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Summary of Contents for Manley SLAM!
- Page 1 MANLEY SLAM! Stereo Limiter And Micpre OWNER’S MANUAL rev3/11/11cd...
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Page 2: Table Of Contents
CONTENTS SECTION PAGE INTRODUCTION POWER SUPPLY BACK PANEL & CONNECTING FRONT PANEL METERING LIMITERS, HINTS, ETC. THE GUTS FACTORY ALIGNMENTS TROUBLESHOOTING MAINS CONNECTIONS SPECIFICATIONS ADDENDUM FOR SLAM! MASTERING TEMPLATES FOR STORING SETTINGS... -
Page 3: Introduction
We can start right at the basic tube circuits. These designs are unlike any others we know of, including previous Manley circuits, so this is not a box with an old mic pre combined with an old Opto Limiter and a borrowed FET limiter. - Page 4 70 dB of gain and a new circuit, unlike any previous Manley Preamp. The gain stages are based on a circuit developed by 4) Because the SLAM! is old-school analog, the limiters won’t Mitch Margolis for the Steelhead phono preamp. The SLAM! can be have the ‘precision’...
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Page 5: Power Supply
Several blown fuses indicates a problem needing repair. Both the Supply and SLAM! should be returned to the dealer or Manley Labs for service if the correct value fuses continue to blow. 5) VOLTAGE CHANGE-OVER SWITCH. This should be set to the proper voltage for you country by the factory. The switch is marked, and in general a good habit to verify this setting is correct before plugging any new gear in and turning it on. -
Page 6: Back Panel & Connecting
XLR O/P. XLR DRIVES ADC DRIVES ADC DESIGNED BY HUTCH 1/4” BYPASSES ANAGRAM TECHNOLOGIES, XLR O/P. XLR JERRY GARSZVA, E. MANLEY M. MARGOLIS, B. HERNANDEZ FULLIN = +4dBu FULLIN = +4dBu HALFIN = -10 dBv HALFIN = -10 dBv 11 10 9 2 3 4 This is just a description of the various jacks and switches on the back. - Page 7 The jacks marked EXT LINK (5.1) are just intended for those lucky guys with 3 SLAM!s who need a way to link 5 or 6 lim- iters for surround work. Two regular Bantom patch cables are required. These jacks are parallelled, and the rings carries the Opto audio link, the tip carries the FET DC link.
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Page 8: Front Panel
THE FRONT PANEL 1)SOURCE: This is the Input Selector that you use to choose the input to the SLAM!. The choices are LINE, DI, MIC, MIC ø (phase reverse), and MIC 100 HZ (high pass filter) which has a little graphic showing the filter. LINE selects the BALANCED LINE INPUT Combo jack (XLR or 1/4”) and is intended for +4 dBu signals, but by cranking the INPUT level can be used with -10 dBv signals. - Page 9 So the SLAM! also has that mode “BOTH & EXT” or the down position. This mode is also used for the back panel linking to other SLAM!s for surround projects. For recording instru- ments the STEREO LINK mode is fine but for serious mastering the BOTH &...
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Page 10: Metering
METERING MODE 3) COLOR CHANGE POINTS: You can change where the audio peak meters change color from The SLAM! has some very comprehensive metering. If you skip green to amber and from amber to red. This is an unusual feature this section, you’ll be back here with the yellow highlighter pen, of this meter and lets you ‘match’... - Page 11 MODE1 SELECT MODE 1PEAK Toggle Middle MODE 1GR Toggle UP MENU DISPLAY Combination PEAK + FET GR Combination OPTO + FET GR FET GR FET GR INFINITE TIMED 1 SEC. MODE 4 (PEAK HOLD) NO HOLD OUTPUT OPTO GR MODE 3 LEVEL (COLOR CHANGE)
- Page 12 VU METERS In pro audio there are few measurement standards (or even de-facto standards) that exist and peak meter calibrations and digital con- Two toggles are used for the VU meters. One is used to select verter I/O levels are more prime examples. With digital peak me- whether the VUs display Input Level (after the Input Pot), Output ters that are married to digital converters, one at least expects that Level, or the OPTO Limiter Gain Reduction.
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Page 13: Limiters, Hints, Etc
These are the “remote cut-off” type like the cided to add a second ‘type’ of limiter with its own characteristics 6386 as used in the Fairchild 670. Manley has been making the Vari- and its own historical roots. Some early limiters like the 1176 used able Mu®... - Page 14 ‘Hyper-Compression’ Hints The word ‘Hyper-compression’ is a word mastering engineers use and Everybody knows that you should make those A to D peak meters go was coined by Lynn Fuston (Mastering Web Board, DSD vs 96/24). as hot as possible, digital full scale, but NEVER clip. Well, we have For many people it implies the idea of limiting and multi-band limit- two urban myths in that statement.
- Page 15 more for the SLAM! is pumping. The worst case scenario is a mix Which brings up the first thing last. The traditional way to have that has a very hot transient followed by a significanty quieter few loudness, dynamics, excitement and smoothness all at the same seconds.
- Page 16 Limiting and more limiting and more... The following is a small section of the Orban Optimod-FM, 8400 We completely agree with Robert’s post and the suggestion to cre- owner’s manual. This is a compressor used by radio stations be- ate a few masters with lesser amounts of limiting. Hopefully the fore they broadcast the music signal.
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Page 17: The Guts
L&R (mono) signal. With no jumper here, both STEREO LINK and BOTH & EXT use both sets of controls. This mode is a similar to previous Manley compressors, best for mastering, but inconvenient. -
Page 18: Factory Alignments
SLAM! FACTORY ALIGNMENT PROCEDURE Prep: 1) +4 dBu (1.23vAC), 1kHZ Oscillator fed into XLR LINE INPUTS 2) UNBALANCED LINE OUTPUTS feed Level & Distortion Analyzer. 3) Select LINE on SOURCE, L&R LIMITERS off, Phantom OFF. 4) Set INPUT & OUTPUT LEVELS for 12:00. 5) Set ELOP LIMITER &... - Page 19 Limiter Trims OPTO LIMITER +4 dBu (1.23vAC), 1kHZ Oscillator fed into XLR LINE INPUTS. 1) VU select = GR. Verify reading close to 0 VU. 2) L&R LIMIT = ON. 3) Verify VU’s within 3 dB of zero. Trim ZERO VU GR on Side-chain board so that VU = 0 with no gain reduction.
- Page 20 LED Meter Trims (This is done in MODE 2) 1) With 0VU, adjust AUDIO PEAK trim (sidechain board) for 4 segments lit. Increase oscillator by 6 dB & Be sure L&R are even. Verify 10 segments lit (4th dot from top), adjust AUDIO PEAK trim if needed.
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Page 21: Troubleshooting
- that indicates air has gotten into the tube or we’ve joked “the vacuum leaked out”. Either way replace the tube. Manley can ship you a tested one for a reasonable price. Before you pull a tube, pull the power out, let the unit sit and cool and discharge for a minute or two, then swap the new tube in, then power, then check. - Page 22 IT MAKES NOISES WHEN THE FRONT PANEL IS TAPPED - An easy one. Some tubes become microphonic over time. That means they start acting like a bad microphone. Vibration has caused the supports for the little parts in the tube to loosen and now the tube is sensitive to vibration.
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Page 23: Mains Connections
**The SLAM! uses a 2 Amp SLO-BLO fuse for 117 volts and a 1 amp SLO-BLO fuse for 220 volts.** Waste Electrical and Electronic Equipment (WEEE) Information for customers: The European Parliament and the Council of the European Union have issued the Waste Electrical and Electronic Equipment Directive. The purpose of the Direc- tive is the prevention of waste of electrical and electronic equipment, and to promote the reuse and recycling and other forms of recovery of such waste. As such the Directive concerns producers, distributors and consumers. The WEEE directive requires that both manufacturers and end-consumers dispose of electrical and electronic equipment and parts in an environmentally safe man- ner, and that equipment and waste are reused or recovered for their materials or energy. Electrical and electronic equipment and parts must not be disposed of with normal household wastage; all electrical and electronic equipment and parts must be collected and disposed of separately. Products and equipment which must be collected for reuse, recycling and other forms of recovery are marked with the following pictogram: Small products may not always be marked with this pictogram in which case this is present in the instructions for use, on the guarantee certificate and printed on the packaging. When disposing of electrical and electronic equipment by use of the collection systems available in your country, you protect the environment, human health and contribute to the prudent and rational use of natural resources. Collecting electrical and electronic equipment and waste prevents the potential contamination of nature with the hazardous substances which may be present in electrical and electronic products and equipment. Your MANLEY or LANGEVIN retailer will assist with and advise you of the correct way of disposal in your country. -
Page 24: Specifications
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 Micpre: Selectable 48V phantom power and PHASE REVERSE... -
Page 25: Addendum For Slam! Mastering
ADDENDUM FOR SLAM! MASTERING VERSION The mastering version has a number of changes compared to the regular SLAM!: 1) There are no mic preamps or instrument inputs. Instead the tube sections are paral- leled for lower noise and distortion. 2) All pots are replaced with rotary switches for detented resettability and easier cal. 3) The mastering version has a true hard-wire bypass function, which is not possible on the regular version with mic preamps, etc. - Page 26 XLR balanced (transformer) input or 1/4” unbalanced (op-amp) is done with a “pull to toggle” switch on the back panel. Like many of Manley’s processors, using the 1/4” unbalanced output bypasses the final transformer and may be a little cleaner or open sounding compared to the transformer output, which may be a little warmer and richer or evocative of some vintage gear.
- Page 27 A few points inspired by some of the early comments from SLAM! users make it into this addendum too. 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 set the peak-stop threshold and adjust the incoming level, which is why the level controls are larger.