino, California factory, located just 35 miles east of Los Angeles. You’ll love the organic nature of the intriguing artistic finish of the Silver Microphone as it will remind you about how natural and alluring the sound of this microphone is.

Features:

• Condenser Microphone Transducer
• USA Hand Made Capsule by Josephson Audio
• Capsule is based on the Vintage Sony C-37A
• Single-Sided Large Diaphragm Capsule
• 5 Micron Evaporated Gold Diaphragm
• Dual Pattern Cardioid or Omni Directional
• Adjustable Vent on the Backplate Changes the Pattern
• 5670 Internal Vacuum Tube Head Amplifier
• Constant Current Source for Tube Minimizes Noise and Tube Selection
• Hand Wound Nickel Core Manley Iron Output Transformer
• Custom Designed Outboard Switched Mode PSU
• Supplied with Manley X-Cradle Suspension

Specification

• Package Contents:Silver mic, precision suspension system, proprietary swivel, and leather capsule protector
• Unit Weight: 1.5 lb
• Transducer Type: Condenser
• Polar Pattern: Cardioid, Variable-Pattern, Omni-Directional
• Number of Microphones: Single Microphone
• Frequency Range: 10 Hz - 30 kHz
• Sensitivity: -43.1 dBV/Pa (7 mV)
• Max. S.P.L: 150 dB

El nombre del Manley SLAM! viene de las siglas de "Stereo Limiter And Mic preamp" y es extremadamente potente. Comenzando con los dos preamplificadores de micrófono debulbos, el Manley SLAM! te da 48V de phantom power, inversión de fase y hasta 60 dB de ganancia y 20 dB más de ganancia en el limitador, suficiente para acomodar prácticamente cualquier micrófono y cantante. En el lado del limitador, Manley combinó el circuito electro-óptico del ELOP con un limitador brick-wall super rápido basado en FET y agregó un práctico sidechain. Desde lo limpio a lo crujiente y contundente, lo tienes con el Manley SLAM!

En ambos canales del SLAM!, tienes preamplificadores de micrófono con suficiente energía para manejar micrófonos de cinta y dinámicos de baja ganancia o cantantes suaves. El atenuador de entrada está en el frente y también hay un pad variable. Aparte de los micrófonos XLR, puedes darle a tus instrumentos un hermoso calentamiento de señal usando las entradas DI del panel frontal.

Limitador electro-óptico y limitador brick-wall basado en FET. El Manley SLAM! cuenta con dos limitadores diferentes y distintos, disponibles simultáneamente o por separado en cada canal. El famoso circuito electro-óptico de Manley, en su ELOP, está a bordo y también cuenta con un conveniente HPFen el sidechain. Ofreciendo dos perillas, el ELOP y un brick-wall limiter que ofrece sonido desde ultra limpio hasta ultra arenoso, tal como se esperaría de un limitador FET. El control de release te permite contar con una gran cantidad de colores, y su configuración de Clip permite una forma extremadamente redondeada. Usa ambos limitadores al mismo tiempo para obtener tanto de cada efecto como desees.

EXCELENTE MEDICIÓN VU
Con el Manley SLAM!, puedes medir los niveles de entrada sin procesar, los niveles de salida finales y la reducción de ganancia del limitador de ELOP, para que puedas estar al tanto de lo que está sucediendo. Además, hay un pad conmutable en los VU en 0, -3 dB y -6 dB para que puedas mantener las agujas alejadas del rojo cuando estás masterizando. Además, hay medidores de pico de escalera LED de varios colores rápidos y precisos que te permiten conocer los niveles de entrada y salida, así como la reducción de ganancia de FET. Los medidores LED hacen Pico, Retención de Pico temporizada y Retención de Pico hasta el restablecimiento. También puedes configurar manualmente donde cambian los colores de las barras para que coincidan con tu otro equipo.

I/O FLEXIBLE
En el panel posterior del Manley SLAM!, tienes muchos I/O con los que trabajar. Están a bordo las entradas y salidas balanceadas acopladas con transformadores de Manley y jacks de teléfono de 1/4". Además, cuatro jacks TRS te permiten insertar ecualizadores externos en las cadenas laterales. Otra entrada permite vincular varias unidades para fines de sonido envolvente.

CARACTERÍSTICAS:

• Bulbos de entrada: 2 x 12AT7A NOS GE seleccionados especialmente por Manley Labs por bajo ruido y polarización estable
• Bulbos de salida: 2 x 6414W NOS USA dobles triodos
• I/O: entradas y salidas acopladas con transformadores Manley balanceadas
• Preamplificador de micrófono: Phantom Power conmutable de 48V e inversión de fase
• Ganancia: ganancia máxima de 60 dB para preplificador de micrófono, 43 dB máximos para DI, ganancia máxima de 20 dB para limitador
• Impedancia de entrada: 2000 ohmios para preamplificador de micrófonos, 1megOhms para DI
• Ataque del limitador FET: aproximadamente 100S
• Liberación del limitador FET: 10mS a 2Seg.
• Relación del limitador FET: mejor que 20:1
• Ataque del limitador ELOP: aproximadamente 10mS para 6 dB GR
• Liberación del limitador ELOP: 2.5S
• ación del limitador ELOP: 10:1
• Respuesta de frecuencia: de 5 Hz a 60 kHz
• Salida máxima: +32 dBm, +30 dBm (en carga de 1 kOhm)
• THD+N: <.05% a 1 kHz
• Rango dinámico: típico de 115 dB
• Impedancia de: 200 Ohms
• Consumo de energía del SLAM!: 0.480 Amps (480 mA) @ 120 V = 57.6 Watts, 0.240 Amps (240 mA) @ 240 V = 57.6 Watts
• Frecuencia del voltaje principal: 50~60 Hz
• Tamaño: 19" x 12" x 3.5" (ocupa 2 RU)
• Peso de envío: 25 lb

El estándar de la industria para la compresión de bus estéreo

• Diseño totalmente de tubos acoplados a transformadores que utiliza tecnología de tubos de corte remoto
• Compresión musical con modos Compresión (1,5:1) y Límite (hasta 20:1)
• Transformadores Manley IRON ® personalizados con laminaciones de níquel en cajas de mu-metal
• Ensamblado a mano en California hasta el día de hoy

The VOXBOX® combines the legendary Manley Mono Mic Preamp, the ELOP reborn as a lower ratio compressor, the MID EQ blown out as a full range PEAK-DIP-PEAK EQ, and a DeEsser with a second ELOP limiter at the end. Using the Direct Input, bass players often wonder why it wasn’t named the BASSBOX.

IT LOOKS AWESOME, BUT WHAT IS IT?
Primarily, it is a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and well thought-out ergonomics. Full of features, timeless style, robust build quality, and that world-famous "Manley Sound", we present to you the MANLEY VOXBOX®.

THAT'S NICE. WHAT'S IT GOOD FOR?
While we were designing the VOXBOX® we couldn't help but notice how well it works on other instruments besides voice. There are some great settings for drums, bass, guitar, and keys and the two separate sections can be used together or independently. Stereo using two VOXBOXes? You know we couldn't resist planning for that as well. There are Stereo Links for both the compressor and the De-Ess/Limiter sections, special compression settings and super-sweet EQ frequencies for your mix or pre-mastering. So don't just use it for voice. The name "VOXBOX®" represents only the beginning...

DETAILS
BLOCK DIAGRAM / SIGNAL FLOW

MICROPHONE PREAMPLIFIER SECTION:
The preamplifier is a clone of a highly regarded and popular mic pre: the Manley Mono Microphone Preamplifier! The mic input transformer is our own design wound in-house at the Manley Labs factory. High current 48V Phantom power is switchable from the front panel. A simple and effective passive BASS CUT switch kills rumble and reduces popping. The INPUT ATTENUATOR is a variable pad control situated before the first tube stage allowing the preamplifier to accommodate +4 line level signals via the balanced LINE INPUT and instruments via the front panel 1/4" DIRECT INPUT. These inputs are selected in the middle position of the dual-function phase invert switch. We provide both transformer balanced XLR output as well as a transformerless "audiophile" 1/4" phone jack output. The Gain switch is actually a clever variable feedback control that changes not only the gain but the slew rate and flavor of the circuit. With it you can choose how laid back and mellow or how up-front and aggressive you want it to get. See "Notes on Variable Feedback" for more info. Headroom is a strong point in this circuit, +31dBu capable. This is 5 to 10 dB better than almost all other pro gear. The music passes through only our super-clean pure Class A vacuum tube circuitry. There are obvious advantages to our purist approach and foremost is the un-electronic final sound that carries emotion into the digital realm.

COMPRESSOR SECTION:
This cool compressor design takes our opto-isolator approach of the Manley ELOP® Limiter to the max. We adjusted the Ratio down to 3:1 to turn our ELOP into a compressor and added ATTACK and RELEASE controls for more versatility. What is clever is how the signal is compressed before it hits the tubes with no detrimental effect on distortion or frequency response. This way, it can prevent mic-pre clipping and eliminate whole stages of electronics. This cuts the typical path of mic to tape in half! We also pioneered new thinking in the sidechain by using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls. We call the approach "Parametric Compression". We developed optimum settings or presets based our favorite Vactrols that we use in our own fast ELOP® Limiter, the quick LA-2A's T-4 module, the slower LA-3A and then created more complex special settings. This extended range and method of timing delivers fresh sounds from powerhouse punching drums to super-solid bass yet can also emulate the way good engineers delicately ride a fader while recording. It is transparent and liquid-smooth on vocals, easy to use and accurate. Also rare for an opto-based dynamic processor, this compressor works great on mixes. Of course, you'll be needing two VOXBOXes linked in stereo...

EQ SECTION:
Lots of folks requested that we include the Pultec Mid Frequency Equalizer in the VOXBOX®, but they wanted MORE.... Now we've extended it to 33 frequencies in 3 bands with 6 new frequencies from 20 Hz to 150 Hz, and 6 more in the highs from 6.4 KHz to 20 KHz. Ever notice that only EQs with real inductors have the bottom end magic or that only Class A circuitry can keep the top end sweet? This is for you. The EQ INPUT switch patches in the Line Input, Preamp Output, or the INSERT return. This switch serves double-duty acting as a bypass switch for the preamp and/or external processors or for processing two different tracks.
DE-ESSER & LIMITER SECTION:
Designed by folks with admittedly large gaps between their two front teeth, the VOXBOX® combo also includes a de-esser & peak limiter based on our original ELOP® Limiter design but with an added passive LC network to handle the de-essing four carefully chosen notch frequencies from 3KHz to 12KHz. (That 3KHz setting really tames those annoying frequencies!) The fifth position gives you a limiter which totally mimics the famous LA-2A. This means you can both compress pre-EQ then limit here post-EQ. Another cool feature is the ability to insert this de-esser silently and smoothly as the music plays, using it as needed.

THE METER:
The METER is a full size illuminated Sifam VU meter. A five-position switch shows three audio levels: the line input, the preamp output and the final output. It also shows compressor gain reduction and the de-esser/limiter action. Other clever innovations incorporated into the VOXBOX® combo include warm-up muting circuitry, extensive magnetic field containment, 'smart -grounding', and silent switching. The sum-total is more than the separate parts: consider the reduced patching, the short path to tape and you having this much immediate control. As engineers, we choose what we use not based entirely on features and functions - there is a sound, a texture we reach for and the VOXBOX® combo puts the 'Manley Sound' together with 'Your Sound'.

SPECIFICATIONS

• MANLEY transformers w/nickel laminations in mu-metal cases
• 2 kOhm MIC INPUT Z w/High current 48V Phantom power built-in
• Hi-Z (100K) Direct Instrument Input
• LINE & INSERT INPUTS (balanced XLR & 1/4")
• PREAMP & EQ outputs LO-Z (50 Ohms)
• Transformer balanced XLR outputs
• Transformerless unbalanced 1/4"outputs
• STEREO LINK for Compressor & De-esser/Limiter
• SIDE CHAIN MONITOR for De-Esser
• Large ILLUMINATED Sifam METER with FIVE readout modes - (older units before serial number MVB**1359 shipped before 9/2003 use: 12V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016C) Order spare bulbs using our parts order form. (newest units after serial number MVB**1359 shipped after 9/2003 use yellow LED lighting)
• THD + N (1KHz @ +20 dBu): 0.3%
• Maximum output: +31dBu

MIC PREAMP SECTION
Frequency Response: ±1dB 20Hz - 60KHz
Noise Floor (A-wgt): -86 dB
Signal to Noise Ratio: 113 dB
Tube complement: 12AX7LPS & 6414
Gain: 40-60 dB
EQ SECTION
Frequency Response: 10 Hz - 100 kHz
Noise Floor (A-wgt): -89 dB
Signal to Noise Ratio: 116 dB
Tube complement: 5751 & 6414
Gain: unity
GENERAL INFO
Power Consumption: 24 Watts
Mains Voltage Frequency: 50~ 60Hz
Dimensions: 19" x 5.25" x 10" - occupies 3U
Shipping weight: 21 lbs.

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.