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
optimize 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!
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 half way 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 "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. 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 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. This is gear you’ll want to keep for a
lifetime.
