Manley ELOP User Manual
THE ELOP
®
OWNERS MANUAL
TUBES
RULE
3.31.11cd
CONTENTS
SECTION PAGE
INTRODUCTION 3
FRONT PANEL 4
REAR PANEL 5
OPERATION NOTES 6
ADVANCED TRICKS 8
MAINS CONNECTIONS 9
TROUBLE SHOOTING 10
INTERNAL ADJUSTMENTS 12
SPECIFICATIONS 13
TEMPLATE FOR USER SETTINGS 14
INTRODUCTION
THANK YOU!...
for choosing the Manley ELOP®. is Limiter follows in the tradition of the vintage LA-2A Leveling Amplier using a passive electro-optical device to control gain. e advantage of a passive
device is that it eliminates the need to push the music through many transistors and/or ICs as
would be the case in a VCA based Limiter.
Also like the LA-2A, the Manley utilizes a tube line amplier for make-up gain. is is one of our
favorite clean and powerful line drivers. We achieve true tube “warmth” with delity rather than
with distortion. Other owners of this unit love the way they can drastically (10 dB) limit without
introducing unmusical harshness. We nd it extremely quick and easy to use, mostly because it
does exactly what one would expect of a good limiter when patched in. For critical vocal tracks,
this is the one to demand.
Unlike the LA-2A, we illuminate the photo-resistor with an LED rather than electro-luminescent
elements which are oen slow and unreliable. We also use a solid state side-chain to drive the
LEDs. e Limiter also features a BYPASS switch that retains the tube section at unity gain.
Please take a few moments to read through this manual carefully as it contains information essential to proper operation of this unit. ank you again, and please enjoy.
GENERAL NOTES
LOCATION & VENTILATION
e Manley ELOP® must be installed in a stable location with ample ventilation. It is recommended, if this unit is rack mounted, that you allow enough clearance on the top and bottom of
the unit such that a constant ow of air can move through the ventilation holes.
WATER & MOISTURE
As with any electrical equipment, this equipment should not be used near water or moisture.
SERVICING
e user should not attempt to service this unit beyond that described in the owner’s manual.
Refer all servicing to Manley Laboratories.
WARNING!
!
TO PREVENT THE RISK OF ELECTRIC SHOCK
DO NOT OPEN THE CABINET
REFER SERVICING TO QUALIFIED PERSONEL
3
FRONT PANEL
E E
A B C D F G F H C B A
A GAIN Adjusts the gain of that audio channel. Unity gain is about the seventh marking,
or 1 o’clock. Limiting usually requires some additional “make-up” gain to compare IN /
BYPASS. The Gain control can also be used as the level to tape.
B IN / BYPASS. Audio still flows through the tubes in BYPASS but at Unity Gain. Switch-
ing to IN provides the Limiting controls and functions. Use this switch to verify that the
limiting is not messing up the original sound but enhancing it or at least leveling the
volume.
C REDUCTION Adjusts the amount of limiting in that channel. This could also be called
“threshold”. Turning this clockwise introduces limiting.
D STEREO LINK / NORMAL Switching the toggle UP provides the STEREO LINK. It is
used on stereo tracks so that when either channel is called to limit, both channels reduce
the same amount at the same time. This prevents image shifts and an instrument should
stay where you panned them. Limiting individual sounds is usually done with the switch
down where each side is independent of the other.
E METER Shows the amound of gain reduction in dB from the 0 dB mark. Functions
as a high quality VU meter when the switch is set to METER OUTPUT. Note that VU
meters and PEAK meters rarely agree and that digital recorders use peak meters - Rely on
those for clean recording. VU meters are standard with analog machines and big consoles
because they correspond well with perceived loudness.
F METER SELECT Switch to REDUCTION to see the amount of limiting in dB. The
wider and quicker the reduction meter swings the more likely the limiting will be audible.
Switch to OUTPUT to show the output level as a conventional VU meter.
G POWER SWITCH Switch up to turn the unit ON. Both meters will illuminate when the
power is on.
H SIDECHAIN FILTER Allows you to limit only the frequencies above the one selected.
Useful if you want to let the bass come through full-force, but limit everything else.
4
REAR PANEL
A
B
E
C
D
A 1/4” INPUT (UNBALANCED) (RIGHT) TIP: HOT
B XLR INPUT (BALANCED) (RIGHT) PIN 1: GROUND
C 1/4” OUTPUT (UNBALANCED) (RIGHT) TIP: HOT
D XLR OUTPUT (BALANCED) (RIGHT) PIN 1: GROUND
E IEC MAINS CONNECTOR Standard IEC mains connector for 50 /60 Hz AC.
F MAINS FUSE Replace only with 1A SLO-BLO (120V) or 0.5A SLO BLO (230V).
G XLR INPUT (BALANCED ) (LEFT) PIN 1: GROUND
F
SLEEVE: GROUND
PIN 2: (+)
PIN 3: (-)
SLEEVE: GROUND
PIN 2: (+)
PIN 3: (-)
PIN 2: (+)
PIN 3: (-)
G
I
H
J
H 1/4”INPUT (UNBALANCED ) (LEFT) TIP: HOT
SLEEVE: GROUND
J XLR OUTPUT (BALANCED) (RIGHT) PIN 1: GROUND
PIN 2: (+)
PIN 3: (-)
K 1/4” INPUT (UNBALANCED) (RIGHT) TIP: HOT
SLEEVE: GROUND
Old versions of the ELOP® were unbalanced only. This version has both transformer (floating !) balanced
and unbalanced (transformerless) inputs. The outputs are similar, offering transformer (floating) balanced XLR and unbalanced 1/4 jacks. The output transformers are “driven” either way so even using
unbalanced outputs there may be a part of the “character” caused by the iron. Recording engineers tend
to prefer the sound of good transformers. If done right, they saturate a little in the deep lows and this
effect “warmth” is usually attributed to “tubes”. Its the tubes that give it that clean, immediate, musical
quality. Transformers give that rich, fat bottom end - its not a “boost” like EQ but more like a low frequency “exciter”. Analog tape also saturates this way, as does the better vintage gear - tube or discrete.
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