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2-way bass-reflex bi-amplified nearfield studio monitor
₹48,000.00
16-channel Analog Automation System with Digital Control
₹148,724.00
Stereo/Dual Mono Bus Compressor with Digital Control
₹231,395.00
₹242,648.00
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1-channel Tube Compressor, with Side-chain Highpass Filter and Stereo Link Capability
₹128,056.00

Manley

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Multi-pattern tube microphone with CK12-style American-made capsule, open grille
₹0.00
American built capsule, mic grade 5670 vacuum tube
₹0.00
Manley Enhanced Pultec EQP1A EQ Single Channel
₹0.00
All-Passive tone sculpting circuitry
₹0.00
Incorporating detented and logable 1/2dB steps built with 1% metal film
₹831,900.00
Stereo EQ with phase reverse with Manley input transformer
₹0.00
Class A tube based, all-in-one reference channel strip
₹218,300.00
Stereo Limiter Compressor
₹0.00
Works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression
₹0.00
Classic Dual Mono Microphone Preamplifiers
₹0.00
Single channel Mid Frequency EQ
₹224,200.00
4 channel valve microphone pre-amplifier
₹241,900.00
Manley Reference Cardioid Tube Microphone (Manley Reference Cardioid Tube Microphone)

Manley Reference Cardioid Tube Microphone

All the high-quality electronics of Manley's Gold Reference Series, but with a center-fixed cardioid-only capsule and a thicker gauge gold sputtered diaphragm.

The Manley 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 the similar film thickness and construction, similar high frequency resonance (a little edge), similar proximity effect and pretty good immunity from pops and sibilance problems, the Reference Cardioid more closely recalls how many of the vintage European tube mics such as the beloved U47 sounded like when they were new.

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 leaning on your compressors and boosting 5 or 10K to score a bit more testosterone, then the Reference Cardioid just might be the mic you’re looking for to cure what ails ya. If you seem to be constantly boosting 12-18K and trying to get a clean, intimate sound, then probably the Reference Gold would be the safest bet.

Reference Cardioid Microphone Features

  • All-Tube triode design 12AT7 (2011 build. Previous versions used 12AX7 and 6072.)
  • -10 dB switchable pad
  • Frequency response: 10Hz-30KHz
  • Sensitivity: 17mV/Pa
  • Noise typically -120dB EIN
  • Max SPL: 150dB
  • Actual output impedance 200 Ohms
  • Weight: 2.25 lbs (mic)
  • Weight: 2.5 lbs (PSU)
  • Size: 4.5" x 9.7" x 4.5" (mic)
  • Size: 5" x 8.2" x 3.4" (PSU)
  • Shipping weight: 15 lbs
  • Selected matched pairs available
  • 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 internal jumpers and fuse value change.
  • Mains Voltage Frequency: 50~ 60Hz
  • Mains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operation
  • Power Consumption: 70mA @ 120V = 8.4 Watts
Cardioid Microphone
₹0.00
Manley Reference Mono Gold Microphone (Manley Reference Mono Gold Microphone)

Manley Reference Mono Gold Microphone - Multi-Pattern Tube Mic

Multi-pattern tube microphone with CK12-style American-made capsule, open grille, and continually adjustable pickup pattern - hear deep into a room, capturing nuances and subtleties.

The Manley Reference Mono Gold Microphone is a statement, quite simply, of the finest microphones that money can buy in the pursuit of truly accurate musical recordings. The Gold Reference Series employ Manley's own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery available today in California. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, "air", and superb ultra-high frequency response you have only dreamt about.

The all-tube electronics in the Manley Gold Reference Multi-Pattern Microphone are built around two triodes in cascade forming an entire gain-block. Manley switched to a dual-triode 12AT7 tube, easily obtainable and replaceable, mounted in a ceramic socket. The 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 this mic’s versatility.

Gold Reference Multi-Pattern Microphone Features

  • All-Tube triode design 12AT7 (2011 build. Previous versions used 12AX7 and 6072.)
  • -10 dB switchable pad
  • Frequency response: 10Hz-30KHz
  • Sensitivity: 17mV/Pa
  • Noise typically -120dB EIN
  • Max SPL: 150dB
  • Actual output impedance 200 Ohms
  • Weight: 2.25 lbs (mic)
  • Weight: 2.5 lbs (PSU)
  • Size: 4.5" x 9.7" x 4.5" (mic)
  • Size: 5" x 8.2" x 3.4" (PSU)
  • Shipping weight: 15 lbs
  • Selected matched pairs available
  • 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 internal jumpers and fuse value change.
  • Mains Voltage Frequency: 50~ 60Hz
  • Mains Fuse: 250mA @ 100~120V; 125mA @ 220~240V operation
  • Power Consumption: 70mA @ 120V = 8.4 Watts
Multi-pattern tube microphone with CK12-style American-made capsule, open grille
₹0.00
Manley Reference Silver Microphone (Manley Reference Silver Microphone)

Manley Reference Silver Microphone - Multi-Pattern Tube Mic

Inspired by the Sony C-37A, the Manley Reference Silver Microphone features an American built capsule, mic grade 5670 vacuum tube, Manley IRON® transformers, and a low-noise switch mode power supply, making the Manley Reference Silver Microphone a studio workhorse.

The Manley Reference Silver Microphoneis inspired by the 1950s classic Sony C-37a microphone, and features a fantastic recreation of the C-37’s C-3 capsule by California capsule maker David Josephson. This new capsule features an adjustable acoustic chamber on the rear of the capsule for the user to switch between Cardioid and Omni pickup patterns. This distinctive capsule is the heart of the rich and creamy tone that the Manley Reference Silver Mic delivers today, and reliably with a five year factory warranty. The old SONY mics are super-rare at this point, if you can find a decent working example of one!

Inside the mic, Manley are utilizing a different circuit from their other two microphones. The fragile high impedance signal from the capsule first hits a FET sitting underneath the mic grade 5670 vacuum tube’s cathode which then amplifies the signal into a more robust voltage that a hand-wound Manley IRON® microphone output transformer sends out to your microphone preamplifier.

Sonic character of the Reference Silver is on the rich and warm side. You'll find this microphone stunning with female vocals and saxophones, with a round character that is never sibilant or boxy. A brass section will sound rich and cohesive. This microphone with its bountiful and warm middle tonality also is a natural for drum overheads where you might have too much brightness off the cymbals from other microphones. It is a very classic sounding microphone, which is to be expected since its innovative capsule design harkens back to the 1950s. Use the Manley Reference Silver Microphone where you might be thinking about a ribbon, and use it with confidence!

The trailblazing power supply is a brand-new derivative of Manley's wildly successful SMPS already in use in the Manley CORE® Reference Channel Strip, Manley FORCE® 4-channel microphone preamplifier, and Manley Nu Mu and ELOP+ Stereo Limiter Compressors. This power supply was designed for Manley, designed for vacuum tubes, and designed especially for audio fidelity. Numerous listening comparisons again prove the sonic superiority of this power supply. All lines are regulated, all rails come out at super-low impedance, and there is zero 50/60 Hz ripple component present in the chassis as the module runs at a much higher frequency well above the audible range. It is an efficient design in the high 90th percentile, and it functions it any mains input voltage from 90 to 250 V AC meaning no reconfiguration is necessary when traveling around the world. Just plug it in! It is a well-smart invention light years ahead of older linear power supply designs.

Manley's proprietary precision suspension system is provided with each Reference Microphone (the capsule itself is mounted onto a rubber shock-mount.) Because the entire working "guts" of the microphone may be removed for service in one piece from the housing, it is envisioned that the microphone need not be removed from the suspension. There is also a very useful swivel design with every REFERENCE MICROPHONE; its T-bar handle and locking clutch action require no tools to adjust. And no MANLEY microphone would be complete without a genuine leather capsule protector 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 rugged carrying-case.

Like the other Manley Reference Microphones, all of the metalworking and construction is hand-assembled in the USA by Manley's experienced staff in their Chino, California factory, located just 35 miles east of Los Angeles. We are sure you’ll love the organic nature of the intriguing artistic finish of the Silver Microphone as it will remind you about how natural and alluring the sound of this microphone is.

Manley Reference Silver Multi-Pattern Microphone Features

  • Condenser Microphone Transducer
  • USA Hand Made Capsule by Josephson Audio
  • Capsule is based on the Vintage Sony C-37A
  • Single-Sided Large Diaphragm Capsule
  • 5 Micron Evaporated Gold Diaphragm
  • Dual Pattern Cardioid or Omni Directional
  • Adjustable Vent on the Backplate Changes the Pattern
  • 5670 Internal Vacuum Tube Head Amplifier
  • Constant Current Source for Tube Minimizes Noise and Tube Selection
  • Hand Wound Nickel Core Manley Iron Output Transformer
  • Custom Designed Outboard Switched Mode PSU
  • Supplied with Manley X-Cradle Suspension
American built capsule, mic grade 5670 vacuum tube
₹0.00
Manley Enhanced Pultec EQP1A EQ Single Channel (Manley Enhanced Pultec EQP1A EQ Single Channel)
Manley Enhanced Pultec EQP1A EQ Single Channel
Manley Enhanced Pultec EQP1A EQ Single Channel
₹0.00
Manley Massive Passiv (Manley Massive Passive EQ Dual Channel - Mastering)

MASSIVE PASSIVE MASTERING EDITION

The Massive Passive is a passive design and not a "true parametric". A true parametric implies non-interacting controls. In the Massive Passive, the "GAIN" and "BANDWIDTH" controls DO interact (on purpose). We cannot create a "GAIN" switch that is set up for "consistent" 1/2 dB steps. When you change the "BANDWIDTH" the step size must and will change. On the regular version, you get a full 20dB boost or cut only when: the bandwidth is fully clockwise (narrow) in bell mode or fully counter-clockwise in shelf mode.

Here on the Mastering Version, this maximum boost or cut is 11dB. Conversely at the widest bell, the maximum boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A similar situation is also true for the bandwidth detents. So in this new Mastering Version, do not expect a certain dB change per step as it will vary according to where the bandwidth is set. But whatever the step sizes are, they will be repeatably 16 steps. The FREQUENCY select is already detented as it is and always has been a Grayhill switch. It also interacts in shelf mode.

On a similar note, the Massive Passive is a "parallel design" and not the conventional "series design". This means the bands interact with each other too. It is possible, to set a band to boost 20 dB but if another band is boosting near or at that frequency, very little will happen. On a conventional EQ the two bands "add" and you would be boosting 40 dB into clipping. Because the bands interact, predictable step sizes are unrealistic, however, with the Mastering Version, you will be able to repeat settings (if you log them of course). The price paid for interacting bands, is a better sounding EQ and bizarre looking settings (on purpose).

Unlike virtually every other EQ, the Massive Passive allows much more EQ without sounding "processed". Where 5 or 6 dB is about all one could attempt with other EQs in mastering, the Massivo amazes engineers with how much EQ they can do and get more "natural" results at the same time. We could have squeezed 11 position Grayhill switches in the modules if we had wanted 1/2 dB steps but then the maximum range would have become only 5.5 dB. Remembering what we stated above, the minimum range would then become about 1.5 dB with approximately 0.2 dB steps. This approach would have essentially thrown away most of the useful range the unit is capable of. Going with these special mechanically detented knobs which use the same pots underneath that the normal Massivo uses, we get nearly all the range of the normal version, but with the repeatability of the detents.

We have also custom tailored the FILTERS in the Mastering Version specifically for Mastering purposes, moving them lower and higher than the normal version, with mastering engineers specifically in mind. If you are looking for drastic effects (like telephone sounds) then get the normal version. These filters are really geared for mastering engineers.

Additionally, the Master Gain Trim controls in the Mastering Version are true 11 position 1/2 dB stepped Grayhill switches set up for a range between -2.5 to +2.5 dB of master gain trim. This allows more confidence in left/right matching and calibration.

SPECIFICATIONS

  • Ins & Outs Balanced XLR & 1/4" (accepts unbalanced)
  • Level +4 dBu nominal, internal switches for -10 operation
  • Bypass Switch bypasses EQ & tube circuits (not hardwire)
  • 44 Frequencies (roughly 1/4 octave spacing)
  • Frequency Range: 22 Hz to 27 Khz
  • EQ Boost/Cut Range : 20 dB boost, 20 dB cut
  • Nominal Q range: 1.5 to 3 (uniquely active in shelf modes)
  • Frequency Response: +/- 2 dB: 8 Hz to 60 KHz
  • Maximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 Hz
  • THD & Noise (1KHz @ +4 dBu): 0.06%
  • Noise Floor (referred to +4dBu): -85 dB (A Weight)
  • Dynamic Range: 120 dB
  • Tube Complement: 2 x 12AX7 EH, 4 x 6414 for serial MSMPX### after 2/2004
  • Tube Complement: 2 x 5751, 4 x 6414 for serial MSMP### until 2/2004
  • Power Consumption (120/240VAC): 72 watts
  • Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.
  • Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.
  • Mains Voltage Frequency: 50~ 60Hz
  • Size (3U): 19" x 5.25" x 10"
  • Weight: Unit 21 lbs.

Massive Passive Features

  • All-Passive tone sculpting circuitry
  • Unique Shelf curves use the "bandwidth" control
  • Overlapping and Interleaved Frequency choices
  • Every band switchable to shelf or bell
  • Vacuum tube make-up gain and line drivers
  • Parallel symmetrical topology
  • Premium components throughout
  • HP and LP Filters plus gain trims.





All-Passive tone sculpting circuitry
₹0.00
Manley SLAM Mastering Version Stereo Limiter, Microphone Preamp Analogue I/O (Manley SLAM Mastering Version )

The Mastering Version of the SLAM! incorporating detented and logable 1/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is in full production

Manley SLAM Mastering version differences to the normal SLAM

First off: no microphone preamps. You mastering engineers certainly don't need those.
The mic pre and input select switch are removed and the switches become dedicated "mode" switches one each for the ELOP and the FET limiters.

1) The ELOP limiter gets more Ratios - 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.

2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP. 

The "50%" setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain 'reads' off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix.

The "LP Lim" setting only comes into play for hot signals and reduces the depth of gain reduction for high freqs. This translates to - hot signals + moderate gain reduction = brighter, more present signal, less distortion, more balls. This mode allows more high frequencies to pass through without being limited.

The "CLIP" setting introduces a fixed threshold clipper circuit set up about -2 dB DFS or +18 dBv at the XLR. Within normal usage "CLIP" generally prevents outputs from passing beyond +18 dBv, and 97% of the time, clips in a controlled fast-recovery manner before a converter would (in generally a less than desirable sounding way).

Finally, the "BOTH" setting on the FET limiter engages both the "LP Limit" and the "CLIP" functions at the same time. This might be appropriate for metal and projects demanding intense volume. The "BOTH" mode is designed for situations where extreme processing and loudness is required but where attack, brightness and aggressiveness needs to be preserved or enhanced.

3) The LEFT blue erstwhile-"limit" button becomes a master stereo LIMIT bypass switch here in the Mastering Version. When it is not engaged, it becomes a true hard-wire bypass (This was not possible on the mic preamp regular version obviously).

4) The Right blue button becomes the DAC select switch (stereo).

5) The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1/4" jack input select in this new mastering ersion.

6) No pots. All knobs in the Mastering Version are detented in mostly 1 dB steps, with some appropriate 1/2 dB and 2 dB steps, right where they should be.

More than that, I really like the way it seems to work and sound and generally prefer it to the normal version for stereo tracks. There is a lot less fiddling involved to maintain L/R balances and the new modes are subtle but fun. Easy to make just about anything sound better.

SLAM Mastering Specifications

  • 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
  • Gain: 20dB max Limiter Gain
  • Input Impedance:
  • FET Limiter: Attack: approx. 100mS; Release: 10mS to 2Sec; Ratio: better than 20:1
  • ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1
  • DAC: AES 24Bit 192KHz upsampling from 44.1, 48, 88.2, & 96KHz
  • A to D: 24Bit 96KHz (for now)
  • Frequency Response: 5Hz to 60KHz
  • Maximum Output : +32dBm, +30dBm
  • THD+N: <.05% @ 1KHz
  • Dynamic Range: 115dB typical
  • Output Impedance: 200 ohms
Incorporating detented and logable 1/2dB steps built with 1% metal film
₹831,900.00
Manley Enhanced Pultec EQP1A EQ Dual Channel (Manley Enhanced Pultec EQP1A EQ Dual Channel)

MANLEY LABORATORIES is the only authorized user of the original Western Electric passive EQ circuitry previously licensed to Pulse Techniques, Inc. found in the well-known antique Pultecs.

The MANLEY PULTEC EQP-1A, now available in both single and 2-channel versions, uses 1 x 12AU7WA and 1 x 6414 in our ALL-TUBE single-ended line amplifier for the gain make-up and extra-beefy sound; gain is factory set for unity but additional gain is available by a rear mounted feedback adjustment trimpot. Like the 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.

EQP-1A Enhanced Dual Channel Features

  • MANLEY input transformer with pure nickel laminations potted in mu-metal case. 3K ohm input Z
  • PHASE REVERSE switch for balanced XLR input
  • Alternate transformerless 1/4" HI-Z (5K ohm) input
  • BYPASS switch & AUTO-MUTE w/warmup delay
  • Silent conductive plastic BOOST & CUT controls
  • Sealed gold-contact Greyhill frequency select switches
  • Hi-current drive 50 ohm LO-Z XLR & 1/4" outputs
  • Balanced Transformer Coupled XLR Outputs
  • Flat frequency response from 10Hz-70KHz
  • <0.01% THD @ 1Khz
  • S/N Ratio: 116 dB
  • Adjustable FEEDBACK / GAIN: Unity A±5 dB
  • Max. output: +30 dBv
  • Power consumption: 18 watts
  • Operating mains voltage: Units are purpose built for original destination country's mains voltage: 100V, 120V, or 220-240VAC
    as indicated on the serial number badge. Power transformer must be replaced in order to change mains operating voltage.
    120VAC units may NOT be rewired to put the primaries of the power transformer in series for 220-240V operation or a large radiated field of hum will develop. If changing locations/voltages, the power transformer must be replaced with the dedicated one for the voltage at which it will operate.
  • Mains Voltage Frequency: 50~ 60Hz
  • Dimensions: 19" x 1 3/4" x 10" (occupies 1u)
  • Shipping weight: 12 lbs.
Stereo EQ with phase reverse with Manley input transformer
₹0.00
MANLEY VOXBOX TUBE MIC PRE OPTO COMPRESSOR PULTEC EQ DE-ESSER LIMITER (MANLEY VOXBOX TUBE MIC PRE OPTO COMPRESSOR )

The Manley Voxbox is primarily a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and well thought-out ergonomics. Full of features, timeless style, robust build quality, and that world-famous "Manley Sound"

Mic Pre Amp Section

The preamplifier is a clone of a highly regarded and popular mic pre: the Manley Mono Microphone Preamplifier! The mic input transformer is Manleys own design wound in-house at the Manley Labs factory. High current 48V Phantom power is switchable from the front panel. A simple and effective passive BASS CUT switch kills rumble and reduces popping.

Compressor Section

This cool compressor design is the result of blending the control ideas in our best selling Variable MU Compressor Limiter with the opto-isolator approach of the Manley ELOP Limiter. We figured out how to compress the signal before it hit the tubes with no detrimental effect on distortion or frequency response. This way, it can prevent mic-pre clipping and eliminate whole stages of electronics. This cuts the typical path of mic to tape in half! We also pioneered new thinking in the sidechain. Rather than compromise, we developed a technique of using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls.

EQ Section

EQ SECTION: Lots of people requested that we include the Pultec Mid Frequency Equalizer in the VOXBOX, but they wanted MORE.... Now we've extended it to 33 frequencies in 3 bands with 6 new frequencies from 20 Hz to 150 Hz, and 6 more in the highs from 6.4 KHz to 20 KHz. Ever notice that only EQs with real inductors have the bottom end magic or that only Class A circuitry can keep the top end sweet? This is for you. The EQ INPUT switch patches in the Line Input, Preamp Output, or the INSERT return.

De-Esser and Limiter Section

Designed by folks with admittedly large gaps between their two front teeth, (Hutch and EveAnna) the VOXBOX combo also includes a de-esser & peak limiter based on our original ELOP Limiter design but with an added passive LC network to handle the de-essing four carefully chosen notch frequencies from 3KHz to 12KHz. The fifth position gives you a limiter which totally mimics the famous LA-2A. This means you can both compress pre-EQ then limit here post-EQ. Another cool feature is the ability to insert this de-esser silently and smoothly as the music plays, using it as needed

The Meter

The Meter is a full size illuminated Sifam VU meter. A five-position switch shows three audio levels: the line input, the preamp output and the final output. It also shows compressor gain reduction and the de-esser/limiter action. Other clever innovations incorporated into the VOXBOX combo include warm-up muting circuitry, extensive magnetic field containment, smart -grounding, and silent switching. The sum-total is more than the separate parts: consider the reduced patching, the short path to tape and you having this much immediate control.

VoxBox Features

  • MANLEY transformers with nickel laminations in mu-metal cases
  • 2 Kohm MIC INPUT Z w/High current 48V Phantom power built-in
  • Hi-Z (100K) Direct Instrument Input
  • LINE & INSERT INPUTS (balanced XLR & 1/4")
  • PREAMP & EQ outputs LO-Z (50W)
  • Transformer balanced XLR outputs
  • Transformerless unbalanced 1/4"outputs
  • STEREO LINK for Compressor & De-esser/Limiter
  • SIDE CHAIN MONITOR for De-Esser
  • Large ILLUMINATED Sifam METER with FIVE readout modes
Voice processor
₹442,500.00
MANLEY VARIABLE MU STEREO COMPRESSOR MASTERING VERSION DETENTED (MANLEY VARIABLE MU STEREO COMPRESSOR MASTERING VERSION DETENTED)

The Manley Variable MU Stereo Compressor Limiter compressor has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression.

The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.

The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 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 Output while using very little or no compression. See the gain reduction curves here!

You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression.

Variable MU Limiter Features

  • MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHz
  • BALANCED INPUTS & OUTPUTS (600 ohms)
  • Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044, & 12AL5 per channel
  • Independently regulated B+ and Heater supplies
  • Hard-wire BYPASS switch
  • Silent conductive plastic dual INPUT attenuator
  • RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.
  • Variable ATTACK: 25msec-70msec
  • Continuously variable THRESHOLD
  • LIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)
  • Large ILLUMINATED Sifam METERS
  • STEREO LINK SWITCH
  • Several units can be linked for Surround (custom order )
  • Maximum gain: 35dB
  • Max. output: +30dBu (26Vrms) 26dB Headroom
  • <0.1% THD @ 1KHz Noise floor: -85dB typical
  • Power Consumption (120/240VAC): 80 watts
  • Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.
  • Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.
  • Mains Voltage Frequency: 50~ 60Hz
  • Dimensions: 19" x 3 1/2" x 10" (occupies 2u)
Stereo Compressor Limiter
₹0.00
Manley Massive Passive EQ Dual Channel (Manley Massive Passive EQ Dual Channel)

MANLEY MASSIVE PASSIVE

The Manley Massive Passive is a EQ Dual Channel that Creats natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. The Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. Manley knows that recording and mastering equalizers are used by artists for artistic goals and we balanced this design with a little more art than science.

The Massive Passive is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Massive allows twice as much EQ with half the coloration. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure.

MASSIVE PASSIVE FEATURES

  • All-Passive tone sculpting circuitry
  • Unique Shelf curves use the "bandwidth" control
  • Overlapping and Interleaved Frequency choices
  • Every band switchable to shelf or bell
  • Vacuum tube make-up gain and line drivers
  • Parallel symmetrical topology
  • Premium components throughout
  • HP and LP Filters plus gain trims
SPECIFICATIONS
  • Ins & Outs Balanced XLR & 1/4" (accepts unbalanced)
  • Level +4 dBu nominal, internal switches for -10 operation
  • Bypass Switch bypasses EQ & tube circuits (not hardwire)
  • 44 Frequencies (roughly 1/4 octave spacing)
  • Frequency Range: 22 Hz to 27 Khz
  • EQ Boost/Cut Range : 20 dB boost, 20 dB cut
  • Nominal Q range: 1.5 to 3 (uniquely active in shelf modes)
  • Frequency Response: +/- 2 dB: 8 Hz to 60 KHz
  • Maximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 Hz
  • THD & Noise (1KHz @ +4 dBu): 0.06%
  • Noise Floor (referred to +4dBu): -85 dB (A Weight)
  • Dynamic Range: 120 dB
  • Tube Complement: 2 x 12AX7 EH, 4 x 6414 for serial MSMPX### after 2/2004
  • Tube Complement: 2 x 5751, 4 x 6414 for serial MSMP### until 2/2004
  • Power Consumption (120/240VAC): 72 watts
  • Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.
  • Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.
  • Mains Voltage Frequency: 50~ 60Hz
  • Size (3U): 19" x 5.25" x 10"
  • Weight: Unit 21 lbs. Shipping Weight: 27 lbs.
EQ Dual Channel
₹0.00
Manley VARIABLE MU Stereo Compressor Limiter (Manley VARIABLE MU Stereo Compressor Limiter)

MANLEY VARIABLE MU STEREO COMPRESSOR LIMITER

The Manley Variable MU Stereo Compressor Limiter is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression.

The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.

The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 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 Output while using very little or no compression. See the gain reduction curves here!

You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression.

VARIABLE MU LIMITER FEATURES

  • MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHz
  • BALANCED INPUTS & OUTPUTS (600 ohms)
  • Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044, & 12AL5 per channel
  • Independently regulated B+ and Heater supplies
  • Hard-wire BYPASS switch
  • Silent conductive plastic dual INPUT attenuator
  • RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.
  • Variable ATTACK: 25msec-70msec
  • Continuously variable THRESHOLD
  • LIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)
  • Large ILLUMINATED Sifam METERS
  • STEREO LINK SWITCH
  • Several units can be linked for Surround (custom order )
  • Maximum gain: 35dB
  • Max. output: +30dBu (26Vrms) 26dB Headroom
  • <0.1% THD @ 1KHz Noise floor: -85dB typical
  • Power Consumption (120/240VAC): 80 watts
  • Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.
  • Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.
  • Mains Voltage Frequency: 50~ 60Hz
  • Dimensions: 19" x 3 1/2" x 10" (occupies 2u
Stereo Compressor Limiter
₹0.00
Manley VARIABLE MU Stereo Compressor Limiter ( Copy ) (Manley SLAM Stereo Limiter )

MANLEY VARIABLE MU STEREO COMPRESSOR LIMITER

The Manley Variable MU Stereo Compressor Limiter is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression.

The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.

The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 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 Output while using very little or no compression. See the gain reduction curves here!

You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression.

VARIABLE MU LIMITER FEATURES

  • MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHz
  • BALANCED INPUTS & OUTPUTS (600 ohms)
  • Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044, & 12AL5 per channel
  • Independently regulated B+ and Heater supplies
  • Hard-wire BYPASS switch
  • Silent conductive plastic dual INPUT attenuator
  • RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.
  • Variable ATTACK: 25msec-70msec
  • Continuously variable THRESHOLD
  • LIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)
  • Large ILLUMINATED Sifam METERS
  • STEREO LINK SWITCH
  • Several units can be linked for Surround (custom order )
  • Maximum gain: 35dB
  • Max. output: +30dBu (26Vrms) 26dB Headroom
  • <0.1% THD @ 1KHz Noise floor: -85dB typical
  • Power Consumption (120/240VAC): 80 watts
  • Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.
  • Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.
  • Mains Voltage Frequency: 50~ 60Hz
  • Dimensions: 19" x 3 1/2" x 10" (occupies 2u
Stereo Compressor Limiter
₹0.00
Manley CORE Tube Mic Pre, EQ, Compressor & FET Limiter (Manley CORE Tube Mic Pre, EQ, Compressor & FET Limiter)

MANLEY CORE TUBE MIC PRE, EQ, COMPRESSOR & FET LIMITER

The Manley CORE Tube Mic Pre, is a Class A tube based, all-in-one reference channel strip featuring a preamp, EQ, compressor and brick-wall FET limiter. All packed into a streamlined and approachable interface, designed to make achieving great sounds quick and painless. 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 CORE TUBE MIC PRE FEATURES

MIC & LINE PREAMPLIFIER

The signal enters through Manely's renowned hand-wound MANLEY IRON® input transformer with nickel laminations in a mu-metal can. The tube amplifying stage is the latest implementation of thier famous Class A circuit topology found in the VOXBOX® and Manley Dual Mono & Mono Microphone Preamplifiers. This all-triode vacuum tube circuit runs on a regulated 300 Volt B+ supply yielding huge headroom and relentless output drive capability.

FRONT PANEL CONTROLS:

  • 48V Phantom power switch
  • 120Hz High Pass Filter switch
  • Phase Invert switch
  • Input Attenuator (Variable Pad)
  • Mic Pre Selectable Gain 40dB or 60dB
  • Line Amp Selectable Gain 20dB or 40dB

1/4" DIRECT INPUT
Similar to the DI in the Manley SLAM!®, this all-discrete solid-state circuit with 10 Meg Ohm input impedance is perfect for guitars, bass, keyboards, etc.

COMPRESSOR

  • Featuring our successful ELOP® technology also found in our famous Manley VOXBOX®
  • Compressor is uniquely before the Mic Preamp making it virtually impossible to clip
  • Ratio 3:1
  • Continuously variable Attack, Release, and Threshold controls
  • Silent Bypass switch

EQUALIZER

  • Low and High Baxandall Shelves (80Hz and 12kHz) with ±12dB range
  • Sweepable Midrange Bell EQ (100Hz – 1kHz) or (1kHz – 10kHz) with ±10dB range

LIMITER

  • Fast attack FET “brickwall” limiter
  • Continuously Variable Threshold and Release controls
  • Peak Limit LED indicator
  • 10dB range output gain control

METER

  • Large illuminated analog display
  • 3-way meter-select switch shows Compressor Gain Reduction, Micpre Output Level, and Main Output audio levels.

INPUTS AND OUTPUTS

  • Balanced XLR Mic Input
  • Balanced XLR Line Input
  • Front Panel Direct Instrument 1/4" Input
  • Insert point between Mic Preamp and EQ/Limiter via ¼” TRS jack
  • Balanced XLR Direct Output (after Preamp/Compressor section)
  • Balanced XLR Main Output

Deluxe CNC-machined 1/4" thick faceplate with inlaid laser-engraved inserts adorn the rigid 2U steel chassis – all locally sourced in Southern California.

SPECIFICATIONS

  • ALL-TUBE preamplifier audio path using 1 x 12AX7 for gain and 1 x 6922 White Follower
  • Balanced Transformer Coupled XLR Microphone Input Impedance: 1200 Ohms
  • Balanced XLR Line Input Impedance: 10 kOhms
  • Unbalanced 1/4" Direct Input Impedance: 10 Meg Ohm
  • Hi-current drive Direct XLR output Impedance: 50 Ohms
  • Silent conductive plastic INPUT attenuator
  • Microphone preamp high pass filter starting at 120Hz with a 6dB/8va slope
  • Compressor Maximum GAIN REDUCTION: 16 dB
  • Compressor ATTACK time: 60ms slowest CCW, 30ms at 12:00, 5ms fastest CW for 6dB compression
  • Compressor RELEASE time: 1.5s slowest CCW, 1s at 12:00, 100ms fastest CW from 6dB compression
  • Maximum Input Mic input (Low Gain Setting): -5 dBu or 435mV RMS @ 0.5% THD
  • Maximum Input Mic input (High Gain Setting): -25 dBu or 44 mV RMS @ 0.5% THD
  • Maximum Input Line input (Low Gain Setting): +13 dBu or 3.5V RMS @ 0.5% THD
  • Maximum Input Line input (High Gain Setting): -8 dBu or 300mV RMS @ 0.5% THD
  • Maximum Input Direct input (Low Gain Setting): +24 dBu or 12V RMS @ 0.5% THD
  • Maximum Input Direct input (High Gain Setting): +17 dBu or 5.5V RMS @ 0.5% THD
  • Maximum Input Insert return: +20 dBu or 7.8V RMS @ 0.5% THD
  • Maximum Preamp Output (Insert Send): +35 dBu or 43V RMS @ 0.5% THD
  • Maximum Preamp Output (Insert Send): +22 dBu into 600 Ohms
  • Maximum Main Output: +20 dBu
  • Insert Send output impedance: 50 Ohms
  • Insert Return input impedance: 13 kOhms
  • Main Output Impedance: 50 Ohms
  • Direct Output Headroom (referenced to +4 dBv): 31 dB
  • Main Output Headroom (referenced to +4 dBv): 16 dB
  • Dynamic Range: >90 dB
  • Frequency Response: 10 Hz to 20 kHz ±0.5 dB
  • Large LED illuminated VU METER
  • Meters switch to read Direct Output (1) from preamp, Output (2) from Main Out, or Compressor Gain Reduction
  • THD & Noise (1kHz @ +4 dBm): 0.02% at Low Gain setting
  • Noise Floor (Gain set to minimum): -70 dB wideband typical
  • Gain via Microphone Input: 40 or 60 dB
  • Gain via Line Input: 20 or 40dB
  • Maximum Gain of EQ & Limiter section: 10 dB
  • AUTOMUTE warmup delay: 30 Seconds
  • Power consumption: 35 watts
  • Operating mains voltage: 90 to 254 VAC (internal universal supply)
  • Mains Voltage Frequency: 50-60Hz
  • Dimensions: 19" x 3 1/2" x 7" (occupies 2u)
  • Unit Weight: 8.3 lbs.
  • Shipping weight: 11.5 lbs.
Class A tube based, all-in-one reference channel strip
₹218,300.00
Manley Nu Mu Stereo Limiter Compressor (Manley Nu Mu Stereo Limiter Compressor)

MANLEY NU MU STEREO LIMITER COMPRESSOR

The Manley Nu Mu Stereo Limiter Compressor gives you outstanding audio quality by giving you the best of transistor and tube compressors. Even while using the "T-Bar mod" from their popular Variable Mu, this new unit makes its own name in the industry by producing the smoothest dynamics and the punchiest sonic path thanks to its new solid state audio chain.

With Manley's new HIP function, the Nu Mu finesses dynamic control to bring up lower level details without knocking the life out of exciting transients.

FEATURES

  • Manley IRON input transformers
  • 4 x hand-matched 6BA6 vacuum tubes
  • Balanced XLR inputs & outputs
  • Manley HIP function raises soft dynamics without squashing louder passages
  • High Voltage Switched Mode Power Supply custom designed for our vacuum tube audio circuits

 

SPECIFICATIONS

  • Type: Tube/solid state (4 x 6BA6 vacuum tubes)
  • Number of Channels: 2
  • Controls: Threshold, Attack, Recovery, Output
  • Ratio: 1.5:1, 4:1 to 20:1
  • Side Chain Inserts: 2 x 1/4" TRS
  • Inputs: 2 x XLR
  • Outputs: 2 x XLR
  • Rack Spaces: 2U
  • Height: 3.5"
  • Depth: 7"
  • Width: 19"
  • Weight: 8.5 lbs
Stereo Limiter Compressor
₹0.00
Manley VARIABLE MU Stereo Compressor Limiter + MS Option (Manley VARIABLE MU Stereo Compressor Limiter + MS Option)

VARIABLE MU LIMITER compressor has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu is our registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression.

The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.

The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 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 Output while using very little or no compression. See the gain reduction curves here!

You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression.

Variable MU Limiter Features

  • MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHz
  • BALANCED INPUTS & OUTPUTS (600 ohms)
  • Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044, & 12AL5 per channel
  • Independently regulated B+ and Heater supplies
  • Hard-wire BYPASS switch
  • Silent conductive plastic dual INPUT attenuator
  • RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.
  • Variable ATTACK: 25msec-70msec
  • Continuously variable THRESHOLD
  • LIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1) 
  • Large ILLUMINATED Sifam METERS
  • STEREO LINK SWITCH
  • Several units can be linked for Surround (custom order )
  • Maximum gain: 35dB
  • Max. output: +30dBu (26Vrms) 26dB Headroom
  • <0.1% THD @ 1KHz Noise floor: -85dB typical
  • Power Consumption (120/240VAC): 80 watts
  • Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.
  • Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.
  • Mains Voltage Frequency: 50~ 60Hz
  • Dimensions: 19" x 3 1/2" x 10" (occupies 2u)
Works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression
₹0.00
MANLEY VARIABLE MU STEREO COMPRESSOR LIMITER WITH T-BAR MOD (SPECIAL ORDER) (MANLEY VARIABLE MU STEREO COMPRESSOR LIMITER )

MANLEY VARIABLE MU STEREO COMPRESSOR LIMITER WITH T-BAR MOD (SPECIAL ORDER)

The Manley Variable MU Stereo Compressor Limiter is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. "Mu" is tube-speak for gain, and Variable Mu is Manleys registered trademark for this limiter compressor. It works by using the "remote cut-off" or re-biasing of a vacuum tube to achieve compression.

This Manley VARIABLE MU Stereo Compressor Limiter features a custom T-Bar Mod to provide a replacement to convert later 5670 units to have the same limiting characteristics of the original 6386 for smoother operation.

The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that.

The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 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 Output while using very little or no compression. See the gain reduction curves here!

You might notice that the Variable Mu Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that's what our Variable Mu Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression.

VARIABLE MU LIMITER FEATURES

  • MANLEY input & output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHz
  • BALANCED INPUTS & OUTPUTS (600 ohms)
  • Fully differential ALL-TUBE circuitry using one each 5670, 5751, 7044, & 12AL5 per channel
  • Independently regulated B+ and Heater supplies
  • Hard-wire BYPASS switch
  • Silent conductive plastic dual INPUT attenuator
  • RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec.
  • Variable ATTACK: 25msec-70msec
  • Continuously variable THRESHOLD
  • LIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1)
  • Large ILLUMINATED Sifam METERS
  • STEREO LINK SWITCH
  • Several units can be linked for Surround (custom order )
  • Maximum gain: 35dB
  • Max. output: +30dBu (26Vrms) 26dB Headroom
  • <0.1% THD @ 1KHz Noise floor: -85dB typical
  • Power Consumption (120/240VAC): 80 watts
  • Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.
  • Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.
  • Mains Voltage Frequency: 50~ 60Hz
  • Dimensions: 19" x 3 1/2" x 10" (occupies 2u)
Stereo Compressor Limiter
₹0.00
Manley MicMaid - 4x4 Mic / MicPre Matrix Switcher (Manley MicMaid - 4x4 Mic / MicPre Matrix Switcher)

MANLEY MICMAID

The Manley MicMaid is a 4 channel Micropohone switcher that allows you to plug your four favorite mics and mic preamps into it and pick the best combination for every session. With its convenient level-matching capabilities and user-programmable routing schemes, this is the ultimate tool for auditioning and comparing your finest equipment. Get ready to find the sound you're looking for faster (and easier) than ever.

The MicMAID was designed to fill a particular niche in the business that has never really been addressed: auditioning and selecting microphones and microphone preamplifiers. Proper pairing of mics and preamps has always been (and always will be!) a vital step in the tracking process, but there has never been a simple, accurate way of doing this. Since we are in the business of providing tools to professional sound engineers, we saw this obstacle as an opportunity to flex our design muscles and create something that could finally fill this void.

In the past, records were made in studios. Big studios, with big consoles, with banks and banks of microphone preamplifiers. With a console full of micpre's available, it was easy to audition several microphones through four almost identical preamps. In today's world, however, most do not have this luxury. In a home studio, most people only own a few preamps and a few microphones. With a conventional patchbay, auditioning gear takes time - muting monitors, unplugging sources, repatching, adjusting gain for the new microphone or preamp - and in this time, our memory for the sound we just had a minute ago (or more) has faded. We might recall a general idea ("breathy", "boomy", etc.) but we don't REALLY remember precisely what we were hearing.

With the MicMAID, this problem is solved. Four mics are plugged in, four preamplifiers are plugged in, and that's it. Hear any mic through any pre, any way you like. For each of the four signal paths, levels are easily adjusted and saved - this level-matching fixes the all-too-common problem we encounter when we just assume the "louder" signal path is the "better" signal path. Subtle sonic differences between pieces of equipment are now instantly percievable, with a simplicity never previously available.

MANLEY MICMAID FEATURES

  • FOUR Microphones A/B/C/D matrix to FOUR external Microphone preamplifiers 1/2/3/4
  • LOCK each selection combination for comparison
  • Front-panel 1/4" Direct Input with Variable Phase circuit and Ground Lift switch
  • THRU: mirrored output of the Direct Input
  • Low/High range select for Variable Phase all-pass filter
  • Remote Fader jack for manual gain riding
  • Polarity Switch flips phase 180degrees for selected Matrix path
  • MONITOR SECTION has ±19.5 dB gain trim for each signal path
  • STORE and RECALL settings for gain, mic & pre combinations
  • Phantom Power selection for each microphone A/B/C/D
  • DIRECT OUTPUT provided for each micpreamp return
  • Pickle Remote can step through each microphone or each preamplfier for "sweet spot" selection
  • Variable illumination brightness user-selectable in three levels
  • High-quality, gold-contact sealed relays used throughout
  • Neutrik gold-contact XLR jacks

SPECIFICATIONS

Instrument Input

  • Input Impedance: ≈ 120K Ohms
  • Gain Ratio: 12:1 Step down.
  • Voltage Gain: -22 dB (Signal Source: Sine 1 kHz, +4dBu, 6K8 Ohm Source Impedance, 1K Ohm secondary load impedance)
  • ROUTING MATRIX
  • Matrix Crosstalk:
  • Leakage from adjacent microphone inputs: ≥ 117 dB (1 kHz sine)
  • Leakage from adjacent Preamp sends: ≥ 107 dB (1 kHz Sine)
  • Microphone Inputs terminated with source Z=150 Ohm, Preamps sends terminated with 2K7 Ohm load

Monitor/Recored Output

  • Gain: ±19.5 dB (.5 db steps)
  • Frequency response: ±.5 db 10 Hz- 100 kHz
  • Outputs: XLR Electronically Balanced
  • Output Impedance: 66 Ohms
  • Max Output Level:+28dbu into 100K load @ .025% THD+ NOISE
  • Distortion: 0.003% THD+NOISE
  • Bandwidth: 22 Hz - 22 kHz, Unity gain, into 100K Ohm load
  • Noise Floor: -90dbu A-weighted
  • Dynamic Range: 118 db
  • CMMR: ≥ 86 dB (1 kHz sine, 50mV input)
  • Note: Mon/Rec active stage ALWAYS "looks" at selected PREAMP as its signal source.

Dims and Power

  • Power Consumption Idle: 12 watts 0.1 Amp @ 120V
  • Power Consumption Maximum: 20 watts 0.17 Amp @ 120V
  • Mains Fuse: 500mA @ 100~120VAC; 250mA @ 220 ~ 240VAC
  • Mains Fuse type: 5mm x 20mm SLO-BLO GDC glass fuse, 250V AC rating
  • NOTE: Operating mains voltage: Units are purpose built for original destination country's mains voltage: 100V, 120V, or 220-240VAC as indicated on the serial number badge. The power transformer in this unit must be rewired in order to change mains operating voltage.
  • Unit Size: 19" x 10" x 3.5" (occupies 2u)
  • Unit Weight: xx lbs.
  • Shipping Weight: 19 dim. (international); 17 lbs. (USA)
  • Shipping Box Dimensions: 23" x 15" x 9"
4 channel Micropohone switcher
₹0.00
Manley Dual Mono Mic Preamp Limited Edition 30th Anniversary (Manley Dual Mono Mic Preamp Limited Edition 30th Anniversary)

MANLEY DUAL MONO MIC PREAMP LIMITED EDITION 30TH ANNIVERSARY

In honor of their 30th Anniversary, Manley are producing a limited quantity of their classic Dual Mono Microphone Preamplifiers - first introduced almost thirty years ago, they make for a perfect XXX Limited edition! The MANLEY all-tube Dual Mono Microphone Preamplifier is primarily intended for use with modern capacitor (condenser) microphones.

Now, 40 to 60 dBs of gain, enough for most ribbon mics, are selectable in precise 5dB steps by varying the amount of overall negative feedback on the GAIN switch. This is a very interesting feature indeed, allowing you to change the slew rate (speed), placement, and tonal balance of the sound from mellow and "tubey-er" through to faster, punchier and more aggressive. See "Notes on Variable Feedback" for more info.

Tube complement per channel: 1 x 12AX7EH hand-selected for lowest noise, and 1 x 6414 for each high-current output stage. Each unit is painstakingly hand wired using silver solder and audiophile-grade componentry. Double shielded custom-built power transformers and custom-built high capacity reservoir capacitors demonstrate our modern power supply design approach.

Classic Dual Mono Microphone Preamplifiers
₹0.00
Manley Mid Frequency EQ (Manley Mid Frequency EQ)

MANLEY MID FREQUENCY EQ

The Manley Mid Frequency EQ is a single channel Mid Frequency EQ is the secret weapon for vocal, guitar, snare and all the other midrange instruments that are the meat of the mix. Specially useful for midband oriented instruments such as guitars, vocals, harmonicas, and violins, the MID FREQUENCY ENHANCED PULTEC EQ (MEQ-5 type) shares the same features and specifications as our '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 and makes this unit indispensable for mastering engineers. The MID EQ also completely fills the frequency gaps between the low frequency and high frequency sections of our Enhanced Pultec EQP-1A type EQ; thus the combination of the two provides a most flexible palette of possibilities for tracking or mastering.

MANLEY MID FREQUENCY EQ FEATURES

  • MANLEY input transformer with pure nickel laminations potted in mu-metal case. 3K Ohm input Z
  • PHASE REVERSE switch for balanced XLR input
  • Alternate transformerless 1/4" HI-Z (5K Ohm) input
  • BYPASS switch & AUTO-MUTE w/warmup delay
  • Silent conductive plastic PEAK & SHELF controls
  • Sealed gold-contact Greyhill frequency select switches
  • Hi-current drive <50 Ohm LO-Z XLR & 1/4" outputs
  • Balanced Transformer Coupled XLR Outputs

SPECIFICATIONS

  • Frequency response: 10Hz-70KHz
  • THD @ 1kHz: <0.01%
  • S/N Ratio: 116 dB
  • Adjustable Feedback / Gain: Unity ±5 dB
  • Max. output: +30 dBv
  • Power consumption: 18 watts
Single channel Mid Frequency EQ
₹224,200.00
Manley Force 4 Channel Valve Microphone Pre-amplifier (Manley Force 4 Channel Valve Microphone Pre-amplifier)

MANLEY FORCE

The Manley Force is a 4 channel valve microphone preamplifier with silky and bulletproof rotary potentiometers, positive latching feature switches, and convenient Direct Input 1/4" jacks. Seven-way LED metering for each channel provides instant visible feedback for audio levels which are enhanced with a double-inlay CNC-milled accent. A feast for the eyes, yeah, we know. This is investment grade audio equipment that you will be as proud to showcase in your studio as we are to handcraft it here in Southern California.

A Sonic Tour de FORCE.
Your microphone signals enter through gold-plated XLR connectors straight into our MANLEY IRON® Mic input transformer. Your line level or instrument level guitars and keyboards come in via the front panel 1/4" Hi-Z 10 megOhm jacks before hitting the input level control which also acts as a Variable Input Pad. Phase Reverse and 120Hz High Pass filters can be invoked here in the circuit and then we're into the 12AX7 dual triode amplifying stage operating in pure Class A, of course. The amount of GAIN for each channel can be selected as 40dB or 50dB via the front panel switches. An additional 10dB of gain is available via internal jumpers. The output stage "can drive a truck" as we like to brag.

A Powerful FORCE.
The 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 Full FORCE 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 FORCE a breeze.

MANLEY FORCE FEATURES

  • 7-Segment LED Peak Metering
  • Selectable Gain, LOW vs HIGH
  • 120Hz High Pass Filter switch
  • Phase Invert switch
  • 48V Phantom power switch
  • Input Attenuator (Variable Pad)
  • Silent Input Level Control (Variable Input Pad)
  • 1/4" DIRECT INPUT
4 channel valve microphone pre-amplifier
₹241,900.00
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