Since its release in 1998, the Manley Massive Passive has shaped the sound of countless productions around the world. Numerous renowned producers and recording and mastering engineers from around the world use it to add their own signature sound to their productions. To celebrate the Massive Passive's 25th anniversary the XXV Anniversary Edition features an attractive cobalt blue face plate equipped with a custom laser engraved artwork and is limited to 100 pieces worldwide. Manley's Massive Passive is an equalization monster. You can expect the best strengths of Pultec-style equalizers as well as choice console, parametric, and graphic EQs - all the radical shaping you'll need for the most demanding of sessions as well as the delicate, subtle shadings needed for vocals and mastering. The 2-channel, 4-band Massive Passive features a passive tone-shaping portion of the equalizer design and uses only the best components, for its ultimately huge, high-headroom performance. Premium design with passive components As you can expect from Manley, no corners were cut with the design of the Massive Passive, and there's no unnecessarily complicated circuit - Massive Passive features basic passive components and uses only metal film resistors, film capacitors, and hand-wound inductors to sculpt the sound. And thanks to its more natural design, you can expect more natural, organic tone. 2-channel, 4-band EQ for everything from the radical to the subtle The Massive Passive equalizer excels at everything from the drastic shaping needed for tracking to the most subtle of shadings needed for affecting vocal tracks or the whole mix. Although different in nature, its 2-channel, 4-band design offers a tremendous amount of sonic sculpting, incorporating the best strengths of Pultecs, choice console EQs, graphic equalizers, and parametric equalizers - but it doesn't throw color all over the audio. Get creative with it, or get logical and surgical with it - the Manley Massive Passive is ready to make the most of whatever you toss its way. Five steep highpass filters and four steep lowpass filters The Manley Massive Passive is packed with five highpass filters and four lowpass filters, and you can bypass either or both. The filters are steep, so you can pull out the junk without touching the real music. It's also great-sounding when combined with other bands. Ultimately, Manley went for what's useful when designing the Massive Passive, not what's standard - it's a welcome design departure that produces seriously massive results. MANLEY POWER® Power Supply The MANLEY POWER® 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 Massive 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 Massive Passive a breeze.

Manley's GOLD REFERENCE MULTI-PATTERN microphone is simply one of the finest microphones that money can buy. The Gold Reference Series employs Manley's own design of large capsules measuring 1.25 overall, with a 1 diameter diaphragm. These are manufactured to precise tolerances by micro-milling machinery. Its capsule rings and back-plates are milled from solid brass. The gold diaphragm film is of German origin and tensioned using proprietary techniques by David Josephson to ensure capsule-to-capsule consistency. These production techniques, coupled with design flair and attention detail give Manley's Gold Reference Mic a response, speed, air, and superb ultra-high frequency performance for wonderfully accurate musical sounding recordings. The all-tube electronics in the Manley Gold Reference microphones are built around two triodes (12AX7WA) in cascade forming an entire gain-block. 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 versatility. It's possible to exactly tailor proximity effect to achieve a desired character. A very open weave stainless-steel grille for the capsule window allows all highs to reach the capsule unimpaired, so an engineer can 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. A locking 6-pin XLR connector for the 9 meter power supply cable carries the stringently filtered B+ and regulated heater voltages from the separate dedicated power supply. 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. A precision suspension system is provided with each unit (the capsule itself is mounted onto a neoprene-rubber shock-mount.) As the entire working body of the microphone can be removed for service in one piece from the housing, it is envisaged that the microphone need not be removed from its mount. The unit has a very useful swivel too, its T-bar handle and locking clutch action require no tools to adjust. Each Manley Gold Ref microphone is supplied with a leather capsule protector with soft velour lining 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 strong locking carrying-case.

Manley's 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 similar film thickness and construction, similar high frequency resonance (a little edge) similar proximity effect and good immunity from pops and sibilance problems, the Reference Cardioid closely emulates the sound of many vintage European tube mics such as the beloved Neuman U47. 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 relying on compression or perhaps boosting 5 or 10K to score a bit more testosterone, then the Manley Labs Reference Cardioid could just be the mic you have been looking for. Each REFERENCE MICROPHONE is packaged complete in a strong locking carrying-case including the external power supply, a 6-Pin micophone cable, a neoprene-rubber shock-mount and a leather capsule protector.

Manley's all-tube VOXBOX channel strip may well be your last stop voice processor, but it's also set to make the most out of virtually any source you throw its way. The VOXBOX shares its fully featured microphone preamplifier design with Manley's acclaimed Mono Microphone Preamplifier, offering a whole lot of headroom and Class A vacuum tube tone. What's more, the smooth compressor section is a perfect blend of Manley's best-selling Variable MU and the opto-design of their ELOP. All of these features, in addition to a flexible Pultec-style mid frequency equalizer, de-esser/limiter section, and stereo link function, make the VOXBOX a true sonic studio workhorse. All-tube signal path Since the late 1980s, Manley has been steadily focused on crafting premium, all-tube gear. In short, Manley really knows tubes - and the case is no different with the VOXBOX. This USA-made channel strip boasts all-tube, Class A circuitry, alongside the kind of exceptional, robust build quality you can expect from Manley. Fully featured microphone preamplifier section True to its name, the Manley VOXBOX is packed with a superb microphone preamplifier section. In fact, the preamplifier design arrives straight from Manley's popular Mono Microphone Preamplifier, giving you all the essentials for excellent, analog tone - whether you're going in via regular, balanced XLR, the balanced line input, or via the 1/4 front-panel direct input. You can use the variable input attenuator that's before the first tube stage to accommodate +4 line level signals or DIed instruments. Onboard, 48V phantom power is switchable from the front panel and an effective Bass Cut switch lets you pull out rumble. Finally, a clever gain switch lets you control how much feedback is introduced around the tube circuit, so you can achieve a wide variety of tones and amplification levels. Change tonal tube flavors quickly and easily as you dial in everything from the laid back and mellow to the up-front and aggressive - it's a great way to get creative and track down that perfect sound for each vocalist or instrument. Opto-compressor Manley borrowed features from both their best-selling Variable MU and the opto-isolator-based ELOP limiter to develop the VOXBOX's all-star compressor section. Manley also figured out a way to compress the signal before it hit the tubes - without adversely affecting distortion or frequency response. What this means for the VOXBOX, is that it can both prevent mic-pre clipping as well as eliminate entire stages of electronics, cutting your microphone's typical path in half - a huge advantage. Manley also pioneered a sidechain design, developing a Parametric Compression technique of using up to four different time constants simultaneously and controlling them with simple attack, release, and threshold controls. The VOXBOX's onboard presets are based on the Light Dependent Resistors of their fast ELOP limiter, the quick LA-2A, the slower LA-3A, and there are also various other complex and finely Manley-tuned settings. In all, you can expect fresh sounds from the VOXBOX's compressor - perfect for drums, bass, vocals, and more. In fact, it's even a great compressor to send your whole mixes through - just link up two VOXBOXes for an extremely sonically flexible stereo world. Pultec-style Equalizer Manley took their Pultec-style Mid Frequency Equalizer up a few notches when they added it to the VOXBOX. It's now extended to 33 frequencies in 3 bands, so it offers six new frequencies from 20-150Hz as well as six new frequencies from 6.4-20kHz. With real inductors and Class A circuitry, the VOXBOX's Equalizer is set to serve up that magical sound. An EQ input switch lets you patch in the line input, preamp output, or insert return. The switch also acts as a bypass switch for the preamplifier or external processors, for processing two different tracks. De-esser and Limiter section The VOXBOX's de-esser and limiter section gives you even more flexibility with the source. The peak limiter is based on the ELOP limiter design, and Manley added a passive LC network to take care of the de-essing. There are four carefully chosen notch frequencies - 3kHz, 6kHz, 9kHz, and 12kHz - to tame problematic frequencies. Plus, a fifth position offers up a LA-2A-style limiter - compress pre-EQ, then limit post-EQ. VU meter The Manley VOXBOX is packed with a full-size, illuminated Sifam VU meter. An included 5-position switch lets you switch between levels - monitor line input, preamp output, and final output audio levels as well as compressor gain reduction and the de-esser/limiter action. Innovative extras Manley gave the VOXBOX a few clever extras, making the VOXBOX perfect for both the studio and the stage. Welcome additions include a warm-up muting circuitry, extensive magnetic field containment, smart grounding, and silent switching.

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with mu meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression.

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with mu meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression. The Mid/Side mod option opens the door to stereo encoding and decoding as well as exciting image enhancement processing capabilities. For instance, setting to compress only the in-phase information allows the augmentation of the stereo image as the out-of-phase content is left untouched. Or, conversely, if you need a more-mono mix for broadcast, or vinyl-cutting for instance, you can set it to kill off more of the out-of-phase info which leaves more in-phase material in the final result. The T-Bar option brings back the sound of the 6386 tube used in the early versions of the Variable Mu and the Frairchild 670. It makes the Variable Mu even smoother when pushed past 6dB of compression. Using two matched 6BA6 pentodes strapped as triodes makes this choice better than an unobtainable & unsortable 6386.

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with mu meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression. The T-Bar option brings back the sound of the 6386 tube used in the early versions of the Variable Mu and the Frairchild 670. It makes the Variable Mu even smoother when pushed past 6dB of compression. Using two matched 6BA6 pentodes strapped as triodes makes this choice better than an unobtainable & unsortable 6386.

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with mu meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression. The Mid/Side mod option opens the door to stereo encoding and decoding as well as exciting image enhancement processing capabilities. For instance, setting to compress only the in-phase information allows the augmentation of the stereo image as the out-of-phase content is left untouched. Or, conversely, if you need a more-mono mix for broadcast, or vinyl-cutting for instance, you can set it to kill off more of the out-of-phase info which leaves more in-phase material in the final result.

Manley's Massive Passive is an equalization monster. You can expect the best strengths of Pultec-style equalizers as well as choice console, parametric, and graphic EQs - all the radical shaping you'll need for the most demanding of sessions as well as the delicate, subtle shadings needed for vocals and mastering. The 2-channel, 4-band Massive Passive features a passive tone-shaping portion of the equalizer design and uses only the best components, for its ultimately huge, high-headroom performance. Premium design with passive components As you can expect from Manley, no corners were cut with the design of the Massive Passive, and there's no unnecessarily complicated circuit - Massive Passive features basic passive components and uses only metal film resistors, film capacitors, and hand-wound inductors to sculpt the sound. And thanks to its more natural design, you can expect more natural, organic tone. 2-channel, 4-band EQ for everything from the radical to the subtle The Massive Passive equalizer excels at everything from the drastic shaping needed for tracking to the most subtle of shadings needed for affecting vocal tracks or the whole mix. Although different in nature, its 2-channel, 4-band design offers a tremendous amount of sonic sculpting, incorporating the best strengths of Pultecs, choice console EQs, graphic equalizers, and parametric equalizers - but it doesn't throw color all over the audio. Get creative with it, or get logical and surgical with it - the Manley Massive Passive is ready to make the most of whatever you toss its way. Five steep highpass filters and four steep lowpass filters The Manley Massive Passive is packed with five highpass filters and four lowpass filters, and you can bypass either or both. The filters are steep, so you can pull out the junk without touching the real music. It's also great-sounding when combined with other bands. Ultimately, Manley went for what's useful when designing the Massive Passive, not what's standard - it's a welcome design departure that produces seriously massive results. MANLEY POWER® Power Supply The MANLEY POWER® 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 Massive 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 Massive Passive a breeze.

SLAM! stands for Stereo Limiter and Micpre and SLAM! is a pretty accurate description of what this beast will do (if you want it to) to most VU meters. Manley's design team put a switch in to drop its internal VU meters 3 & 6dB to keep the needles from bending. It will get your tracks LOUD and it will get them LOUD fast (hence that exclamation mark). As well as featuring an amazing pair of (actually four) Limiters and Class A tube mic preamps, the SLAM! also has a masters degree in DI, plus doctorates in VU & PPM technology. Design being their forte, Manley's design team wisely decided to leave the complexities of advanced audio-related acronym research to experts in that field. The SLAM! was born. SLAM! is the aggregation of classic limiters like LA2s, 1176s, 2264s and others in one unit. Manley combined their favorite Electro-Optical circuit with a very fast FET based brick-wall limiter reminiscent of some of the old classics. They added a sidechain filter which can remove low frequencies, making it more useful for a variety of tasks, while retaining an easy, it just works quality that has made it a favorite for recording vocals in many studios. 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 just how clean crunchy punchy loud and proud you want it. Dual-channel tube microphone preamplifier On both channels of the Manley SLAM! you have tube microphone preamplifiers with switchable phantom power and phase reverse. Plus, the new tube circuit features up to 60dB of gain - and there's 20dB more gain available in the limiter, so you've got plenty of juice to handle low output ribbon microphones and soft singers. Apart from XLR microphones, you can give your line-level instruments a warm-up using the front-panel DI inputs. Electro-optical and FET-based brick-wall limiter The Manley SLAM! boasts two different and distinct limiters - available simultaneously or separately on each channel. Manley's famous electro-optical circuit, found on their ELOP, is onboard - plus it features a convenient sidechain highpass filter. Offering two knobs, the ELOP is easy to use. There's also a fast FET-based brick wall limiter onboard as well that delivers everything from ultra-clean to gravelly - just as you'd expected from an FET limiter. The Release control lets you dial in a host of colors, and a Clip setting allows for an extremely round shape. Use both limiters at the same time to get as much of each effect as you like. Excellent VU metering With Manley's SLAM! you can meter raw input levels, the final output levels, and ELOP Limiter gain reduction, so you can keep an eye on what's going on. Plus, there's a switchable pad on the VUs at 0, -3dB and -6dB so you can keep the needles from going in the red when you're mastering. In addition, there are fast and accurate multicolor LED ladder peak meters that let you know the input and output levels as well as the FET gain reduction. The LED meters do Peak, Peak Hold timed, and Peak Hold until reset. You can also manually set where the bars change colors, to match up the SLAM! with your other gear. Flexible I/O On the back panel of the Manley SLAM! you have plenty of I/O to work with. Transformer-balanced I/O and 1/4 phone jacks are onboard. In addition, four TRS jacks allow you to insert external equalizers into the sidechains. Another input allows linking multiple units for surround purposes.

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with mu meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression. The Manley Variable Mu Mastering Version uses detented switches instead of pots and let you easily dial up or log favorite settings.

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with mu meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression. The Manley Variable Mu Mastering Version uses detented switches instead of pots and let you easily dial up or log favorite settings.

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 Manley’s 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!

SLAM! stands for Stereo Limiter and Micpre and SLAM! is a pretty accurate description of what this beast will do (if you want it to) to most VU meters. Manley's design team put a switch in to drop its internal VU meters 3 & 6dB to keep the needles from bending. It will get your tracks LOUD and it will get them LOUD fast (hence that exclamation mark). When it comes to classic audio gear, especially classic limiters, many engineers still go misty eyed at the thought of LA2s, 1176s, 2264s and others. Part of the design brief for the SLAM! team came from posing a question What if those sounds could be achieved in one stereo tube unit? SLAM! is the aggregation of classic limiters like LA2s, 1176s, 2264s and others in one unit. Manley combined their favorite Electro-Optical circuit with a very fast FET based brick-wall limiter reminiscent of some of the old classics. They added a sidechain filter which can remove low frequencies, making it more useful for a variety of tasks, while retaining an easy, it just works quality that has made it a favorite for recording vocals in many studios. 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 just how clean crunchy punchy loud and proud you want it. The SLAM! Mastering Version offers a step beyond the original SLAM!, with no mic preamps, dedicated mode switches for the ELOP and FET limiters and additional ELOP limiting ratios and FET limiter modes. The ELOP® limiter has 5 ratios, which may put it into the compressor / limiter category. You'll find the lower ratios better suited to complex mixes. The FET limiter has 5 modes (50%, NORM, LP Lim, BOTH and CLIP). The output level knop is placed before the FET-Limiter so you can set the peak-stop threshold and adjust the incoming level. All pots are replaced with rotary switches for detented resets and easier calibration. The unit has two bypass functiona. A true hard-wire bypass and a Limiter bypass with the tubes and transformers still active. There are dedicated unbalanced transformerless inputs and a switch on the back of the unit selects XLR or 1/4” jack inputs. The SLAM! is designed primarily as an old school text book limiter and as such the Output Level knob is not after the final FET limiter. The idea is to More fun is to be had adjusting the Input and Output Level controls than the Thresholds, which can often just be thought of as set and forget especially if the FET Attack time tends to live in one setting. The Output level is not a gain make-up control typical of a compressor but consider it as another Input level before the FET and after the ELOP...

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with mu meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression. The Mid/Side mod option opens the door to stereo encoding and decoding as well as exciting image enhancement processing capabilities. For instance, setting to compress only the in-phase information allows the augmentation of the stereo image as the out-of-phase content is left untouched. Or, conversely, if you need a more-mono mix for broadcast, or vinyl-cutting for instance, you can set it to kill off more of the out-of-phase info which leaves more in-phase material in the final result. The Manley Variable Mu Mastering Version uses detented switches instead of pots and let you easily dial up or log favorite settings.

The Manley Massive Passive Mastering Version equalizer features a simple, passive design - not a standard parametric design - for more natural, organic shaping. It also offers mechanically detented knobs for both Gain and Bandwidth controls, so you can easily repeat your settings. On the Massive Passive Mastering Version, both the Gain and Bandwidth controls intentionally interact, and the bands interact, as well - this creates an incredible-sounding result without sounding colored or processed. Also, both higher and lower than the normal version, the Manley Massive Passive Mastering Version's filters are tailored to mastering purposes. Premium design with passive components As you can expect from Manley, no corners were cut with the design of the Massive Passive Mastering Version, and there's no unnecessarily complicated circuit - Massive Passive Mastering Version features basic passive components and uses only metal film resistors, film capacitors, and hand-wound inductors to sculpt the sound. Mechanically detented knobs Your settings are completely loggable on the Manley Massive Passive Mastering Version. Manley found a way to mechanically detent the Gain and Bandwidth controls, ensuring repeatability - without adding the extra cost and space problems that Grayhill switches would have caused. Gain and Bandwidth controls interact, as do the bands On the Manley Massive Passive Mastering Version, both Gain and Bandwidth controls intentionally interact, as do the parallel-design bands. You can boost a band while boosting another band at that frequency for minimal change - on most equalizers, the two bands add - so you boost into clipping. Due to this interaction, predictable step sizes are unrealistic - but the settings are repeatable when logged - and the interact bands contribute to the Massive Passive Mastering Version's excellent sound. Specially tweaked for mastering The Manley Massive Passive Mastering Version is tailored to mastering needs. Its filters are both higher and lower than the regular Massive Passive. In addition, the Master Gain Trim Controls are true 11-position, 1/2dB, stepped Grayhill switches ranging between -2.5 to +2.5dB of trim, making left/right matching and calibration easier. MANLEY POWER® Power Supply The MANLEY POWER® 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 Massive 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 Massive Passive a breeze.

The renowned Manley Stereo Variable Mu Limiter Compressor is a favorite of producers and recording engineers. Anyone who has heard the classic Fairchild 670 Series limiters in action has an idea of this Variable Mu's capabilities. Its adjustable attack and release settings are optimized for mixing and mastering, but are flexible for most tracking situations. Sonically versatile and dependable for daily use, the Variable Mu is Manley's best-selling device. Classic compression/limiting Although the Variable Mu is not a clone of one, the Fairchild 670 series used a similar limiting principle and those who are familiar with that piece of gear know this method to be very special. In fact, with mu meaning gain or amplification factor, the Variable Mu offers true variable gain, unlike most devices. How it works is that the unique 5670 dual trioide is at the center of the peak-reducing and compression action - and it's constantly being re-biased by the vacuum tube rectified side-chain control voltages. This causes the tube to smoothly change its gain. The Varible Mu's Compress mode is soft-knee 1.5:1 ratio while the sharper knee Limit mode starts at 4:1 and moves to a more dramatic ratio of 20:1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Outputs while using very little or no compression. Perfect for dual-mono or stereo applications You might notice that the Vari-Mu has a ganged input control, but it's certainly not mono-unfriendly. There are separate threshold and output controls to make compensations with, plus you can always adjust your individual source levels elsewhere. The advantage of the stereo input control becomes clear when you switch to Link mode, and that's what the Variable Mu does better than anything else: final mix, 2-track, or mastering limiting and compression. The T-Bar option brings back the sound of the 6386 tube used in the early versions of the Variable Mu and the Frairchild 670. It makes the Variable Mu even smoother when pushed past 6dB of compression. Using two matched 6BA6 pentodes strapped as triodes makes this choice better than an unobtainable & unsortable 6386. The Manley Variable Mu Mastering Version uses detented switches instead of pots and let you easily dial up or log favorite settings.

Manley FORCE™ is a four channel vacuum tube microphone preamplifier extracted from the hugely popular and award winning Manley CORE®, housed in an exquisitely gorgeous chassis. FORCE incorporates the same proprietary hand-wound Manley Iron® mic input transformers and 12AX7 vacuum tube amplifying stage operating from 300 V rails. Each channel includes a high-impedance, ¼” instrument input as well as an XLR microphone input. On the front, each channel features a 120 Hz high-pass filter, variable input-level pad, phase invert, selectable +48V phantom power, and a high/low gain switch. The CNC machined faceplate features seven-way LED metering for each channel providing instant visible feedback for audio levels. The universal power supply accepts any voltage or frequency from anywhere in the world facilitating travel for international recording projects. As with all Manley gear, each unit is painstakingly hand-wired using silver solder and audiophile-grade components, and hand-built in California. The Manley Force: a killer mic pre, times four!

The Manley Mid Frequency EQ is especially useful for midband oriented instruments such as guitars, vocals, woodwinds, and violins, the mid frequency enhanced Pultec EQ (MEQ-5 type) shares the same features and specifications as the ‘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. The MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of the Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering.

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!

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.

Manley labs are the only authorized users of the original Western Electric passive EQ circuitry previously licensed to Pulse Techniques, Inc. (PULTEC) This is the circuitry found in the much loved (and now much sought after) antique Pultec units. 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. Manley's compact 1U units occupy a third of the space of an 'antique' Pultec, an important consideration for allocation of outboard rack space. And Manley have added a couple of extra frequencies as well. A 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. The new Manley Pultecs sound sound like the old Pultecs and better. The originals had three transformers in the signal path, now Manley units can be used completely transformerless. The Manley Enhanced Pultec has a superior B+ power supply, with regulated and balanced heater supply. Its line amp is known to be one of the best sounding. The Stereo Manley PULTEC EQP-1A uses 1 x 12AU7WA and 1 x 6414 in an all tube single-ended line amplifier for gain make-up and extra warm sound. Gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like their 40dB Mic Preamps, Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interfacing and sonic variety. With the individual Low Frequency BOOST and CUT controls in the LF shelf circuit it is easy to fix problems with bass drums. For more clarity the lovely middle bell-shaped boost with variable bandwith does the right thing and unpleasend HF can eased off with HF shelf cut. Only a Pultec sound like a Pultec.

Manley labs are the only authorized users of the original Western Electric passive EQ circuitry previously licensed to Pulse Techniques, Inc. (PULTEC) This is the circuitry found in the much loved (and now much sought after) antique Pultec units. 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. Manley's compact 1U units occupy a third of the space of an 'antique' Pultec, an important consideration for allocation of outboard rack space. And Manley have added a couple of extra frequencies as well. A 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. The new Manley Pultecs sound sound like the old Pultecs and better. The originals had three transformers in the signal path, now Manley units can be used completely transformerless. The Manley Enhanced Pultec has a superior B+ power supply, with regulated and balanced heater supply. Its line amp is known to be one of the best sounding. The Manley PULTEC EQP-1A uses 1 x 12AU7WA and 1 x 6414 in an all tube single-ended line amplifier for gain make-up and extra warm sound. Gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like their 40dB Mic Preamps, Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interfacing and sonic variety. With the individual Low Frequency BOOST and CUT controls in the LF shelf circuit it is easy to fix problems with bass drums. For more clarity the lovely middle bell-shaped boost with variable bandwith does the right thing and unpleasend HF can eased off with HF shelf cut. Only a Pultec sound like a Pultec.

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.