Manley HP-101 User Manual

MANLEY

LABORATORIES, INC.

OWNER'S MANUAL

LANGEVIN STUDIO

HEADPHONE SYSTEM

MANUFACTURED BY:

MANLEY LABORATORIES, INC.

13880 MAGNOLIA AVE.

CHINO, CA. 91710 USA

TEL: [phone]
FAX: [phone]

CONTENTS

SECTION PAGE

INTRODUCTION 3

MAINS CONNECTIONS 4

OPERATIONAL NOTES 5

SPECIFICATIONS 8

WIRING PIN LISTS / TECH INFO 9

WIRING NOTES 10

BLOCK DIAGRAM / INTERNAL LAYOUT 11

WARRANTY 12

WARRANTY REGISTRATION 13

NOTES 14

INTRODUCTION

GENERAL NOTES

LOCATION & VENTILATION

The Langevin STUDIO HEADPHONE SYSTEM must be installed in a stable location with ample
ventilation. It is recommended, if this unit is shelf mounted, that you allow enough clearance on the
top and bottom of the unit such that a constant flow of air can flow through the ventilation holes.

WATER & MOISTURE

As with any electrical equipment, this equipment should not be used near water or moisture. If liquid
enters the preamplifier, it must be immediately returned to your dealer for servicing.

SERVICING

The user should not attempt to service this unit beyond that described in the owner's manual. Refer
all servicing to Manley Laboratories.

THANK YOU

Congratulations on the purchase of the LANGEVIN STUDIO HEADPHONE SYSTEM. With this
station you will be able to offer musicians a better sounding headphone amp than most major studios
and be able to provide some significant improvements over basic stereo cue boxes or any other
headphone system we know of. We subtitle this unit "THE MORE ME BOX" because this is
possibly its most important feature. Along with the typical cue mix or the control room mix, the
engineer can offer each musician a fader dedicated to their own instrument. Experience teaches us
that each musician always wants to hear more of themselves and that trying to meet this demand with
several musicians and with a few aux sends is quite a mind bending challenge. As long as each
musician's headphone is plugged into a separate station, each can have their own custom mix within
arms reach. This frees up the engineer to concentrate on recording and getting the best sound. It can
free up console aux sends so that they may be used for effect sends. It also tends to allow the producer
to concentrate on perfomances because the musicians monitoring needs are met quickly and easily.

While we strongly suggest that musicians not monitor too loud and possibly damage their hearing,
we know that many musicians will tend to listen to incredibly loud headphones while playing. Most
systems will distort or be gross sounding at these levels causing even more hearing damage, fatigue
and headphone damage than this system will. It is designed to sound good at all levels from quiet
to extremely loud with headphones of all impedances or efficiencies.

MAINS CONNECTIONS

Your unit has been factory set to the correct mains voltage for your country. The voltage setting
is marked on the serial badge, located on the rear panel. Check that this complies with your local
supply. The voltage changeover switch is located inside the unit in the middle of the PCB near the
power transformer. To change the voltage from 120 to 240 volts, simply remove the top cover by
unscrewing the center fixing screw and sliding the top out towards the rear of the chassis. Turn the
top of the voltage changeover switch with a firm positive action using a small flat screwdriver.

Export units for certain markets have a moulded mains plug fitted to comply with local
requirements. If your unit does not have a plug fitted the coloured wires should be connected to
the appropriate plug terminals in accordance with the following code.

GREEN/YELLOW EARTH terminal
BLUE NEUTRAL terminal
BROWN LIVE terminal

As the colours of the wires in the mains lead may not correspond with the coloured marking
identifying the terminals in your plug proceed as follows;

The wire which is coloured GREEN/YELLOW must be connected to the terminal in the plug which
is marked by the letter E or by the safety earth symbol or coloured GREEN or GREEN and
YELLOW.

The wire which is coloured BLUE must be connected to the terminal in the plug which is marked
by the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal in the plug which is marked
by the letter L or coloured RED.

DO NOT CONNECT/SWITCH ON THE MAINS SUPPLY UNTIL ALL OTHER CON­NECTIONS HAVE BEEN MADE.

OPERATIONAL NOTES

SWITCHING ON

The power switch and fuse are located on the remote power supply. Do not hot plug the station while
the power is on. It is possible to get temporary contact of non-compatible pins while aligning the
power connectors. This can short out the supply, or cause a positive voltage where a negative
voltage should be.

The only things you have to be warned about are few.

Upon power-up the LED next to the MUTE switch will light. Generally it will be GREEN
and the unit is not muted. If it is RED or mixed red & green then it will be necessary to push the
MUTE button a few times until the LED indicates GREEN. RED indicates both channels muted,
mixed red & green indicates one of the two sides are muted. The primary function of this button
is as a "PANIC BUTTON" to prevent hearing damage in case of an accident. The secondary
function is to mute a side for those who prefer to listen to only one "cup".You should explain this
button first to the musicians. This is a unique and important feature.

One reasonable thing to worry about with any Cue system is feedback. Feedback can hurt
an otherwise friendly musician. It can even happen when a musician hits the TALK button when
the volume is very loud and the phones are not well sealed. Feedback can be complicated due to
having several communication mics in separate rooms being switched into control room monitors,
Studio Loud Speakers and headphones. The solutions for feedback is use your ears to be aware of
hints of feedback and be ready to turn the volumes down. One suggested practice is to grease pencil
mark what you have found to be good settings on the TB mic and Studio Speakers. These controls
are the hardest to be aware of in the control room because we rarely hear them there thus they are
most likely to creep to Murphy's settings. If the headphones are simply on the verge of feedback
into the vocal mic the only answers are to have the musician turn down their volume or wear better
sealed phones or both.

There are other potential problems created from excessive volume. Musician fatigue is
directly related to volume. The long-term name for this is deafness. The short-term name is burn­out . If you expect the players to lay down scorching tracks all day or all night then make sure the
phones aren't also scorching. When a drummer listens too loud to the drums - they hit them softer
and sorta timid. The playing is technically right but the drums just aren't singing. Vocalists tend to
lose pitch accuracy. Most of the time the best approach is a "normal" headphone mix and the best
time to get it is during a playback. This tends to help dynamic correctness and pitch and musical
communication. The "MORE ME" feature can get way out of hand unless some guidance is
suggested early on. There is always a catch - "MORE ME" easily becomes "more volume" & less
music. Check what the musicians have given themselves - Avoid extremes.