The Manley SLAM! Mastering Limiter is designer for mastering engineers and makes just about anything sound better! The SLAM! incorporates detented and logable 1/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches is in full production.
You can read on the standard Manley SLAM! page all the particulars about the limiters and the general gist of the SLAM! Keep reading on below for specific info about the Mastering Version of the SLAM! First off, there are no microphone preamps or instrument inputs. You mastering engineers certainly don't need those. Instead the tube sections are paralleled for lower noise and less distortion. 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. So lets take a look at what else is different....
- 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.
- The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP.
- 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).
- The Right blue button becomes the DAC select switch (stereo).
- The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1/4" jack input select in this new mastering version.
- There are no pots on the faceplate of the Mastering Version of the SLAM! All of the knobs in the Mastering Version are discrete detented switches in mostly 1 dB steps, with some appropriate 1/2 dB and 2 dB steps, right where they should be.
More than that, we really like the way it works and sounds and we generally prefer it to the non-mastering version for stereo tracks. There is a lot less fiddling involved to maintain L/R balances and the new modes are subtle but fun. It is easy to make just about anything sound better.
Manley SLAM! Mastering Limiter Specifications
- Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable bias
- Output Tubes: 2 x 12BH7 (or 6414W NOS USA) dual triodes
- I/O: MANLEY transformer coupled Balanced Inputs and Outputs
- Gain: 20dB max Limiter Gain
- Input Impedance balanced input XLR combo jack: 2 kOhms
- Input Impedance unbalanced input 1/4” combo jack: 10 kOhms
- FET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1
- ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1
- Frequency Response: 5Hz to 60KHz
- Maximum Output: +32dBm, +30dBm (into 1KΩ load)
- THD+N: <.05% @ 1KHz
- Dynamic Range: 115dB typical
- Output Impedance: 200Ω
- Power Consumption Slam! Analog:
- 0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6 Watts
- 0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts
- Outboard Power Supply: 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 switch and fuse value change.
- Mains Voltage Frequency: 50~ 60Hz
- Size: 19” X 12” X 3.5” (occupies 2u)
- Shipping Weight: 25 lbs.
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tubey goodness
Jun 4th 2020I just got this to use for mastering and the first time I used it it fixed an issue for the client. They felt like the top end was biting too much. I put the slam on in Auto HF on the opto compressor and it took away some of that harshness. Pricy but well equipped.
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