A studio processor that lets you dial in how clean or crunchy, or punchy, and as loud and proud you
want it.
SLAM! stands for "Stereo Limiter and Micpre" and it pretty much describes what it will do to most VU
meters. Manley had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles
from bending—it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four)
Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much
for an acronym.
When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s,
2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? Manley combined
their favorite Electro-Optical circuit (ELOP) with a fast FET based brick-wall limiter reminiscent of some cool classics.
Manley added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining
that easy, "it just works" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different
desirable characteristics that both optimizes the signal for digital recording, due to the brick-wall capability, and lets
you dial in how clean or crunchy, or punchy, and how loud and proud you want it.
Get in: The Manley
SLAM! starts with tube mic preamps on both channels with switchable phantom power and phase reverse. Manley provided plenty
of gain for you in this tube circuit, up to 60dB with 20dB more in the limiter—plenty for soft singers using low output
ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock 'n' rollers won't cause a problem
either. Track direct with the Direct Instrument input or bring your line level inputs into the Manley SLAM! for processing.
Get it LOUD… two different and distinct limiters per channel:
The ELOP Limiter: Manley's beloved Electro-Optical Levelling Amplifier circuit, the ELOP, still the favorite
for vocal tracking, shows up here with its switchable side-chain high pass filter making it much more useful for mixes and
other tracks as well. One of the most appreciated aspects of Manley's original ELOP is the simplicity of a two knob limiter,
which is optimum for demanding pro recording pressures. You can still grab two knobs and have complete control of level and
dynamics and be ready to hit that record button. Intuitive controls and a straight ahead signal path through quality components
simply works.
The FET LIMITER: Here's a fast FET based "brick wall" limiter that spans the range
of clean predictable limiting to the grunge and gravel that other FET-based limiters only dream of achieving. The FET RELEASE
control allows you to dial up a variety of colors. There is even a "CLIP" setting that provides as round a shape as has ever
been available. (Read more below about the CLIP settings.) Manley aimed at "sound" first, then experimented with circuits
until the folks at Manley heard what they wanted discovering fresh approaches that provide a very wide range of useful dynamic
control. For example, you can set up for a fast brick wall limiter with slower releases for minimum artifacts, or go with
the faster releases to get some crunch and then get extreme loudness. The Attack control is unusual too providing the sonic
control common with its historic brothers but very unusually retaining the zero overshoot "none-shall-pass" brick wall that
defines a real limiter. And it's punchy! As the saying goes, "Louder is better." The SLAM! optimizes levels to analog to digital
converters with ballz, warmth and loudness verging on silly or just clean and safe.
What is especially nifty is the
ability to use the ELOP and FET limiters together at the same time dialing in whatever amounts of each effect you like. Every
limiter has its own character or sound and here Manley has combined two powerful world-class tools that can be uniquely blended
and mixed to taste and purpose. Even the metering is appropriate for each limiter so you can easily see how each is contributing.
Metering on the Manley SLAM! is exceptional. The signal processor's two full-size real VU meters
show you the raw input levels, the final output levels, and the ELOP Limiter gain reduction in the traditionally preferred
format for visually displaying apparent loudness. VU's are cool. Noticing how mastering engineers often need a switchable
pad on their VU's because the "optimized" levels tend to pin the needles in the red, the SLAM! VU's also have a 0, -3dB, -6dB
switch to help with this situation. There are also very fast and super accurate multi-color LED ladder peak meters that display
the input and output levels and the FET gain reduction, and some combinations. They will do Peak, Peak Hold timed, and Peak
Hold until reset, and also allow you to manually set where the individual bars change colors to match your other gear. With
maximum clean I/O levels of +30 dBu, it is a lot more likely you will use these meters to see what's clipping downstream.
It probably won't be the Manley tube line drivers inside!
The back panel should keep everybody happy.
All the usual XLR's for transformer balanced I/O and ¼" phone jacks for direct unbalanced I/O. There are four TRS jacks
for inserting external EQ into the sidechains and another connector for linking multiple units for surround. It's all here.
The Manley SLAM! also seems a natural as an audio mastering tool. The FET limiter works great on
mixes, and the ELOP now has a high pass filter switch that is spot-on for mastering. Manley offers a mastering version, which
eliminates the mic preamps, adds detented controls replacing the pots, and provides extra metering options. Manley compressors
and EQs seem to be the most popular pieces of gear ever when it comes to mastering. The ultimate analog rack for the final
important touches to the mix would have included the SLAM!, The Variable Mu and The Massive Passive. Combine this with some
digital processors of similar caliber and one has a respectable and very effective set of mastering tools. That Manley rack
plus some Manley microphones would make an ultimate stereo recording chain too. Recording equipment you'll want to keep for
a lifetime.
Manley SLAM! Stereo Limiter and Micpre Features:
- Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable bias
- Output Tubes: 2 x 6414W NOS USA dual triodes
- I/O: MANLEY transformer coupled Balanced Inputs and Outputs
- Micpre: Selectable 48V phantom power and PHASE REVERSE
- Gain: 60dB max Micpre, 43dB max DI, 20dB max Limiter Gain
- Input Impedance: 2000&Omega Micpre, 1MΩ DI
- FET Limiter: Attack: approx. 100 S; Release: 10mS to 2Sec; Ratio: better than 20:1
- ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1
- Frequency response: 5Hz to 60kHz
- Maximum Output: +32dBm, +30dBm (into 1KΩ load)
- THD+N: <.05% @ 1kHz
- Dynamic Range: 115dB typical
- Output Impedance: 200Ω
- Power Consumption Slam! Analog:
- 0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6W
- 0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6W
- Outboard Power Supply is factory set for 100V, 120V or 220-240VAC operation
- for original destination country's mains voltage.
- Operating Mains Voltage changeable with power transformer re-wiring via switch and fuse value change
- Mains Voltage Frequency: 50~ 60Hz
- Size: 19" X 12" X 3.5" (occupies 2u)
- Shipping Weight: 25lb.
Have it your way! Order it today.