SLAM! stands for "Stereo Limiter And Micpre" and also describes very well, which makes the device with the most VU meters.
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SLAM! stands for "Stereo Limiter And Micpre" and also describes very well what makes the device with the most VU meters. Manley had an extra pad in these limiters installed, which runterregelt the VU meters to 6dB, so that the needles will not be overused. Besides the impressive two limiters (actually four) and Class A tube mic preamps have the SLAM! also an unusual DI's, A / D and D / A-Wanler, VU and PPM!
... When speaking of classic limiters, one speaks now from LA-2A's, 1176's, 2264's ... What if all these sound now be combined in one unit - interested? Manley Electro-Optical combines the famous circuit with a fast FET-based limiter of some cool classics. In addition there's a side chain filter that eliminates low frequencies that the task can be easily and quickly lust. The "works and the" quality makes the device a favorite tool for any kind of vocals. The FET limiter has different characteristics, which both optimized the signal for digital recording as well as clean, crunchy, punchy and as loud as you want to allow recordings.
At the beginning of the SLAM! is the tube mic preamp in both channels, together with switchable phantom power and phase rotation. Sufficient gain is present in any case, up to 60dB and 20dB in the additional limiter - soft enough for a singer with ribbon microphones, casting a weak output level. Next to it is the input attenuator, such as a variable pad that also get your rock 'n' Roller no problems. Take right on to the DI input or your line signals broadcast in the SLAM!.
You want to process digital signals? No problem. On the rear is a slot for installing the optional 24-bit, 96kHz A / D converter and the 24-bit, 192kHz D / A converters. This allows you to record directly onto your computer or workstation and provides a digital insert back into the analog world. AES and SPDIF digital inputs convert your stereo signal for processing by the SLAM! When the digital input is activated. Or you take advantage of this killer-DAC's and need it for monitoring, interception or the control of other analogue equipment or tape recorders.
Get it LOUD ... two different limiters per channel:
The ELOP Limiter: The critically acclaimed Electro Optical Leveling Amplifer circuit, still the favorite for vocal recordings, is here with the new switchable sidechain high pass filter, which is very useful for mixes and other tracks. One of the most popular aspects of the original ELOP is the simple operation with only two pots, the Optimun for stressed-out engineers.
The FET limiter: This is a new FET based "brick wall" limiter that covers the range from clean to grunge. Exactly wofär FET limiters are so popular. The FET release gives you the ability to signal different color. There's even a clip-setting, which produces curves, as if you were always been there. Manley was first exposed to the sound, then experimented with circuits until came out, what you had envisioned. You can set the limiter, for example, with extremely short attack time and a long release for minimal results - or with faster release for crunch and extreme loudness. The attack is also unusual. It provides the sound quality of the historical brothers, but retains the zero Overspot "None Shall Pass" Brick Wall, which defines a real limiter. And it is punchy. As they say: Louder is better. The SLAM! optimized levels for A / D converter with "Balls", warm and loud to the "deterioration" or simply clean and safe.
Genial is now possible to both the ELOP and the FET limiter to do the same, depending on the effect you want to achieve. Each limiter has its own character and sound here and Manley limiter combines these two into a powerful world-class tool. Even the meters are suitable for both limiter, so you can keep an eye on each of the two Limiteraktionen.
The metering at SLAM! is exceptional. Two large VU meters show the full size raw inputs, the final output levels and gain reduction ELOP limiter in the traditional format. VU's are cool. Have you ever noticed how often Mastering Engineers need a switchable pad with VU's, because the optimized levels tend that the needle is always in the red. The SLAM! also has a switchable Pad VU of -3 or-6dB to eliminate this problem. He also has very fast multi-color LED's as the peak meter, which displays either the input, output, or the FET gain reduction. You can even change the colors of the LED's so that other devices can be seamlessly integrated into the chain.
The back panel should vote every happy: transformer balanced XLR's for inputs and outputs? Jacks for direct asymmetrierte ins and outs. Four TRS jacks for the Einschlaufen external EQ's in the Side Chains and again a connection for linking multiple units for surround. The optional 24 bit converters are brand new, and provide the lowest jitter, even with questionable sources. They can be synced externally and are 44.1, 48, 88.2, 96 and 192 kHz compatible. The RCA jacks are selectable for SPDIF and AES. The DAC output is always available. There's even a twisted way the SLAM! patch, so that the mic pre / ELOP feeding a EQ, which can then be attributed to the FET Limiter Side Chain or to feed the A / D converter. Sometimes Manley really thinks at all ... The SLAM! is also an ideal mastering tool. The FET limiter works great for mixtures and the ELOP has a high pass filter switch, which makes mastering the point.
Manley Mastering offers a version without mic preamps, with another pot feet and extra options. Manley compressors and EQs seem to be the busiest devices when it comes to mastering. The ultimate analog rack for the last major steps should be a SLAM! . Include Combine it with some digital processors of the same quality and you have respectable and very effective set of mastering. This Rack with some Manley Manley Mics is an ultimate recording chain. are devices that you need until your death.
- Vacuum tubes: 2 x 12AT7WA 2 x 6414 dual triodes - Manley coupled transformer 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? Micpre, 1Meg? DI - FET Attack approx. 100US; Release 10mS to 2sec; Ratio: better than 20:1 - ELOP Attack approx. 10mS for 6dB GR; Release 2.5 Sec; Ratio: 10:1 - AES 24Bit 192KHz upsampling from 44.1, 48, 88.2, & 96KHz - 96KHz 24-bit A to D (for now) - Frequency Response: 5Hz to 60KHz - Maximum Output: + 32dBm, +30 dBm (into 1K? load) - THD + N <.05% @ 1KHz Dynamic Range: 115dB typical - Output Impedance: 200?
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