Building upon its 25-year legacy producing revered recording studio equipment, Manley Labs has distilled its CORE technologies from this lineage. 2014 delivers 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. FRONT PANEL CONTROLS: 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 1/4" DIRECT INPUT 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 Sweepable MID EQ curves Gentle Shelf EQ 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 AND 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.

In honor of the 30th Anniversary, Manley Labs is producing a limited quantity of the classic Dual Mono Microphone Preamplifiers - first introduced almost thirty years ago, they make for a perfect XXX LIMITED EDITION! This special edition features custom faceplate & insert coloring and engraving, and ships with a signed Certificate of Authenticity and a letter from EveAnna Manley.The MANLEY all-tube Dual Mono Microphone Preamplifier is primarily intended for use with modern capacitor (condenser) microphones. Now, 40 to 60 dBs of gain, enough for most ribbon mics, are selectable in precise 5dB steps by varying the amount of overall negative feedback on the GAIN switch. This is a very interesting feature indeed, allowing to change the slew rate (speed), placement, and tonal balance of the sound from mellow and "tubey-er" through to faster, punchier and more aggressive.Tube complement per channel: 1 x 12AX7EH hand-selected for lowest noise, and 1 x 6414 for each high-current output stage. Each unit is painstakingly hand wired using silver solder and audiophile-grade componentry. Double shielded custom-built power transformers and custom-built high capacity reservoir capacitors demonstrate our modern power supply design approach. The front panel 1/4" DIRECT INPUT jack makes these preamplifiers serve double duty as a pure tube line stage for instruments such as bass, drum machines, and keyboards when you need to get your tunes through some tubes before hitting a sterile digital recorder. Total gain in this mode becomes 20dB less than indicated on the GAIN switch. Both transformer coupled balanced and direct (via humongous metalized film MultiCaps) capacitor coupled unbalanced outputs are provided giving the choice of audiophile-purist or big iron sounds. Perennial shoot-out winners, our single-ended preamp designs have become favorites among top engineers and home recordists alike looking for "that rich Manley sound with the tight bass and the top end that goes on forever" which begs to go direct to tape. Featrues Dual mono mic tube preamp Limited 30th Annivarsary Edition (XXX LIMITED EDITION) Adjustable FEEDBACK / GAIN switch selects 5dB steps between 40 to 60 dB of gain Hi Z Instrument Direct Input Flat frequency response from 10Hz-60KHz Hand-selected 12AX7EH and  6414 tubes Phase Invert switch 48V Phantom power switch Manley Microphone Input Transformer AUTO MUTE w/ warm-up delay for power up/down 1U rackmount chassis

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 to improve something this good? The ELOP+ features a 3:1 compression ratio which opens up the doors to greater versatility, especially for 2-buss applications. It has been completely re-engineered from the ground-up, beginning with an amazing modern high voltage switching power supply purpose-designed for vacuum tube audio circuits. With careful reference to the sonic past, the vacuum tube line amplifier was deployed for highest performance and the White Follower output stage in this 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 Manley ELOP+ is everything the legendary ELOP was loved for, plus! Features: 10:1 Limiter and 3:1 Compressor ratios All-tube audio path uses 5751 and 6922 dual triodes Balanced Manley IRON transformer-coupled XLR Inputs XLR impedance-balanced outputs BYPASS switches and AUTOMUTE with warm-up delay Large illuminated VU meters read Gain Reduction or Output levels STEREO LINK Side-Chain High-Pass Filter Universal internal power supply operates worldwide 90-250V~AC 50/60Hz

Manley EQP-1A Equalizer MonoblockThe 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 12AU7WA and 1 x 6414 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!For more information, please visit this products webpage

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: 48V Phantom power switch 120Hz High Pass Filter switch Phase Invert switch Input Attenuator (Variable Pad) GAIN Selectable Gain LOW vs HIGH Silent Input Level Control (Variable Input Pad) 7-Segment LED Peak Metering 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 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 this clever new EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound, kinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. "Massive".... it's a fitting word for this beast. You'll need to experience this. Creating natural, organic, acoustic tone can only be done with an equalizer that treats 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 we 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 incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Massive allows twice as much EQ with half the coloration. It allows huge 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 and sense of audio adventure. We could attempt to use dozens of superlatives to describe the sounds, but really, you have to experience it yourself. Words cannot do it justice. The astute reader will notice a lack of "buzz words" and that the Massive Passive is not built around gimmicks, plagiarisms, or conventional techniques. However, it is built to complement our Variable Mu® Limiter Compressor for instance.... This combo could just be the ultimate processing chain. It's already a Mastering fave. To this end we finally have a new dedicated Mastering Version Massive Passive Stereo EQ available too. The Filters 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 Hz Low Pass Filters: OFF, 52kHz, 40kHz, 27kHz, 20kHz, 15 kHz The 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. Parametric Frequencies - same as normal Massivo LOW - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1K LM - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9 HM - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10K HI - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 18K, 27K   FEATURES: All-Passive tone sculpting circuitry Unique Shelf curves use the "bandwidth" control Overlapping and Interleaved Frequency choices Every band switchable to shelf or bell Vacuum tube make-up gain and line drivers Parallel symmetrical topology Premium components throughout Passive HP and LP Filters plus gain trims

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 gain change voltage divider occurs before the final tube amplifier stag andsU after all of the passive EQ circuits. 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. FEATURES: All-Passive tone sculpting circuitry Unique Shelf curves use the "bandwidth" control Overlapping and Interleaved Frequency choices Every band switchable to shelf or bell Vacuum tube make-up gain and line drivers Parallel symmetrical topology Premium components throughout HP and LP Filters STEPPED GAIN trims -2.5 to +2.5dB in 11 steps of 1/2dB each Metal Manley mechanically detented GAIN and BANDWIDTH control knobs SPECIFICATIONS: Ins & Outs Balanced XLR & 1/4" (accepts unbalanced) Level +4 dBu nominal, internal switches for -10 operation HARDWIRE Bypass Switch (unit does pass audio when powered off) 44 Frequencies (roughly 1/4 octave spacing) Frequency Range: 22 Hz to 27 kHz EQ Boost/Cut Range: Maximum 11dB boost or cut Nominal Q range: 1.5 to 3 (uniquely active in shelf modes) Frequency Response: ±2 dB: 8 Hz to 60 KHz Maximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 Hz THD & Noise (1KHz @ +4 dBu): 0.06% Noise Floor (referred to +4dBu): -85 dB (A Weight) Dynamic Range: 120 dB Tube Complement: 2 x 12AU7, 4 x 6414 Power Consumption (120/240VAC): 72 watts Unit 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~ 60Hz Size (3U): 19" x 5.25" x 10" Weight: Unit 21 lbs. Shipping Weight: 27 lbs.

Seit seiner Veröffentlichung im Jahr 1998 hat der Manley Massive Passive den Klang unzähliger Produktionen auf der ganzen Welt veredelt. Zahlreiche renommierte Produzenten sowie Recording- und Mastering-Engineers aus aller Welt nutzen das Gerät, um ihren Produktionen einen eigenen Signature-Sound zu verleihen. Die XXV Anniversary Edition besitzt zur Feier des 25-jährigen Jubiläums des Massive Passive eine attraktive kobaltblaue Frontplatte mit eine speziellen Lasergravur und ist weltweit auf 100 Exemplare limitiert. Hochwertiges Schaltungsdesign mit passiven KomponentenWie gewohnt, wurden von Manley bei der Entwicklung des Massive Passive keine Mühen gescheut und keine unnötig komplizierten Schaltungen integriert – Massive Passive basiert auf passiven Komponenten und in der Klangbearbeitung kommen ausschließlich Metallschichtwiderstände, Folienkondensatoren und handgewickelte Spulen zum Einsatz. Aus diesem „natürlicheren“ Ansatzes resultiert auch ein natürlicher und organischere Klang. 2-Kanal 4-Band-EQ für das gesamte Spektrum von radikal bis subtilDer Massive Passive Equalizer liefert bei der drastischen Signalbearbeitung während der Aufnahme ebenso hervorragende Ergebnisse wie bei subtilsten Klangfärbungen für Gesangsspuren oder Gesamtmischungen. Obwohl es einen anderen Ansatz verfolgt bietet das 2-kanalige 4-Band-Design umfangreiche Bearbeitungsoptionen und kombiniert dabei die größten Vorteile der Pultec-EQs mit denen ausgewählter graphischer, parametrischer und Mischpult-EQs, ohne dabei das Audiosignal zu sehr zu verfremden. Ob kreative oder chirurgisch präzise Klangbearbeitung – der Manley Massive Passive holt aus jedem Signal das Beste heraus. Fünf Hoch- und vier Tiefpassfilter mit hoher FlankensteilheitDer Manley Massive Passive ist mit fünf Hoch- und vier Tiefpassfiltern bestückt, die sich einzeln oder gleichzeitig aktivieren lassen. Die Flankensteilheit der Filter ist hoch, damit störende Anteile eliminieren werden können, ohne das Musiksignal zu beeinträchtigen. Der EQ klingt auch in Kombination mit anderen Frequenzbändern hervorragend. Manley hat sich bei der Entwicklung des Massive Passive nicht auf etablierte Standards verlassen, sondern ausschließlich nützliche Funktionen integriert und macht mit diesem neuen Design-Ansatz wirklich massive Ergebnisse möglich. MANLEY POWER®-SchaltnetzteilDas MANLEY POWER®-Netzteil wurde unter der Leitung von Bruno Putzeys für Manley Labs entwickelt und ist speziell für die Verwendung mit Hochspannungsröhren und Audiosignalen optimiert. Es liefert zuverlässig alle für den Massive Passive nötigen Spannungen, wie die 300 V Röhrenspannung, die 6 V Heizspannung, Phantomspeisung und weitere Spannung für diskrete Schaltkreise. Diese herausragende Netzteil liefert die Grundlage für einen großen Dynamikumfang und "massive" Klangqualität. Alle Spannungen sind effizient reguliert und in Kombination mit geringen Leitungswiderständen optimal gegen Einstreuungen und Nebengeräusche aus dem Hochfrequenz-Netzteil geschützt. Das Universal-Schaltnetzteil akzeptiert jede Spannung und Frequenz und ermöglicht den Einsatz des Massive Passive weltweit ohne Anpassungen. Eigenschaften Limitierte Anniversary Edition des legendären Massive Passive Kobaltblaue Frontplatte mit Anniversary Lasergravur 4-Band Stereo Röhren-Equalizer Klangregelung in komplett passivem Schaltungsdesign Einzigartige Shelving-Kurven mit Bandbreiten-Steuerung Wahlweise überlappende oder getrennte Frequenzbereiche Für jedes Frequenzband Shelving- oder Glockencharakteristik wählbar Aufhol- und Ausgangsverstärker in Vollröhrentechnik Parallele, symmetrische Topologie Durchgängig hochwertige Bauteile Passive HP- und LP-Filter sowie Gain-Trim-Regler MANLEY POWER®-Schaltnetzteil

Manley Enhanced Pultec Mid Frequency Equalizer Specially useful for midband oriented instruments such as guitars, vocals, harmonicas, and violins, the MID FREQUENCY ENHANCED PULTEC EQ (MEQ-5 type) shares the same features and specifications as our 'EQP-1A' version. The differences lie in the passive EQ section: In the MID EQ, the DIP and PEAK controls function on much sharper bell-shaped curves centered on the selected frequencies, which gives the engineer-producer more precise control over the vitally important midrange and makes this unit indispensable for mastering engineers. The MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of our Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering. Features & Specifications   MANLEY input transformer with pure nickel laminations potted in mu-metal case. 3K Ohm input Z PHASE REVERSE switch for balanced XLR input Alternate transformerless 1/4" HI-Z (5K Ohm) input BYPASS switch & AUTO-MUTE w/warmup delay Silent conductive plastic PEAK & SHELF controls Sealed gold-contact Greyhill frequency select switches Hi-current drive <50 Ohm LO-Z XLR & 1/4" outputs Balanced Transformer Coupled XLR Outputs Flat frequency response from 10Hz-70KHz <0.01% THD @ 1kHz S/N Ratio: 116 dB Adjustable FEEDBACK / GAIN: Unity ±5 dB Max. output: +30 dBv Power consumption: 18 watts 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. Mains Voltage Frequency: 50~ 60Hz Dimensions: 19" x 1 3/4" x 10" (occupies 1u) Shipping weight: 12 lbs.

Building upon Manleys proud heritage, the Manley Nu Mu merges the esoteric „T-Bar mod“ all-tube front end from the legendary Manley Variable Mu and makes it standard followed by a solid state audio chain for the smoothest dynamics action coupled to the punchiest sonic path. Featuring Manleys HIP function, the 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 clients, both visually and ergonomically, the Manley Nu Mu breaks new ground in performance and value, all proudly handbuilt in California, of course!   Features: 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 Three input level presets Ratio Modes between Limit(4:1 to 20:1) or Compress (1.5 to 1) Variable Attack (25msec-70msec) and recovery (5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.) HP SC: High Pass Side Chain Filter Hardwired Relay Bypass Switch

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 youre 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 pad Frequency response: 10Hz-30KHz Sensitivity: 17mV/Pa Noise typically -120dB 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 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 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.   Feature & 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

MRAG - Manley Reference Silver Microphone - Large-diaphragm Cardioid Tube Condenser Microphone The Manley Reference Silver Microphone is a universal large-diaphragm tube condenser microphone. Featuring an American built capsule by David Josephson and inspired by the fabled Sony C-37A 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! Manley introduced its Reference Gold and Reference Cardioid mics in 1990, and they have become modern classics used in pro studios worldwide. The Manley Reference Silver Microphone takes its 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. The circuit of the mic is different from the other two Manley 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 for the hand-wound Manley IRON® microphone output transformer. The Reference Silver's output is a bit lower, which actually turns out to be an advantage, as this mic is an excellent choice for loud sources such as snare drum, guitars, and toms. Sonic character of the Reference Silver is on the rich and warm side. This microphone is stunning on female vocals and saxophones, with a round character that is never sibilant or boxy. A brass section will sound rich and cohesive. With its bountiful and warm middle tonality it is also a natural for drum overheads where other microphones might have too much brightness off the cymbals. It is a very classic sounding microphone, which is to be expected since its innovative capsule design harkens back to the 1950s. The Manley Reference Silver Microphone might be an alternative for a ribbon. The trailblazing power supply is custom designed switched-mode power supply for vacuum tubes, and especially for audio fidelity. It is an efficient design, and functions with any mains input voltage around the world from 90 to 250 V AC without any reconfiguration. The Reference Silver comes with Manley's X-Cradle suspension, a rugged carrying-case, and a leather capsule protector for when the mic is not in use. Like the other Manley Reference Microphones, all of the metalworking and construction is hand-assembled in the USA at the Manley in Chino, California. Features Single-sided large diaphragm capsule based on the vintage Sony C-37A; handcrafted by Josephson Audio 5-micron evaporated-gold diaphragm Cardioid and omnidirectional polar patterns Adjustable acoustic chamber on the backplate for changing pattern 5670 vacuum tube head amplifier Constant-current source for tube to minimize noise Hand wound nickel core Manley Iron output transformer Custom designed external switch-mode PSU Supplied with Manley X-Cradle suspension, a rugged carrying-case and a leather capsule protector Handmade in the Manley's Chino, California labs, USA

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! GET IN: The SLAM! starts with tube Mic Preamps on both channels with selectable phase reverse, high pass filter, and switchable phantom power (on the back panel). We’ve got plenty of gain for you in this new 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 SLAM! for processing. The DI inputs have selectable input impedance, depending on how far you plug the 1/4" cable into the jack: push it in all the way and the input impedance is 100KOhms, pull it out halfway and it becomes 20 megOhms which reduces pickup loading and allows all the highs to get through. Come on in!  Get it LOUD... two different and distinct limiters per channel: The ELOP® LIMITER: Our beloved Electro-Optical Levelling Amplifier circuit, the ELOP®, still the favorite for vocal tracking, shows up here with its new 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 our 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 work. The ELOP® limiter implementation is done like we did in our VOXBOX® which pioneered the idea of limiting the mic signal before it hits any active stage. The ELOP limiter moves to the line stage when LINE is selected. The ELOP sidechain provides different HP filters on a toggle. The 200 Hz setting has been tailored for vocals and adds a touch of de-essing. The FET LIMITER: Here’s a new fast FET based "brick wall" limiter that spans the range of clean predictable limiting to the grunge and gravel that other FET based limiters are desired for. 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.) We aimed at "sound" first, then experimented with circuits until we heard what we 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 we have 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 SLAM! is exceptional. The 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 "optimised" 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. And 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. In the sea of jacks including the big power supply connector, you'll find all the usual XLR’s for transformer balanced I/O and 1/4" phone jacks for direct unbalanced I/O. Eight Bantam jacks in a mini-patchbay configuration handle the side-chain inserts and linking functions. You can insert EQs into the ELOP® and FET limiters, and there are more jacks for you to mix in an external signal into the side chains. Another pair of jacks provides for easy linking for 5.1 surround work if you have three or four SLAM!'s. It’s all here. Speaking of Linking... all previous Manley dynamics units require both channels to be setup for near identical settings rather than the more common "just set the Left side". The SLAM! lets you do it both ways. The "L Side" method is the "STEREO LINK" mode and is quick and convenient but, like others, uses a mono mix for the side-chain. The "BOTH & EXT" adds the rear panel link jacks to the link buss so you could chain up several SLAM!s for linked surround work. Both or all 6 channels should be set similarly. This mode is usually better for mastering as it responds to the true peak level of the channels rather than an artificial mono mix. Outside the Box, that's where the power supply is. The illuminated power switch turns on the external power supply. Keeping the power supply far away also keeps additional heat and magnetic fields away from the precious audio. The power supply is housed in a sturdy cast aluminum 7" x 4" x 5" box that is easy to mount to or place in the bottom of a rack. A seriously humongous 16 pin connector, and 6' multicore cable connects the two boxes. The SLAM! also seems a natural as a 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. We offer a dedicated 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 include the SLAM!, The Variable Mu® and The Massive Passive. Combine this with some digital processors of similar calibre 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. This is gear you’ll want to keep for a lifetime.   Features and 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 Micpre: Selectable 48V phantom power and PHASE REVERSE Gain: 60dB max Micpre, 43dB max DI, 20dB max Limiter Gain Input Impedance: 2000Ω Micpre, 1MegΩ DI 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.

Proudly from our beginning, we at MANLEY LABS have been closely involved with numerous mastering facilities around the world. For these most demanding engineers in our industry, we have created specialised products such as our all-tube tape repro head amps, digital converters, high-powered vacuum tube monitor amplifiers, through to custom monitoring consoles, all the way up to complete facility design and installation. The Mastering Version of the SLAM! incorporating detented and logable 1/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is in full production. Differences and Features, yes there are some 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. Differences to the standard Editon and Features: No microphone preamps! (only for Mastering!) 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. 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. 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. 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). The Right blue button becomes the DAC select switch (stereo). 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. No pots. All knobs in the Mastering Version are detented in mostly 1 dB steps, with some appropriate 1/2 dB and 2 dB steps, right where they should be. Features and 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 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 DAC: AES 24Bit 192KHz upsampling from 44.1, 48, 88.2, & 96KHz A to D: 24Bit 96KHz (for now) Frequency Response: 5Hz to 60KHz Maximum Output : +32dBm, +30dBm (into 1KΩ load) THD+N: <.05% @ 1KHz Dynamic Range: 115dB typical Output Impedance: 200Ω  

Manley Stereo Pultec Equalizer EQP-1A Type 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!FEATURES:available in both mono and 2-channel versions MANLEY input transformer with pure nickel laminations potted in mu-metal case. 3K ohm input Z PHASE REVERSE switch for balanced XLR input Alternate transformerless 1/4" HI-Z (5K ohm) input BYPASS switch & AUTO-MUTE w/warmup delay Silent conductive plastic BOOST & CUT controls Sealed gold-contact Greyhill frequency select switches Hi-current drive <50 ohm LO-Z XLR & 1/4" outputs Balanced Transformer Coupled XLR Outputs Flat frequency response from 10Hz-70KHz <0.01% THD @ 1Khz S/N Ratio: 116 dB Adjustable FEEDBACK / GAIN: Unity ±5 dB Max. output: +30 dBv Power consumption: 18 watts 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. Mains Voltage Frequency: 50~ 60Hz Dimensions: 19" x 1 3/4" x 10" (occupies 1u)