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One channel with Manley's SLAM! tube preamp and one channel with a solid state pre based on the classic
British consoles.
The Manley TNT (Tubes – No Tubes) 2-Channel Mic Preamp has two different and discrepant mic preamps
in one box for two different sound colors. By popular demand, one channel is the exact same mic pre as in the Manley SLAM!
with tubes and transformers. The second preamp is a fresh "No Tubes" design from Hutch and is inspired by old British console
preamps with a tasty combination of "No Tubes" design with transformers. This one is not a clone of anything preexisting.
It is a new flavor but reminiscent of that classic discrete sound. Both channels on the Manley TNT preamp are designed around
the basic goal of "just plug a mic in and it sounds great." The tube channel excels on traditionally difficult sources like
some bright guitars, reed and brass, cymbals and some vocals. The "No Tubes" channel might be more suited for smoother vocals,
drums, bass and raunchy guitars, but you never really knows which preamp is best for the job at hand until you try them. At
least you'll have two qualified candidates in one handy 1U chassis.
The Manley TNT is a new concept in microphone preamplification
for those who don't always need stereo everything but often need choices and often need the best. Besides, you probably have
a number of typical stereo preamps and are still looking for that one killer preamp.
Manley participated in 3D Audio's
"Preamps in Paradise" forum, which was a remarkable opportunity to discuss preamps in depth and more importantly listen to
what top engineers liked, disliked, and desired in the next generation of preamps. Manley Labs saw a need for a different
unit that truly offered a rainbow of high-end preamp colors at an affordable price. The "T" (Tubes) channel starts off with
the highly acclaimed vacuum tube micpre from the SLAM! that is certainly a contender amongst the best cost-no-object tube
preamps. The "NT" (No Tubes) channel adds a no-compromise solid-state preamp that sets new sonic standards. Because the solid-state
side uses two opposite topologies in tandem that are user controllable, it is like getting two preamp 'sounds' on that side
alone.
The number one request was variable input impedance somewhat tempered by the number one complaint that so far,
the typical gain changes associated with that feature were not fun. Manley offers variable impedance done right, with typically
near-zero gain changes. In fact, on the solid-state side a current-mode preamp is used for the lowest impedance and a voltage
mode preamp is used for the highest impedance, and these two preamps are appropriately blended for the medium impedance settings.
All of the microphone signal is used and almost none thrown away. Both the voltage-mode and current-mode stages are truly
optimized and when one changes impedance settings, one hears the effects of how this changes microphone and cable characteristics
as opposed to other approaches which mostly take the mic preamp out of its ideal conditions. In other words, doing variable
impedance the right way required fresh, new, and clever circuits and topologies. Manley also added a 3-way impedance switch
to the tube side that also compensates for the typical gain changes.
Another request the engineers requested was to
have a switch to bypass the output transformer. Manley went a step further and put that concept on a knob so that the engineer
could dial in the amount of "Iron" which is a novel and inventive approach. With the knob centered at 12:00, you get the basic
untouched sound of the output transformer, and like an EQ for cut, turning the knob counter clockwise, reduces the effect
of the transformer thru zero and into the negative zone or 'anti-iron'. Of course, turning the knob clockwise allows one to
exaggerate the transformer effect to about triple. This is not a simulation and truly is based on the actual output transformer
and leans more towards subtle than an obvious effect.
A third request involved Input and Output controls so that the
engineer could create some overdriven effects one day and keep it clean the next. Again Manley saw this as an opportunity
to figure this out and finally do it right. So they added a toggle switch to that idea and labeled it "Clean", "60's" and
"70's". "Clean" is very clean, very low noise, very accurate and very musical. Both the "60's" and "70's" positions introduce
discrete class-A circuits for vintage colors, controlled overload characteristics and creative opportunities. Essentially
this gives a range from incredibly clean thru subtle warmth or 3D-like thru to heavy grunge. Now you are beginning to appreciate
how a single 1U box can provide a rainbow of tone especially when each aspect is done to Manley Labs' standards.
The
Manley TNT is a remarkable and desirable tube preamp on one side and its equivalent in solid-state on the other side. These
are not simulations, not samples, nor are they a clone or a toy. It is really good ol' analog done right.
The first
request for the microphone preamp and what started the project, was two-part: 1) Provide the SLAM! Mic Pre, by itself at a
great price and 2) don't abandon the concept of a basic preamp where "one just plugs in a mic and it sounds great" (without
needing to adjust 6 controls). The solid-state side helps keep the price reasonable while providing a much bigger range of
colors and options and while there a few more knobs and switches, their action tends to be subtle and intuitive while difficult
to dial in a bad setting. You don't have to tweak, but if you want to, it's there without much possibility of going wrong.
Now there is a challenge: Give me a really useful range of colors because I don't want to buy 6 preamps, yet it's gotta be
fast and safe to operate, and not too expensive, please, but you had better give me Manley quality.
Of course, all
the usual front panel features: phantom power, phase switch, HP filters, LED overload and level indicators, and instrument
inputs are there. Phantom is soft-switched and shunt regulated for lowest noise. (There are 6 low noise shunt regulators,
and 5 standard regulators in the solid-state side). The High Pass Filter is an improved approach, but suffice it to say that
with it bypassed, the preamp is designed to have almost DC response (.01Hz) at all gain settings. The LED meter is set up
to indicate first and second stage clipping, even though the output is capable of greater than +30 dBu (70 volts peak to peak
into 50 ohms from the solid-state side actually!). Both the current mode and voltage mode preamps sport EIN (equivelent input
noise) numbers of 130dB, very close to the theoretical minimum noise possible. So this thing is gravely quiet!
And
for the true connoisseurs, the mic preamps don't suffer at the highest (80 dB) or lowest (10 dB) gain settings, however you
connoisseurs might be disappointed that this level of performance won't be exclusive and only available for the elite or very
wealthy.
Manley TNT 2-channel Mic Preamp Features:
- Versatile 2-channel analog microphone preamplifier
- Channel 1 has tube circuitry
- Channel 2 has "cool" solid-state circuitry
- Variable input impedance offers near-zero gain change
- Variable output transformer bypass switch
- Switchable overdrive effects
The perfect box for those or want lots of sonic options, or just want to plug in a mic and
have great sound.
Manley TNT 2-channel Mic Preamp Specifications:
- Tube Channel (Left Channel)
- Tube Channel Vacuum Tubes: 1 x 12AT7EH + 1 x NOS 6414 or 6414W
- Gain Range: +10 dB to +80 dB (20 to 70dB in 5 dB steps)
- Mic Input Impedance: 600, 2400, 10,000 Ohms
- Instrument Input Impedance: 300K,1Meg, 3 Meg Ohms
- Frequency Response: (-1 dB) 10 Hz to 30 kHz; (-3dB) 5 Hz to 45 kH
- THD & NOISE (1 kHz @ 20 dB gain): 0.035% typical (-68 dB)
- Noise Floor: -60 dB typical referenced to +4dBm
- EIN: -120 dB
- Signal to Noise @ 70 dB Gain: 95dB (TRIM has major effect)
- Maximum Output for 1% THD via BALANCED +4 XLR: 31 dBu
Cool Channel (Right or Solid State Channel)
- Gain Range: +10 dB to +80 dB (20 to 70dB in 5 dB steps)
- Mic Input Impedance: 300, 600, 2000, 2 Meg Ohms
- Instrument Input Impedance: 100K, 300K,1Meg, 3 Meg, 10 Meg Ohms
- Frequency Response: (-1 dB) 15 Hz to 30 kHz; (-3dB) 5 Hz to 50 kHz
- THD & NOISE (1 kHz @ 20 dB gain): 0.01% typical (-80 dB) (no distortion products measurable, noise dominates measurement)
- Noise Floor: -66 dB typical referenced to +4dBm
- EIN: -126 dB
- Signal to Noise @ 70 dB Gain: 85dB (TRIM has little effect)
- Maximum Output for 1% THD via BALANCED +4 XLR: 30 dBu; via UNBALANCED +4 output: 24 dBu; via UNBALANCED -10 output: 16
dBu
- Distortion @ 1K using 60' / 70's switch: 1.5% typical with LED onset (+4 dBu out)
- 3% typical with LED fully lit (+7 dBu out)
General
- Power consumption: 30 watts
- Operating mains voltage: Units' power transformers are wired for original destination country's mains voltage: 100V, 120V,
or 220-240VAC
- as indicated on the serial number badge. Power transformer must be rewired on the pcb in order to change mains operating
voltage. Fuse must be changed to appropriate value.
- Mains Voltage Frequency: 50 – 60Hz
- Fuse Values: @ 100 - 120V operation: 2A; @ 220 - 240V operation: 1A size: ¼" x 1 ¼" MDL or MDA SLO-BLO (time
delay) type
- Dimensions: 19" x 1¾" x 10" (occupies 1u)
- Weight: 11 lb.
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