Manley SLAM! Stereo Limiter & Mic Preamp
£5395
Including-vat
Best possible pricing - ALWAYS - please call us or email if in any doubt!
Manley Slam Stereo Limiter and Mic Preamplifier
 

Product Details

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.

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?"

Manley decided to combine 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.

INPUTS: The SLAM! starts with tube Mic Preamps on both channels with switchable phantom power and phase reverse. There is plenty of gain in this new tube circuit, up to 60dB (with 20dB more in the limiter) which is plenty for soft vocalists using low output ribbon microphones. An input attenuator is right up front, acting like a variable pad, so a singer really going for it won't cause a problem either. You can also track direct with the DI input or bring line level inputs in too.
 

Technical Specifications

Vacuum tubes: 2 x 12AT7WA, 2 x 6414 dual triodes
MANLEY transformer coupled 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
A to D 24Bit 96KHz (for now)
Frequency Response: 5Hz to 60KHz
Maximum Output : +32dBm, +30dBm (into 1K? load)
THD+N <.05% @ 1KHz Dynamic Range: 115dB typical
Output Impedance: 200?
Power Consumption (120/240 VAC): less than 100 watts (we think)
Size 19” X 12” X 3.5” (occupies 2u)
Shipping Weight: 11.5kgs/25lbs

Owners Manual

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