SLAM!®
STEREO LIMITER AND MIC PREAMP
STEREO LIMITER AND MIC PREAMP
Two class A mic preamps & DI’s drive two ELOP and two fast FET “brick wall” limiters to tame any tone one can throw at it. The SLAM! is jammed with tubes, transformers, technology, and tricks. Get it in, and get it LOUD.
SLAM! 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 & 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, VU and PPM but that was too much for an acronym.
When 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.
"SLAM! is the ultimate analog front and back end for any recording studio...All of my clients want this process for louder mixes, and SLAM! gets there with a gorgeous sound and a minimum of sonic mangling."
- Barry Rudolph, Mix Magazine, November 2003 -
DETAILS
GET IN: The SLAM! starts with tube Mic Preamps on both channels with selectable phase reverse, high pass filter, and switchable phantom power (on the back panel).
We’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!
Get it LOUD... two different and distinct limiters per channel:
The ELOP® LIMITER: 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.
The FET LIMITER: Here’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.
What 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.
Metering 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!
The 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.
Speaking 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 & 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.
Outside 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.
The 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.
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
Balanced XLR Line I/O: MANLEY IRON® transformer-coupled Balanced Inputs and Outputs
MIC XLR Input: via Lundahl input transformer
MICPRE: Selectable 48V phantom power and PHASE REVERSE
Gain: 60dB max Micpreamplifier, 43dB max DI, 20dB max Limiter Gain
Mic Input Impedance: 2000Ω
1/4” unbalanced DI Input Impedance: 100 kOhms or 10 megOhms (1/4” jack out halfway)
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 Fuse Value for 100~120VAC operation: replace with 2A
Mains Fuse Value for 220~240VAC operation: replace with 1A
Mains Fuse Type: MDA or MDL SLO-BLO Time delay 1 1/4" x 1/4"
Mains Voltage Frequency: 50~ 60Hz
Size: 19” X 12” X 3.5” (occupies 2u)
Shipping Weight: 25 lbs.
Specifications subject to change because they just might.
REVIEWS
“Let’s face it, we’re in a level war, and the SLAM! is my secret weapon. Getting clean and transparent level is a big deal – huge!”
- Rob Chiarelli, Mix Engineer (Christina Aguilera, P!nk, Stevie Wonder, Leann Rimes)
“Subtle and creamy, or really aggressive punchy sounds…it’s a far more versatile piece than I ever imagined it would be.”
- Pete Doell, Mastering Engineer (Miles Davis, Joe Perry, Toto, Sheryl Crow)
"...my feeling after living with it for a while is that although you don’t get too many of these to the pound or dollar, as far as I’m concerned in the right hands and working situation the Mastering SLAM! is worth every penny or cent."
- Nigel Palmer, Audio Media, November 2005
"SLAM! is the ultimate analog front and back end for any recording studio...All of my clients want this process for louder mixes, and SLAM! gets there with a gorgeous sound and a minimum of sonic mangling."
- Barry Rudolph, Mix Magazine, November 2003
"The SLAM! is the coolest high-end pro audio product I have seen and heard in a long time, and if I did not already own all that other gear, it would land at the top of my list."
"One thing is for sure...the Manley SLAM! is one of the year's most unique offerings and will be worth every penny you pay for it."
- Lynn Funston, 3D Audio, August 2002
RESOURCES
FREQUENTLY ASKED QUESTIONS
1. This thing isn’t working. I just bought it. For this amount of money, it needs to function.
OK, listen up: the XLR INPUTS and XLR OUTPUTS are TRANSFORMER-COUPLED so that means you HAVE TO have something connected to all of the pins.
PIN 1: GROUND
PIN 2: HOT (+) POSITIVE
PIN 3: COLD (-) NEGATIVE
You cannot "float" Pin 3. You can GROUND it if you are driving it from an unbalanced source. But you cannot hook it up to "nothing".
Pay attention when interfacing with some of these interfaces like your Apollo. If you are using TRS - XLR cables, make sure that it is wired:
TRS TIP = HOT (+) to XLR Pin 2
TRS RING = COLD (-) to XLR Pin 3
TRS SLEEVE = GROUND to XLR Pin 1
or
TS - XLR cable, make sure it is wired:
TS TIP = HOT (+) to XLR Pin 2
TS SLEEVE = GROUND to XLR Pin 1 AND Pin 3
2. I broke my Phantom Power switch. How do I buy another one?
Sorry we stopped stocking the locking switch and stopped using it in production as the pull-to-activate locking handle was confusing too many people and folks like you were breaking their switches. You need a simple ON-ON SPDT switch. The wires are hand wired to it, so any type of legs will do. We use PC pins on this application. We sell these on our parts store, www.tubesrule.com. That link will take you right to the replacement switch page.
THE MASTERING VERSION
Proudly from our beginning, we at MANLEY LABS have been closely involved with numerous mastering facilities around the world. For these most demanding engineers in our industry, we have created specialised products such as our all-tube tape repro head amps, digital converters, high-powered vacuum tube monitor amplifiers, through to custom monitoring consoles, all the way up to complete facility design and installation.
DIFFERENCES AND FEATURES
First off: no microphone preamps. You mastering engineers certainly don't need those. The mic pre and input select switch are removed and the switches become dedicated "mode" switches one each for the ELOP and the FET limiters.
1) The ELOP limiter gets more Ratios - 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.
2) The FET limiters get new modes that are 50%, NORM, LP Lim, BOTH, and CLIP.
The "50%" setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain 'reads' off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix.
The "LP Lim" setting only comes into play for hot signals and reduces the depth of gain reduction for high freqs. This translates to - hot signals + moderate gain reduction = brighter, more present signal, less distortion, more balls. This mode allows more high frequencies to pass through without being limited.
The "CLIP" setting introduces a fixed threshold clipper circuit set up about -2 dB DFS or +18 dBv at the XLR. Within normal usage "CLIP" generally prevents outputs from passing beyond +18 dBv, and 97% of the time, clips in a controlled fast-recovery manner before a converter would (in generally a less than desirable sounding way).
Finally, the "BOTH" setting on the FET limiter engages both the "LP Limit" and the "CLIP" functions at the same time. This might be appropriate for metal and projects demanding intense volume. The "BOTH" mode is designed for situations where extreme processing and loudness is required but where attack, brightness and aggressiveness needs to be preserved or enhanced.
3) The LEFT blue erstwhile-"Limit" button becomes a master stereo Bypass switch here in the Mastering Version. When it is not engaged, it becomes a true hard-wire bypass (This was not possible on the mic preamp regular version obviously).
4) The right Bypass button becomes the Limiter Bypass (tubes & transformers still active).
5) The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1/4" jack input select in this new mastering version.
6) 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.
SPECIFICATIONS - MASTERING VERSION
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
Balanced XLR Line I/O: MANLEY IRON® 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.
