{"title":"Manley Labs","description":null,"products":[{"product_id":"manley-labs-massive-passive-stereo-tube-eq-1069478","title":"Manley Labs Massive Passive Stereo Tube EQ","description":"\u003cp\u003eThe MASSIVE PASSIVE is a two channel, four band equalizer, with additional high pass and low pass filters. \"Passive\" refers to the tone shaping part of this clever new EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound, kinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. \"Massive\".... it's a fitting word for this beast. You'll need to experience this.\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold;\"\u003eThe Filters\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e5 frequencies Hi Pass and bypass, PLUS 5 frequencies Lo Pass with bypass. We made them extra steep. 36 dB\/oct ! Why? When you need to remove the garbage, this does the trick and allows more of the real music to be untouched. The other reason is that it sounds killer when combined with the regular bands. Towards the mids this degree of steepness may be tamed somewhat. We're going for pure \"usefulness\" not \"well, we guess it's standard\". Thinking drums and guitar stacks, and other tough jobs. These filters are passive too.\u003c\/div\u003e\u003cdiv\u003e\u003cul\u003e\n\u003cli\u003eHigh Pass Filters = 22, 39, 68, 120, 220, OFF\u003c\/li\u003e\n\u003cli\u003eLow Pass Filters = 6K, 7K5, 9K, 12K, 18K, OFF\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold;\"\u003eParametric Frequencies\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003eLOW - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1K\u003c\/div\u003e\u003cdiv\u003eLM - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9\u003c\/div\u003e\u003cdiv\u003eHM - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10K\u003c\/div\u003e\u003cdiv\u003eHI - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 16K, 27K\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46167942103323,"sku":"MASSIVEPASSIVE","price":6999.0,"currency_code":"USD","in_stock":true},{"title":"Repack | In Stock","offer_id":47102200512795,"sku":"MASSIVEPASSIVERP","price":5600.0,"currency_code":"USD","in_stock":true},{"title":"Demo | In Stock","offer_id":47478377218331,"sku":"MASSIVEPASSIVEEBAYPRO","price":5628.72,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned - Serial Number | On Order","offer_id":50320177201435,"sku":"C1055602","price":4899.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/msmp-ft-2020.jpg?v=1692021493"},{"product_id":"manley-labs-voxbox-combo-microphone-preamp-1069504","title":"Manley Labs Voxbox Combo Microphone Preamp","description":"\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cstrong\u003eManley Labs VOXBOX Combo\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cstrong\u003eIt looks awesome, but what is it?\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003ePrimarily, it is 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\", we present to you the MANLEY VOXBOX®\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eThat's nice. What's is good for?\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eWhile we were designing the VOXBOX® we couldn't help but notice how well it works on other instruments besides voice. There are some great settings for drums, bass, guitar, and keys and the two separate sections can be used together or independently. Stereo using two VOXBOXes? You know we couldn't resist planning for that as well. There are Stereo Links for both the compressor and the De-Ess\/Limiter sections, special compression settings and super-sweet EQ frequencies for your mix or pre-mastering. So don't just use it for voice. The name \"VOXBOX®\" represents only the beginning...\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eMICROPHONE PREAMPLIFIER SECTION:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe preamplifier is a clone of a highly regarded and popular mic pre: the Manley Mono Microphone Preamplifier! The mic input transformer is our 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. The INPUT ATTENUATOR is a variable pad control situated before the first tube stage allowing the preamplifier to accommodate +4 line level signals via the balanced LINE INPUT and instruments via the front panel 1\/4\" DIRECT INPUT. These inputs are selected in the middle position of the dual-function phase invert switch. We provide both transformer balanced XLR output as well as a transformerless \"audiophile\" 1\/4\" phone jack output. The Gain switch is actually a clever variable feedback control that changes not only the gain but the slew rate and flavour of the circuit. With it you can choose how laid back and mellow or how up-front and aggressive you want it to get. See \"Notes on Variable Feedback\" for more info. Headroom is a strong point in this circuit, +31dBu capable. This is 5 to 10 dB better than almost all other pro gear. The music passes through only our super-clean pure Class A vacuum tube circuitry. There are obvious advantages to our purist approach and foremost is the un-electronic final sound that carries emotion into the digital realm.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eCOMPRESSOR SECTION:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003eThis cool compressor design takes our opto-isolator approach of the Manley ELOP® Limiter to the max. We adjusted the Ratio down to 3:1 to turn our ELOP into a compressor and added ATTACK and RELEASE controls for more versatility. What is clever is how the signal is compressed before it hits 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 by using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls. We call the approach \"Parametric Compression\". We developed optimum settings or presets based our favorite Vactrols that we use in our own fast ELOP® Limiter, the quick LA-2A's T-4 module, the slower LA-3A and then created more complex special settings. This extended range and method of timing delivers fresh sounds from powerhouse punching drums to super-solid bass yet can also emulate the way good engineers delicately ride a fader while recording. It is transparent and liquid-smooth on vocals, easy to use and accurate. Also rare for an opto-based dynamic processor, this compressor works great on mixes. Of course, you'll be needing two VOXBOXes linked in stereo...\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eEQ SECTION:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003eLots of folks 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. This switch serves double-duty acting as a bypass switch for the preamp and\/or external processors or for processing two different tracks.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eDE-ESSER \u0026amp; LIMITER SECTION:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003eDesigned by folks with admittedly large gaps between their two front teeth, (Hutch and EveAnna) the VOXBOX® combo also includes a de-esser \u0026amp; 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. (That 3KHz setting really tames those annoying frequencies!) 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.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eTHE METER:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003eThe 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. As engineers, we choose what we use not based entirely on features and functions - there is a sound, a texture we reach for and the VOXBOX® combo puts the 'Manley Sound' together with 'Your Sound'.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46167944462619,"sku":"VOXBOX","price":5499.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":47187458916635,"sku":"VOXBOXRP","price":3788.0,"currency_code":"USD","in_stock":false},{"title":"Open Box | On Order","offer_id":52092574990619,"sku":"VOXBOXEBAYPRO","price":4198.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/manley-labs-voxbox-combo-microphone-preamp_1.jpg?v=1692021498"},{"product_id":"manley-variable-mu-stereo-limiter-compressor-1069858","title":"Manley Variable MU Stereo Limiter\/Compressor","description":"\u003cp\u003e\u003cstrong\u003eManley Variable MU Stereo Limiter\/Compressor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Manley Variable Mu® Limiter\/Compressor has been Manley's 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 Manley's 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 they know of. Even the side-chain has glowing rectifier bottles. How’s it work? 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.\u003c\/p\u003e\n\u003cp\u003eThe 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!\u003c\/p\u003e\n\u003cp\u003eYou might notice that the Manley 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 Manley's Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46167968055579,"sku":"VARIMU","price":4999.0,"currency_code":"USD","in_stock":true},{"title":"Demo | In Stock","offer_id":51519528927515,"sku":"VARIMUEBAYPRO","price":4188.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mslchp-ft.png?v=1692021733"},{"product_id":"manley-labs-enhanced-pultec-eqp-1a-eqp1as","title":"Manley Labs Stereo Enhanced Pultec EQP-1A","description":"\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cstrong\u003eManley Labs Enhanced Pultec EQP-1A\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003eThe MANLEY ENHANCED PULTEC EQP-1A is our own interpretation of the historic Pultec Equalizer as originally produced by Pulse Techniques, Inc. We have been building these Manley Pultec EQs since 1990 after we bothered to hunt down Eugene Shenk in New Jersey to ask for his permission and blessings to produce our own version of his classic piece. These Manley Pultec units employ our own simple and clean all-tube make-up gain block to reamplify the signal after the passive EQ circuit.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eEQ may be set to 'flat' positions or BYPASSED entirely. All BOOST and CUT controls are continuously variable conductive plastic potentiometers for absolutely silent operation and long life. Our single rack unit monoblocks occupy one-third of the space of the 'antique Pultecs', an important consideration for allocation of outboard rack space. And if you notice, we've added a couple extra frequencies too. The rear mounted input switch selects 0 degrees or 180 degrees PHASE INVERT for the balanced gold pin XLR input or the transformerless unbalanced bridging input (1\/4\" jack) may be selected in that switch's middle position.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003ePeople often ask us if our Pultec EQ's sound like the old ones to which we reply, \"Yes! But better!\" The originals had three transformers in the signal path whereas ours can be used completely transformerless. Our Manley Enhanced Pultec has a vastly superior B+ power supply, with regulated and balanced heater supply. Our line amp is known to be killer-sounding. The components we use today just weren't available in the 1960's. So, if you want a project with crackling carbon pots, dirty open frame wafer switches, 5% and 10% tolerance noisy carbon resistors, exposed tubes sticking out the back of the 3U chassis, etc., go pay top dollar for an antique Pultec!\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eThe MANLEY PULTEC EQP-1A, available in both single and 2-channel versions, uses 1 x 12AX7WA and 1 x 6414 (or 5965) 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 our 40dB Mic Preamps, the Manley Pultecs offer both transformer coupled balanced and direct capacitor coupled unbalanced outputs for easy interface and sonic variety.\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003eKick drum? Bring on the Pultecs and all the iron you can muster! You'll soon discover the power and magic of having those individual Low Frequency BOOST and CUT controls in that LF shelf circuit. . . Need a little clarity or extension? Try that middle bell-shaped Boost dialing in the sharpness of the boost on the BANDWIDTH control. Something bugging you? Ease it off with the HF shelf cut. You'll see. There's no substitute for a what a Manley Pultec EQ can do!\u003c\/div\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46167968153883,"sku":"EQP1AS","price":4999.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/EQP1ASEBAYPRO-0.jpg?v=1692021669"},{"product_id":"manley-labs-slam-stereo-limiter-and-microphone-preamp-1070243","title":"Manley Labs SLAM Stereo Limiter and Microphone Preamp","description":"\u003cp\u003eWe’ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter– plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ‘n’ rollers won’t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. The DI inputs have selectable input impedance, depending on how far you plug the 1\/4\" cable into the jack: push it in all the way and the input impedance is 100KOhms, pull it out halfway and it becomes 10 megOhms which reduces pickup loading and allows all the highs to get through. Come on in!\u003c\/p\u003e\n\u003ch3\u003eGet it LOUD... two different and distinct limiters per channel:\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eThe ELOP® LIMITER:\u003c\/strong\u003e Our beloved Electro-Optical Levelling Amplifier circuit, the ELOP®, still the favorite for vocal tracking, shows up here with its new switchable side-chain high pass filter making it much more useful for mixes and other tracks as well. One of the most appreciated aspects of our original ELOP® is the simplicity of a two knob limiter, which is optimum for demanding pro recording pressures. You can still grab two knobs and have complete control of level and dynamics and be ready to hit that record button. Intuitive controls and a straight ahead signal path through quality components simply work. The ELOP® limiter implementation is done like we did in our VOXBOX® which pioneered the idea of limiting the mic signal before it hits any active stage. The ELOP limiter moves to the line stage when LINE is selected. The ELOP sidechain provides different HP filters on a toggle. The 200 Hz setting has been tailored for vocals and adds a touch of de-essing.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe FET LIMITER: \u003c\/strong\u003eHere’s a new fast FET based \"brick wall\" limiter that spans the range of clean predictable limiting to the grunge and gravel that other FET based limiters are desired for. The FET RELEASE control allows you to dial up a variety of colors. There is even a \"CLIP\" setting that provides as round a shape as has ever been available. (Read more below about the CLIP settings.) We aimed at \"sound\" first, then experimented with circuits until we heard what we wanted discovering fresh approaches that provide a very wide range of useful dynamic control. For example, you can set up for a fast brick wall limiter with slower releases for minimum artifacts, or go with the faster releases to get some crunch and then get extreme loudness. The Attack control is unusual too providing the sonic control common with its historic brothers but very unusually retaining the zero overshoot “none-shall-pass” brick wall that defines a real limiter. And it’s punchy! As the saying goes, “Louder is better.” The SLAM! optimizes levels to analog to digital converters with ballz, warmth and loudness verging on silly or just clean and safe.\u003c\/p\u003e\n\u003cp\u003eWhat is especially nifty is the ability to use the ELOP® and FET limiters together at the same time dialing in whatever amounts of each effect you like. Every limiter has its own character or sound and here we have combined two powerful world-class tools that can be uniquely blended and mixed to taste and purpose. Even the metering is appropriate for each limiter so you can easily see how each is contributing.\u003c\/p\u003e\n\u003cp\u003eMetering on the SLAM! is exceptional. The two full size real VU meters show you the raw input levels, the final output levels, and the ELOP® Limiter gain reduction in the traditionally preferred format for visually displaying apparent loudness. VU’s are cool. Noticing how mastering engineers often need a switchable pad on their VU's because the \"optimized\" levels tend to pin the needles in the red, the SLAM! VU’s also have a 0, -3dB, -6dB switch to help with this situation. There are also very fast and super accurate multi-color LED ladder peak meters that display the input and output levels and the FET gain reduction, and some combinations. They will do Peak, Peak Hold timed, and Peak Hold until reset, and also allow you to manually set where the individual bars change colors to match your other gear. And with maximum clean I\/O levels of +30 dBu, it is a lot more likely you will use these meters to see what’s clipping downstream. It probably won’t be the Manley tube line drivers inside!\u003c\/p\u003e\n\u003cp\u003eThe back panel should keep everybody happy. In the sea of jacks including the big power supply connector, you'll find all the usual XLR’s for transformer balanced I\/O and 1\/4\" phone jacks for direct unbalanced I\/O. Eight Bantam jacks in a mini-patchbay configuration handle the side-chain inserts and linking functions. You can insert EQs into the ELOP® and FET limiters, and there are more jacks for you to mix in an external signal into the side chains. Another pair of jacks provides for easy linking for 5.1 surround work if you have three or four SLAM!'s. It’s all here.\u003c\/p\u003e\n\u003cp\u003eSpeaking of Linking... all previous Manley dynamics units require both channels to be setup for near identical settings rather than the more common \"just set the Left side\". The SLAM! lets you do it both ways. The \"L Side\" method is the \"STEREO LINK\" mode and is quick and convenient but, like others, uses a mono mix for the side-chain. The \"BOTH \u0026amp; EXT\" adds the rear panel link jacks to the link buss so you could chain up several SLAM!s for linked surround work. Both or all 6 channels should be set similarly. This mode is usually better for mastering as it responds to the true peak level of the channels rather than an artificial mono mix.\u003c\/p\u003e\n\u003cp\u003eOutside the Box, that's where the power supply is. The illuminated power switch turns on the external power supply. Keeping the power supply far away also keeps additional heat and magnetic fields away from the precious audio. The power supply is housed in a sturdy cast aluminum 7\" x 4\" x 5\" box that is easy to mount to or place in the bottom of a rack. A seriously humongous 16 pin connector, and 6' multicore cable connects the two boxes.\u003c\/p\u003e\n\u003cp\u003eThe SLAM! also seems a natural as a mastering tool. The FET limiter works great on mixes, and the ELOP® now has a high pass filter switch that is spot-on for mastering. We offer a dedicated mastering version which eliminates the mic preamps, adds detented controls replacing the pots, and provides extra metering options. Manley compressors and EQs seem to be the most popular pieces of gear ever when it comes to mastering. The ultimate analog rack for the final important touches to the mix would have include the SLAM!, The Variable Mu® and The Massive Passive. Combine this with some digital processors of similar calibre and one has a respectable and very effective set of mastering tools. That Manley rack plus some Manley Microphones would make an ultimate stereo recording chain too. This is gear you’ll want to keep for a lifetime.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46167986307355,"sku":"SLAM","price":9399.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | In Stock","offer_id":52165750554907,"sku":"SLAMRP","price":7199.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/10009190.jpg?v=1692022115"},{"product_id":"manley-labs-reference-cardioid-tube-microphone-c01","title":"Manley Labs Reference Cardioid Tube Microphone","description":"\u003cdiv\u003e\u003cstrong\u003eManley Labs Reference Cardioid Tube Microphone\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003eThe 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, our 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.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Repack | In Stock","offer_id":46168112267547,"sku":"REFERENCECARDIODRP","price":2899.0,"currency_code":"USD","in_stock":true},{"title":"New | On Order","offer_id":46168112300315,"sku":"REFERENCECARDIOD","price":3499.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":47187102794011,"sku":"REFERENCECARDIODEBAYPRO","price":2999.0,"currency_code":"USD","in_stock":false},{"title":"Repack | Out Of Stock","offer_id":51188010352923,"sku":"REFERENCECARDIODAMZN","price":2798.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/referencecardiodrp_1.jpg?v=1692023575"},{"product_id":"manley-labs-gold-reference-multi-pattern-microphone-c01","title":"Manley Labs Reference Mono Gold Microphone","description":"\u003cp\u003e\u003cstrong\u003eManley Labs  Gold Reference Multi Pattern Microphone\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe MANLEY GOLD REFERENCE MULTI-PATTERN MICROPHONES are 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 our 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.\u003c\/p\u003e\n\u003cp\u003eThe all-tube electronics in the MANLEY REFERENCE SERIES MICROPHONES are built around two triodes in cascade forming an entire gain-block. We have recently switched to a dual-triode 12AT7 tube, easily obtainable and replaceable, mounted in a ceramic socket. (We originally used 6072A until it became impossible to find quiet ones out of the NOS dreck left on the market, then we used 12AX7 for awhile.) 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. The Gold Mics make it possible to exactly tailor the proximity effect to achieve the desired character.\u003c\/p\u003e\n\u003cp\u003eWe have chosen a very open weave stainless-steel grille for the capsule window which allows all the highs to reach the capsule unimpaired letting the engineer choose if, when, and how much pop screen is appropriate. As a result, the Reference Gold reaches to the furthest extremes of highs and lows with gorgeous natural acoustic smoothness. Some engineers tell us it sometimes \"hears\" more than they do! The base of the microphone holds a locking 3 pin gold XLR connector for the audio signal output to allow you to use whatever audio cable you prefer– as exotic as you wish. A locking 6-pin XLR connector for the 30 foot power supply cable carries the stringently filtered B+ and regulated heater voltages from the separate dedicated power supply. The audio signal exits the PSU via a traditional 3-pin XLR jack. The microphone body is machined from brass providing excellent shielding properties, polished to a high lustre, then plated with 24 karat gold for an impressive finish, inspiring confidence in artists and producers.\u003c\/p\u003e\n\u003cp\u003eOur precision suspension system is provided with each REFERENCE MICROPHONE (the capsule itself is mounted onto a neoprene-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. We also provide a very useful swivel of our own 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.\u003c\/p\u003e\n\u003cp\u003eEach REFERENCE MICROPHONE is packaged complete in a strong locking carrying-case.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46168335188251,"sku":"REFERENCEGOLD","price":6499.0,"currency_code":"USD","in_stock":true},{"title":"Repack | In Stock","offer_id":52165782372635,"sku":"REFERENCEGOLDRP","price":5585.02,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/1620900388_1057013.jpg?v=1692024843"},{"product_id":"used-manley-labs-massive-passive-equalizer-mastering-version-massivepassiveme-c01","title":"Manley Labs Massive Passive Equalizer Mastering Version","description":"\u003ch2\u003eManley Labs Massive Passive Equalizer Mastering Version\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eYes Finally! Manley Mastering Version Massive Passive Stereo Tube EQ. \u003c\/em\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cem\u003eWE FINALLY CAME UP WITH A CLEVER WAY TO PULL THIS OFF...\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWITHOUT breaking your bank account thanks to these interesting mechanically detented knobs for the GAIN and BANDWIDTH controls! These ensure repeatability which is what everyone wanted but without the incredible cost and space problems tons of Grayhill switches would have caused.\u003c\/p\u003e\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\u003cp\u003eOn 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).\u003c\/p\u003e\n\u003cp\u003eUnlike 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.\u003c\/p\u003e\n\u003cp\u003eWe 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.\u003c\/p\u003e\n\u003cp\u003eAdditionally, 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.\u003c\/p\u003e\n\u003cp\u003eThe best advice is, before you decide, or even form an opinion about whether to go with a normal or mastering version Massivo, is to use a regular Massive Passive for a session or two in your own room. We have seen in the past that the only engineers who have asked about a mastering version had yet to try the Massive. Using your previous extensive and intensive experience with other EQs may be a mistake, especially if you expect the Massive Passive to be roughly similar to them. It isn't. Please, try it first, then decide.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Filters\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e5 frequencies Hi Pass and bypass, PLUS 5 frequencies Lo Pass with bypass. We made them extra steep. 36 dB\/oct ! Why? When you need to remove the garbage, this does the trick and allows more of the real music to be untouched. The other reason is that it sounds killer when combined with the regular bands. Towards the mids this degree of steepness may be tamed somewhat. We're going for pure \"usefulness\" not \"well, we guess it's standard\". Thinking drums and guitar stacks, and other tough jobs. These filters are passive too.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHigh Pass Filters: OFF, 12, 16, 23, 30, 39\u003c\/li\u003e\n\u003cli\u003eLow Pass Filters: OFF, 52K, 40K, 27K, 20K, 15K\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThe new filters are somewhat better tuned specifically for mastering. (They are flatter until the knee). As with the standard version the slopes are typically 18dB per octave, on these mastering filters except for the highest (52K) at 30 dB\/octave.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eParametric Frequencies - same as normal Massivo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLOW - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1K\u003c\/li\u003e\n\u003cli\u003eLM - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9\u003c\/li\u003e\n\u003cli\u003eHM - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10K\u003c\/li\u003e\n\u003cli\u003eHI - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 18K, 27K\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46168545263899,"sku":"MASSIVEPASSIVEME","price":8399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/manley-labs-MASSIVEPASSIVEMERP-0.gif?v=1692026318"},{"product_id":"hosa-skt-425-speaker-cable-speakon-same-25ft-skt-425-c01","title":"Hosa SKT-425 Speaker Cable Speakon - Same 25ft","description":"\u003cp\u003e\n\t \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\n\t\u003cspan style=\"font-size: 16px; \"\u003e\u003cstrong\u003eHosa SKT-425 Speaker Cable Speakon - Same 25ft\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\n\t Features include:\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\n\t• Oxygen-Free Copper (OFC) conductors for lower resistance\u003cbr\u003e\n\t• Black PVC jacket for both durability and flexibility\u003cbr\u003e\n\t• Intended for high-current applications only, not line-level signals\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\n\tConductor(s): 14 AWG x 2 OFC\u003cbr\u003e\n\tConnector(s): Neutrik speakON to Same\u003cbr\u003e\n\tLength: 25 ft\u003c\/p\u003e","brand":"Hosa","offers":[{"title":"New | In Stock","offer_id":46168594809115,"sku":"SKT-425","price":64.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/hosa-SKT-425-0.jpg?v=1692026624"},{"product_id":"manley-mastering-edition-slam-masteringslam-c01","title":"Manley SLAM Mastering Version","description":"\u003cp\u003eSLAM! stands for \"Stereo Limiter And Micpre\" and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 \u0026amp; 6dB to keep the poor little needles from bending– it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.\u003c\/p\u003e\n\u003cp\u003eWhen it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, \"it just works\" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimize the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it.\u003c\/p\u003e\n\u003ch2\u003eDIFFERENCES\u003c\/h2\u003e\n\u003cp\u003eFirst 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.\u003c\/p\u003e\n\u003cp\u003e1) 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.\u003c\/p\u003e\n\u003cp\u003e2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP. \u003c\/p\u003e\n\u003cp\u003eThe \"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.\u003c\/p\u003e\n\u003cp\u003eThe \"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.\u003c\/p\u003e\n\u003cp\u003eFinally, 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.\u003c\/p\u003e\n\u003cp\u003e3) 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).\u003c\/p\u003e\n\u003cp\u003e4) The Right blue button becomes the DAC select switch (stereo).\u003c\/p\u003e\n\u003cp\u003e5) 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.\u003c\/p\u003e\n\u003cp\u003eMore 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.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46168987304219,"sku":"MASTERINGSLAM","price":10499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/MASTERINGSLAM_0.jpg?v=1692027432"},{"product_id":"manley-varimumst-mastering-ed-stereo-variable-mu-limiter-and-compressor-varimumst","title":"Manley Labs Stereo Variable MU Mastering Version","description":"\u003cp\u003eThe Manley Mastering ED Stereo Variable MU Limiter Compressor has been the best selling product from Manley Laboratories for many years, and is one of the only compressors that have become a standard in Mastering studios and contributed to most hit records over the last decade.  The Variable Mu is a registered trademark for the limiter compressor.  It works by using a \"remote cut-off\" or re-biasing of a vacuum tube to achieve compression.  \u003c\/p\u003e\n\u003cp\u003eThe COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee limit modes start at 4 to 1 and move to a more dramatic ratio of 20 to 1 with the limit is over 12dB.  The knee will actually soften as more limiting is used.  To create distortion simply turn up the input and turn down the output while using very little or no compression.  \u003c\/p\u003e\n\u003cp\u003eJust because the Variable Mu Limiter Compressor has ganged input control, does not mean that it has become mono-unfriendly.  There are separate threshold and output controls to compensate.  When you switch to LINK mode you really get to what the unit can do better than anything else: final mix, 2-track, or mastering limiting and compression.  It really doesn't get much better than this.  Get yours today at Alto Music!\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46171103494427,"sku":"VARIMUMST","price":6599.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mmsslc_f-2021.png?v=1692028907"},{"product_id":"sabra-som-st4-quad-mic-bar-st4-c01","title":"Sabra-Som ST4 Quad Mic Bar","description":"\u003ch3\u003eWhy you need the Sabra-Som ST4 Quad Mic Bar:\u003c\/h3\u003e\u003cp class=\"overviewSubHeading\" style=\"margin: 0px 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline;\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"overviewSubHeading\" style=\"margin: 0px 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline;\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"overviewSubHeading\" style=\"margin: 0px 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline;\"\u003eUse this 4-mic bar to record anything from stereo drumheads to a full choral ensemble.\u003cbr\u003e\u003cspan style=\"widows: 1;\"\u003eThe Sabra Som ST4 Four Mic Bar is a multi-microphone mount. It uses 4 sliding mic mounts on a longer 11\" bar so you can mount up to four microphones onto one mic stand. Four mic mounts can be individually moved along the bar and the bar itself can be tilted left to right or used vertically.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"widows: 1;\"\u003eFor a really wide stereo panorama, use this bar to set 4 mics on one stand with two approximately 45 degrees right and left of center and the other two approximately 55 degrees right and left. Record all 4 channels separately. The result is a much wider stereo image than you'd get with just a pair.\u003c\/span\u003e\u003cspan style=\"widows: 1;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003ch3\u003eFeatures:\u003c\/h3\u003e\u003cbr\u003e\u003cbr\u003e\u003cp class=\"overviewSubHeading\" style=\"margin: 0px 0px 0px 20px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline;\"\u003e\u003c\/p\u003e\u003cdiv class=\"callToAction\" style=\"margin: 10px 0px 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; orphans: auto; text-align: start; text-indent: 0px; widows: 1; background-position: initial initial; background-repeat: initial initial;\"\u003e\u003c\/div\u003e\u003cdiv class=\"specs\" style=\"margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; orphans: auto; text-align: start; text-indent: 0px; widows: 1; background-position: initial initial; background-repeat: initial initial;\"\u003e\u003cul\u003e\n\u003cli\u003eOne 12\" Hex Bar (outside mics can be up to 11\" apart)\u003c\/li\u003e\n\u003cli\u003eFour Threaded Towers\u003c\/li\u003e\n\u003cli\u003eOne Articulated Elbow Stand Mount\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/div\u003e","brand":"Sabra-Som","offers":[{"title":"New | In Stock","offer_id":46172762407195,"sku":"ST4SAB","price":74.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/ST4SAB-0.jpg?v=1692030670"},{"product_id":"manley-elop-compressor-limiter-elopplus-c01","title":"Manley ELOP+ Compressor\/Limiter","description":"\u003ch2\u003eWhy you need the Manley ELOP+ Compressor\/Limiter:\u003c\/h2\u003e\u003cdiv\u003e\n\t\t\n\t\n\t\n\t\t\u003cdiv class=\"page\" title=\"Page 2\"\u003e\n\t\t\t\u003cdiv class=\"section\"\u003e\n\t\t\t\t\u003cdiv class=\"layoutArea\"\u003e\n\t\t\t\t\t\u003cdiv class=\"column\"\u003e\n\t\t\t\t\t\t\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe 2016 ELOP+ has been completely re-engineered from the ground-up. With careful reference to our\nsonic past, we have deployed our highest performance\nvacuum tube line amplifier and White Follower output\nstage in this new version. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\u003ch3\u003eFeatures:\u003c\/h3\u003e\u003cdiv\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan style=\"widows: 1;\"\u003eElectro-optical compressor\/limiter with 10:1 limiting, 3:1 compression ratios\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"widows: 1;\"\u003eDual channel (stereo linkable)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"widows: 1;\"\u003eVacuum tube audio path with 6922 and 5751 dual-triode tubes\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"widows: 1;\"\u003eManley IRON-balanced, transformer-coupled XLR inputs\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"widows: 1;\"\u003eImpedance-balanced XLR outputs\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"widows: 1;\"\u003ePer-channel Bypass switch, auto mute (warm-up delay)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"widows: 1;\"\u003eLighted VU meters, switchable between Gain Reduction and Output Level\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"widows: 1;\"\u003eIncludes Sidechain Highpass Filter\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"widows: 1;\"\u003eInternal universal power supply lets you enjoy worldwide operation\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/div\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46172977561883,"sku":"ELOPPLUS","price":3299.0,"currency_code":"USD","in_stock":true},{"title":"Repack | In Stock","offer_id":52165743444251,"sku":"ELOPPLUSRP","price":2699.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/ELOPPLUS-0.jpg?v=1692031104"},{"product_id":"manley-labs-force-4-channel-vacuum-tube-microphone-preamplifier-mfrc","title":"Manley Labs Force 4-Channel Vacuum Tube Microphone Preamplifier","description":"Your relationship with the FORCE begins with the ergonomic facia through its thoughtfully organized controls, 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.\u003cp\u003eYour 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. \u003cbr\u003e\u003cbr\u003eThe 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.Vacuum Tubes: 4x 12AX7WA dual triodes\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eMicrophone Input Impedance: Balanced Transformer Coupled XLR: 1250Ohms\u003c\/li\u003e\n\u003cli\u003eUnbalanced 1\/4\" Direct Input Impedance: 10MOhm\u003c\/li\u003e\n\u003cli\u003eMaximum Input: Mic input (Low Gain Setting): -5dBu or 435mV RMS at 0.5% THD\u003c\/li\u003e\n\u003cli\u003eMic input (High Gain Setting): -25dBu or 44mV RMS at 0.5% THD\u003c\/li\u003e\n\u003cli\u003eDirect input (Low Gain Setting): +24dBu or 12V RMS at 0.5% THD\u003c\/li\u003e\n\u003cli\u003eDirect input (High Gain Setting): +17dBu or 5.5V RMS at 0.5% THD\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Manley Labs","offers":[{"title":"New | In Stock","offer_id":46174998364443,"sku":"MFRC","price":2999.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":47181736116507,"sku":"MFRCEBAYPRO","price":2500.0,"currency_code":"USD","in_stock":false},{"title":"Repack | On Order","offer_id":47322098270491,"sku":"MFRCRP","price":2088.88,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mfrc_0_1.jpg?v=1692033284"},{"product_id":"manley-labs-core-channel-strip-with-microphone-and-preamp-elop-compressor-coremanleylabs","title":"Manley Labs CORE Channel Strip with Microphone and Preamp ELOP Compressor","description":"\u003cdiv\u003eManley Labs CORE, an analog channel strip, which they describe as an innovative and affordable mic preamplifier, compressor, equalizer, and limiter combo-unit that combines the greatest hits of the Manley product line with fresh technology. T. Manley believes that the intuitive design incorporates musical and forgiving circuitry that allows the user to concentrate on performance rather than be lost in a sea of knobs.  No other channel strip offers higher headroom or higher end sound than the CORE, which is, like all Manley products, handcrafted in Southern California. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eFRONT PANEL CONTROLS\u003c\/div\u003e\u003cdiv\u003e48V Phantom power switch\u003c\/div\u003e\u003cdiv\u003e120Hz High Pass Filter switch\u003c\/div\u003e\u003cdiv\u003ePhase Invert switch\u003c\/div\u003e\u003cdiv\u003eInput Attenuator (Variable Pad)\u003c\/div\u003e\u003cdiv\u003eMic Pre Selectable Gain 40 dB or 60 dB (Total Gain \u0026gt;70 dB)\u003c\/div\u003e\u003cdiv\u003eLine Amp Selectable Gain 20 dB or 40 dB\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eMIC \/ LINE PREAMPLIFIER\u003c\/div\u003e\u003cdiv\u003eHand-wound Manley IRON® input transformer with nickel laminations in a mu-metal can\u003c\/div\u003e\u003cdiv\u003eClass A tube amplifying stage circuit topology (similar to the Manley VOXBOX® and Manley Dual Mono \u0026amp; Mono Microphone Preamplifiers)\u003c\/div\u003e\u003cdiv\u003eAll-triode high voltage vacuum tube circuit\u003c\/div\u003e\u003cdiv\u003eRegulated 300 Volt B+ supply\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e¼\" DIRECT INPUT\u003c\/div\u003e\u003cdiv\u003eSimilar to the DI in the Manley SLAM!®\u003c\/div\u003e\u003cdiv\u003eAll-discrete solid-state circuit\u003c\/div\u003e\u003cdiv\u003e10 Meg Ohm input impedance (ideal for guitars, bass, keyboards, etc.)\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eCOMPRESSOR\u003c\/div\u003e\u003cdiv\u003eELOP® technology also found in the Manley VOXBOX\u003c\/div\u003e\u003cdiv\u003eCompressor placed before the mic preamp--virtually impossible to clip\u003c\/div\u003e\u003cdiv\u003eRatio 3:1\u003c\/div\u003e\u003cdiv\u003eContinuously variable Attack, Release, and Threshold controls\u003c\/div\u003e\u003cdiv\u003eSilent Bypass switch\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eEQUALIZER\u003c\/div\u003e\u003cdiv\u003eLow and High Baxandall shelves (80 Hz and 12 kHz) with ± 12dB range\u003c\/div\u003e\u003cdiv\u003eSweepable Midrange Bell EQ (100 Hz – 1 kHz) or (1–10 kHz) with ±10dB range\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eLIMITER\u003c\/div\u003e\u003cdiv\u003eFast attack FET brickwall limiter\u003c\/div\u003e\u003cdiv\u003eContinuously variable Threshold and Release controls\u003c\/div\u003e\u003cdiv\u003ePeak Limit LED indicator\u003c\/div\u003e\u003cdiv\u003e10dB range output gain control\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eMETER\u003c\/div\u003e\u003cdiv\u003eLarge illuminated analog display\u003c\/div\u003e\u003cdiv\u003e3-way meter select to read Compressor gain reduction, Mic Preamp Output level, and Main Output audio levels.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eINPUTS AND OUTPUTS\u003c\/div\u003e\u003cdiv\u003e·      Balanced XLR mic input\u003c\/div\u003e\u003cdiv\u003e·      Balanced XLR line input\u003c\/div\u003e\u003cdiv\u003e·      Front panel direct instrument 1\/4\" input\u003c\/div\u003e\u003cdiv\u003e·      Insert point between Mic Preamp\/Compressor and EQ\/Limiter via 1\/4\" TRS jack\u003c\/div\u003e\u003cdiv\u003e·      Balanced XLR direct output (after Preamp\/Compressor section)\u003c\/div\u003e\u003cdiv\u003e·      Balanced XLR main output\u003c\/div\u003e","brand":"Manley Labs","offers":[{"title":"Repack | In Stock","offer_id":46175081136411,"sku":"CORERP","price":2349.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":46175081300251,"sku":"COREEBAYPRO","price":1888.19,"currency_code":"USD","in_stock":false},{"title":"New | On Order","offer_id":46175081496859,"sku":"CORE","price":2899.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/core1_1.png?v=1692033321"},{"product_id":"manley-mid-frequency-eq-mideq","title":"Manley Mid Frequency EQ","description":"\u003cp\u003eThis 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.\u003c\/p\u003e\n\u003cp\u003eSpecially 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.\u003c\/p\u003e\n\u003cp\u003eThe all-tube Mid Equalizer utilizes the original WESTERN ELECTRIC passive-equalization circuit found in the long-out-ofproduction and justifiably famous PULTECS. According to experts, Western Electric developed the passive EQ in the 30's to improve speech quality in a typical telephone system. This may help to explain the choice of curves and frequencies. Western Electric also seem to have brought us the balanced audio \u0026amp; the 600 ohm standard. Eugene Shenk of Pulse Technologies re-discovered the EQ and added his vacuum tube gain make up amplifier. While Pultec sold a healthy number of units to broadcast, when transistors came in, many jumped to the new technology and Pultec fell on hard times. It was not until the mid 70's and early 80's with the big new recording studios, that engineers and producers found that nothing had the same magic that old Pultec tube EQs could give. Twenty years later, and they are still favorites (along with old British console EQs) and today few understand why they sound so good. Its not \"just\" the tubes.\u003c\/p\u003e\n\u003cp\u003eWe can offer a few good reasons. First - the EQ is passive. That means that the components involved have no gain. A typical modern parametric EQ can use 10 to 20 op-amps, each with many, many transistors. Music generally prefers a simple path with the fewest parts to pass a signal through. This also is one of the big advantages to tube circuits - simplicity. The EQ uses a few capacitors, inductors and resistors (or pots). No headroom problems, no crossover distortions, no slew induced distortions.\u003c\/p\u003e\n\u003cp\u003eSecond- Transformers can add a nice fat low end. That euphonic bottom was partially due to transformer saturation. In other words the lower and louder a signal got, the more it saturated (added some extra harmonics to the ultra lows where most speakers are deficient). It helps us percieve that there was some energy down there without hearing the distortion as such. The older transformers suffered from wide band distortion and losses in the highs. This is rarely wanted. Modern high quality transformers are much better in the highs and generally much lower distortion, due to improvements in materials, but they can still saturate - the way we like. Third - Op-amp circuits have limitations. They use negative feedback to control gain. Often enough, this can cause a loss of transient accuracy and\/or instability. Most op-amp EQ circuits rely on some very small signal levels that are prone to cross-over distortions in the push-pull outputs. Older op-amps have slow PNP transistors that began rolling off at a few hundred hertz causing crossover distortions. Headroom can be a hard ceiling (+20 dBu) that gets nasty when significant amounts of boost are called for. All of this worsens when driving capacitive wire or low impedances. The better solid state EQs are discrete with high voltage power supplies for headroom. Our Langevin Pultec is that style. The Manley tube version beats it.\u003c\/p\u003e\n\u003cp\u003eManley uses an all-tube gain block with a +31 dBu capability and less than 10 dB of feedback. Four triodes are used for \"flat\" class A gain stages and demonstrate the beauty of simplicity. We use a similar line amp in our 40 dB Mic Preamps and Electro-Optical Limiters and some of our audiophile hi-fi preamps.\u003c\/p\u003e\n\u003cp\u003eOur version of this classic EQ incorporates modern audiophile grade components with our proven line-amp for absolute sonic beauty... Conductive plastic potentiometers and sealed gold-contact switches, polystyrene and rolled film and foil capacitors, and a our own transformers combine with a regulated stiff power supply and state-of-the-art tube circuitry to bring another classic PULTEC that is optimized for voice - but not only voice. They get used daily in mastering and seems to be the right tool for a huge numer of applications. Beyond the improvements in pure fidelity, we added extra frequencies and better interfacing, and it's only 1U!\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46175168561435,"sku":"MIDEQ","price":3299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/MIDEQ_0.jpg?v=1692033376"},{"product_id":"manley-labs-nu-mu-stereo-limiter-compressor-mnumu","title":"Manley Labs Nu Mu Stereo Limiter Compressor","description":"\u003cp\u003eBuilding upon their proud heritage, the Manley Nu Mu® merges the esoteric “T-Bar mod” all-tube front end from the legendary Manley Variable Mu® and makes it standard followed by a new solid state audio chain for the smoothest dynamics action coupled to the punchiest sonic path. Featuring 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. Smartly engineered to build efficiently and esthetically designed to elicit ravishing compliments from your clients, both visually and ergonomically, the Manley Nu Mu breaks new ground in performance and value, all proudly handbuilt in California, of course!\u003c\/p\u003e\n\u003ch2\u003eOutput Control\u003c\/h2\u003e\n\u003cp\u003eThe OUTPUT control is available on both the L and R channels. It adjusts the output level of that audio channel. Unity gain is about the ninth marking, or 11 o'clock.\u003c\/p\u003e\n\u003ch2\u003eThreshold Control\u003c\/h2\u003e\n\u003cp\u003eThe THRESHOLD control is available on both the L and R channels. THRESHOLD or gain reduction sets the necessary amplitude for compression or limiting to take effect. The most extreme effect is when the control knob is set to MIN or fully counter-clockwise.\u003c\/p\u003e\n\u003ch2\u003eCompress \/ Limit Switch\u003c\/h2\u003e\n\u003cp\u003eThis switch allows the Nu Mu to use two different compression ratios, offering either Compression at approximately 3:1 when the switch is engaged and illuminated, or Limiting at approximately a 10:1 ratio.\u003c\/p\u003e\n\u003ch2\u003eIn \/ Bypass Switch\u003c\/h2\u003e\n\u003cp\u003eThe BYPASS switch in the Nu Mu is a ‘Hardwire’ bypass for maximum performance. If the switch is engaged and illuminated to the “IN” position the audio will pass through either the Limiter or Compressor, so all the front panel controls will function. Use this switch to verify that the limiting or compressing is not messing up the original sound but enhancing it or at least leveling the volume.\u003c\/p\u003e\n\u003ch2\u003eVU Meter\u003c\/h2\u003e\n\u003cp\u003eThe Large custom VU meters allow easy tracking of both channels with the Nu Mu. It shows the amount of gain reduction in dB from the 0 dB mark, when the switch (7) is set to REDUCTION. When this switch is selected to O\/P and illuminated, the meter measures the output in decibels.\u003c\/p\u003e\n\u003ch2\u003eHip Control\u003c\/h2\u003e\n\u003cp\u003eThe \"Hip\" control allows compression to happen at lower volumes (lower in the dynamic range spectrum) but leaves the louder dynamics alone while still compressing the overall signal. You get louder soft sections and original dynamics of the louder sections. Previously the only way to get around this issue has been parallel compression, where the compressed signal is mixed with the uncompressed signal. Our \"Hip\" control achieves a similar effect while being easier to use, requiring less hardware (no need for extra mixing externally).\u003c\/p\u003e\n\u003ch2\u003eLink Function\u003c\/h2\u003e\n\u003cp\u003eWhen The LINK function is used it links the two Stereo channels together. The Left channel controls become the master linking THRESHOLD, ATTACK \u0026amp; the RECOVERY CONTROLS.\u003c\/p\u003e\n\u003ch2\u003eInput Level Switch\u003c\/h2\u003e\n\u003cp\u003eThe Input Level is controlled by a toggle switch. There is an Input Level control for each cannel. Three levels of attenuation are available. +3dB, 0dB and -3dB.\u003c\/p\u003e\n\u003ch2\u003eHP SC Switch\u003c\/h2\u003e\n\u003cp\u003eThe High Pass Side Chain filter is factory set a 100Hz. When this switch is engaged and illuminated, everything above 100Hz will have the effect of limiting or compression. Useful if you want the bass to come through with full impact and limit or compress everything else.\u003c\/p\u003e\n\u003ch2\u003ePower Switch\u003c\/h2\u003e\n\u003cp\u003eThe Power Switch glows a soft blue color when an IEC power lead is connected to the unit. This indicates that the Nu Mu is in STANDBY mode. Engaging the power switch takes the Nu Mu out of standby mode and into warm-up mode. The power switch will illuminate to a brighter blue and the backlit VU meters will start to flash. This warm-up process last 30 seconds, after which the MUTE relays will lift and the VU meters will stop flashing.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46175661818139,"sku":"MNUMU","price":3299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/MNUMU_0.jpg?v=1692033599"},{"product_id":"manley-reference-silver-microphone-referencesilver","title":"Manley Reference Silver Microphone","description":"\u003cp\u003eTaking inspiration from the fabled Sony C-37A, Manley Labs introduces the Manley Reference Silver Microphone. Featuring an American built capsule by David Josephson and a Manley designed circuit, this microphone has warm and rich tone. The Manley Reference Silver Microphone offers a mechanical selector on the rear of the head basket that is switchable between cardioid and omni pick-up patterns. Boasting a mic grade 5670 vacuum tube, Manley IRON® transformers, and a low-noise switch mode power supply, the Manley Reference Silver Microphone is a studio workhorse. This microphone is at home in-front of instruments that range from female vocalists, to saxophones, from drum overheads to banjos. Use the Manley Reference Silver Microphone where you might be thinking about a ribbon, and use it with confidence!\u003c\/p\u003e\n\u003cp\u003eAfter 27 years since the debut of the first Manley Reference Gold and Reference Cardioid tube microphones which have since become modern classics, we introduce to you the Manley Reference Silver Microphone. The audio inspiration for this handcrafted beauty begins with the 1950s classic Sony C-37a microphone, and specifically with California capsule maker David Josephson's fantastic recreation of the C-37’s C-3 capsule which features in adjustable acoustic chamber on the rear of the capsule for the user to switch between Cardioid in 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!\u003c\/p\u003e\n\u003cp\u003eInside the mic, we are using a different circuit from our other two microphones. The fragile high impedance signal from the capsule first hits a FET sitting underneath the 5670 vacuum tube’s cathode which then amplifies the signal into a more robust voltage that our hand-wound Manley IRON® microphone output transformer sends out to your microphone preamplifier. Output level from this mic is a wee bit lower compared to our other two microphones, but after careful consideration coming through the Beta-testing phase of development, we decided to leave it there as this mic will find a forever-home in front of your loudest instruments such as snare drum, guitars, and toms. It's a real natural there!\u003c\/p\u003e\n\u003cp\u003eSonic 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!\u003c\/p\u003e\n\u003cp\u003eThe trailblazing power supply is a brand-new derivative of our 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 designed for us by the worldwide experts in this technology, Bruno Putzeys and Nand Eeckhout. This power supply was designed for us, 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. We are going to brag about our awesome power supply, for sure!\u003c\/p\u003e\n\u003cp\u003eOur 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. We also provide a very useful swivel of our own 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.\u003c\/p\u003e\n\u003cp\u003eEach REFERENCE MICROPHONE is packaged complete in a rugged carrying-case.\u003c\/p\u003e\n\u003cp\u003eLike the other Manley Reference Microphones, all of the metalworking and construction is hand-assembled in the USA by our experienced staff in our 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.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"Repack | In Stock","offer_id":46177656963355,"sku":"REFERENCESILVERRP","price":3868.36,"currency_code":"USD","in_stock":true},{"title":"New | On Order","offer_id":46177656996123,"sku":"REFERENCESILVER","price":4999.0,"currency_code":"USD","in_stock":true},{"title":"Pre-Owned | On Order","offer_id":49006002471195,"sku":"REFERENCESILVEREBAYPRO","price":3844.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/REFERENCESILVER_0.png?v=1692034698"},{"product_id":"manley-labs-stereo-variable-mu-limiter-and-compressor-with-t-bar-mod-option-mslchptbar","title":"Manley Labs Stereo Variable MU Limiter and Compressor with T-Bar Mod Option","description":"\u003cp\u003e\u003cstrong\u003eManley Variable MU Stereo Limiter\/Compressor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Manley Variable Mu® Limiter\/Compressor has been Manley's 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 Manley's 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 they know of. Even the side-chain has glowing rectifier bottles. How’s it work? 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.\u003c\/p\u003e\n\u003cp\u003eThe 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!\u003c\/p\u003e\n\u003cp\u003eYou might notice that the Manley 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 Manley's Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.\u003c\/p\u003e\n\u003ch3\u003eTHE T-BAR MODIFICATION\u003c\/h3\u003e\n\u003cp\u003eBackstory: The newer Variable Mu units use 5670 tubes instead of the 6386. By now the availability of the original USA GE 6386 is poor; we don't have any left at all, and what we do have are not usable due to noise, microphonics, bad side-to-side match, etc.\u003c\/p\u003e\n\u003cp\u003eSo does the 5670 sound different? Well, up to about 6db of limiting it's about the same. After that point, the 5670 version tends to sound more \"squashed\" than the original 6386 version. Some like it better, some don't - depends on what you're trying to do.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo solve all these problems, Paul came up with a really good solution: the T-Bar Mod.\u003c\/strong\u003e This uses a pair of 6BA6 pentodes wired as single triodes to replace each dual triode 5670 (or 6386). The 6BA6 T-Bar Mod is the preferred system to use in the Manley Variable Mu® for reasons of ability to perfectly match each phase-halve section and each stereo set, ability to select for lo-noise and lo-microphonic sets for a low cost, and because the action of the 6BA6's so closely resemble the smooth 6386 limiting curves.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"New | On Order","offer_id":46182787318043,"sku":"MSLCHPTBAR","price":5499.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mslchp-ft_2.png?v=1692039783"},{"product_id":"manley-labs-stereo-variable-mu-limiter-compressor-with-mid-side-and-t-bar-mod-mslchpmstbar","title":"Manley Labs Stereo Variable MU Limiter Compressor with Mid\/Side and T-Bar Mod","description":"\u003cp\u003e\u003cstrong\u003eManley Variable MU Stereo Limiter\/Compressor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Manley Variable Mu® Limiter\/Compressor has been Manley's 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 Manley's 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 they know of. Even the side-chain has glowing rectifier bottles. How’s it work? 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.\u003c\/p\u003e\n\u003cp\u003eThe 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!\u003c\/p\u003e\n\u003cp\u003eYou might notice that the Manley 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 Manley's Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. Like one reviewer put it: “It’s like pouring a bowl of sweet cream over the mix.” Mmmmmm. Yummy. Give your music a big hug.\u003c\/p\u003e\n\u003ch3\u003eTHE T-BAR MODIFICATION\u003c\/h3\u003e\n\u003cp\u003eBackstory: The newer Variable Mu units use 5670 tubes instead of the 6386. By now the availability of the original USA GE 6386 is poor; we don't have any left at all, and what we do have are not usable due to noise, microphonics, bad side-to-side match, etc.\u003c\/p\u003e\n\u003cp\u003eSo does the 5670 sound different? Well, up to about 6db of limiting it's about the same. After that point, the 5670 version tends to sound more \"squashed\" than the original 6386 version. Some like it better, some don't - depends on what you're trying to do.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo solve all these problems, Paul came up with a really good solution: the T-Bar Mod.\u003c\/strong\u003e This uses a pair of 6BA6 pentodes wired as single triodes to replace each dual triode 5670 (or 6386). The 6BA6 T-Bar Mod is the preferred system to use in the Manley Variable Mu® for reasons of ability to perfectly match each phase-halve section and each stereo set, ability to select for lo-noise and lo-microphonic sets for a low cost, and because the action of the 6BA6's so closely resemble the smooth 6386 limiting curves.\u003c\/p\u003e\n\u003ch3\u003eMID\/SIDE (a.k.a. Vertical\/Lateral, or Sum\/Difference)\u003c\/h3\u003e\n\u003cp\u003eThis modification opens the door to stereo encoding and decoding as well as exciting image enhancement processing capabilities. For instance, setting to compress only the in-phase information allows the augmentation of the stereo image as the out-of-phase content is left untouched. Or, conversely, if you need a \"more-mono\" mix for broadcast, or vinyl-cutting for instance, you can set it to kill off more of the out-of-phase info which leaves more in-phase material in the final result. Read more about the MS Mod on page 12 of the Owner's Manual. \u003c\/p\u003e\n\u003cp\u003eTotal mod cost for the M-S option is $800 NET added to the base cost.\u003c\/p\u003e\n\u003cp\u003eIn order to add both M-S and the HP SC mods, we move the power switch to the rear panel and install both channels' HP SC switch to the center hole where the power switch was. The M-S switches then flank this switch.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"0 | On Order","offer_id":46182787907867,"sku":"MSLCHPMSTBAR","price":6299.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mslchp-ft_1.png?v=1692039765"},{"product_id":"manley-labs-stereo-variable-mu-mastering-version-with-mid-side-mod-option-mmsslchpms","title":"Manley Labs Stereo Variable MU Mastering Version with Mid Side Mod Option","description":"\u003cp\u003eThe Manley Mastering ED Stereo Variable MU Limiter Compressor has been the best selling product from Manley Laboratories for many years, and is one of the only compressors that have become a standard in Mastering studios and contributed to most hit records over the last decade.  The Variable Mu is a registered trademark for the limiter compressor.  It works by using a \"remote cut-off\" or re-biasing of a vacuum tube to achieve compression.  \u003c\/p\u003e\n\u003cp\u003eThe COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee limit modes start at 4 to 1 and move to a more dramatic ratio of 20 to 1 with the limit is over 12dB.  The knee will actually soften as more limiting is used.  To create distortion simply turn up the input and turn down the output while using very little or no compression.  \u003c\/p\u003e\n\u003cp\u003eJust because the Variable Mu Limiter Compressor has ganged input control, does not mean that it has become mono-unfriendly.  There are separate threshold and output controls to compensate.  When you switch to LINK mode you really get to what the unit can do better than anything else: final mix, 2-track, or mastering limiting and compression.  It really doesn't get much better than this.  Get yours today at Alto Music!\u003c\/p\u003e\n\u003ch3\u003eMID\/SIDE (a.k.a. Vertical\/Lateral, or Sum\/Difference)\u003c\/h3\u003e\n\u003cp\u003eThis modification opens the door to stereo encoding and decoding as well as exciting image enhancement processing capabilities. For instance, setting to compress only the in-phase information allows the augmentation of the stereo image as the out-of-phase content is left untouched. Or, conversely, if you need a \"more-mono\" mix for broadcast, or vinyl-cutting for instance, you can set it to kill off more of the out-of-phase info which leaves more in-phase material in the final result. Read more about the MS Mod on page 12 of the Owner's Manual. \u003c\/p\u003e\n\u003cp\u003eTotal mod cost for the M-S option is $800 NET added to the base cost.\u003c\/p\u003e\n\u003cp\u003eIn order to add both M-S and the HP SC mods, we move the power switch to the rear panel and install both channels' HP SC switch to the center hole where the power switch was. The M-S switches then flank this switch.\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"0 | On Order","offer_id":46182788792603,"sku":"MMSSLCHPMS","price":7399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mmsslc_f-2021_1.png?v=1692039760"},{"product_id":"manley-labs-stereo-variable-mu-mastering-version-with-t-bar-mod-option-mmsslctbar","title":"Manley Labs Stereo Variable MU Mastering Version with T-Bar Mod Option","description":"\u003cp\u003eThe Manley Mastering ED Stereo Variable MU Limiter Compressor has been the best selling product from Manley Laboratories for many years, and is one of the only compressors that have become a standard in Mastering studios and contributed to most hit records over the last decade.  The Variable Mu is a registered trademark for the limiter compressor.  It works by using a \"remote cut-off\" or re-biasing of a vacuum tube to achieve compression.  \u003c\/p\u003e\n\u003cp\u003eThe COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee limit modes start at 4 to 1 and move to a more dramatic ratio of 20 to 1 with the limit is over 12dB.  The knee will actually soften as more limiting is used.  To create distortion simply turn up the input and turn down the output while using very little or no compression.  \u003c\/p\u003e\n\u003cp\u003eJust because the Variable Mu Limiter Compressor has ganged input control, does not mean that it has become mono-unfriendly.  There are separate threshold and output controls to compensate.  When you switch to LINK mode you really get to what the unit can do better than anything else: final mix, 2-track, or mastering limiting and compression.  It really doesn't get much better than this.  Get yours today at Alto Music!\u003c\/p\u003e\n\u003ch3\u003eTHE T-BAR MODIFICATION\u003c\/h3\u003e\n\u003cp\u003eBackstory: The newer Variable Mu units use 5670 tubes instead of the 6386. By now the availability of the original USA GE 6386 is poor; we don't have any left at all, and what we do have are not usable due to noise, microphonics, bad side-to-side match, etc.\u003c\/p\u003e\n\u003cp\u003eSo does the 5670 sound different? Well, up to about 6db of limiting it's about the same. After that point, the 5670 version tends to sound more \"squashed\" than the original 6386 version. Some like it better, some don't - depends on what you're trying to do.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTo solve all these problems, Paul came up with a really good solution: the T-Bar Mod.\u003c\/strong\u003e This uses a pair of 6BA6 pentodes wired as single triodes to replace each dual triode 5670 (or 6386).\u003c\/p\u003e","brand":"Manley Labs","offers":[{"title":"0 | On Order","offer_id":46182789349659,"sku":"MMSSLCTBAR","price":7099.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/files\/mmsslc_f-2021_2.png?v=1692039762"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/9049\/3723\/collections\/manleylogo2013.png?v=1691748914","url":"https:\/\/www.altomusic.com\/collections\/manley-labs.oembed","provider":"Alto Music","version":"1.0","type":"link"}