Manley SLAM! User Manual
MANLEY
SLAM!
Stereo Limiter And Micpre
OWNER’S MANUAL
rev3/11/11cd
CONTENTS
SECTION PAGE
INTRODUCTION 3
POWER SUPPLY 5
BACK PANEL & CONNECTING 6
FRONT PANEL 8
METERING 10
LIMITERS, HINTS, ETC. 13
THE GUTS 17
FACTORY ALIGNMENTS 18
TROUBLESHOOTING 21
MAINS CONNECTIONS 23
SPECIFICATIONS 24
ADDENDUM FOR SLAM! MASTERING 25
TEMPLATES FOR STORING SETTINGS 28
2
INTRODUCTION
THANK YOU!...
for choosing the Manley SLAM!. This unit combines Mic and Instrument Preamps, 4 limiters, comprehensive metering and is ready for or already has the digital converter option. As one might expect, the basic operations are fairly
simple and instructions may not be needed - but - the SLAM! has a lot of advanced features, and we strongly recommend reading through the manual. There are a lot of tricks and features that are not so obvious.
In truth, the SLAM! started with the idea of an updated Electro-Optical Limiter and the original working name was
ELOP II. That didn’t last long. First we developed a fast FET limiter, decided that fast LED metering was approriate, then added a mic pre, decided that this box would make the ideal “analog insert in a digital world”, then added
almost every request and suggestion the customers had given us over the years. And somewhere during all this,
decided each little part had to be right, and much was going to be quite new and elaborate. In the end, ELOP II was
not at all descriptive and after a ‘name this box’ contest on our website it became the SLAM!.
We can start right at the basic tube circuits. These designs are unlike any others we know of, including previous
Manley circuits, so this is not a box with an old mic pre combined with an old Opto Limiter and a borrowed FET
limiter. This is all new. The tube circuit is a hybrid FET/ tube design rst used in the Manley Steelhead phono
preamp and provides the advantages of both technologies. You get the low noise of FETs, the headroom of tubes, the
gain of both and lower distortion than either typically, and a new texture in your tool kit.
This is the beginning of the story and continues through the product and the manual. Some manuals seem to imply
that if you use ‘this box’ then you are an instant mastering engineer or top producer with all the tools they use. This
strange manual is lled with warnings, caution ags, grumblings about some aspects of digital and has extended quotations from other other manufacturers. Our intention is to help the user, supply a bit of under-reported info, and give
equal time to both what might help provide the sound you’ve been looking for and what might be considered questionable or dangerous to your music. The SLAM!, like other powerful processors, can be great or horrible depending
on how it is used or abused and if something here helps avoid disasters, then we have happy customers.
GENERAL NOTES
LOCATION & VENTILATION
The Manley SLAM! 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 of the unit such that a constant ow of air can move
through the ventilation holes. Airow is primarily through the bottom panel vents and out through the top.
You should also not mount the SLAM! where there are likely to be strong magnetic elds, such as directly over
or under power ampliers or large power-consuming devices. The other gear’s fuse values tend to give a hint of
whether it draws major power and is likely to create a bigger magnetic eld. Magnetic elds might cause a hum in
the SLAM! and occasionally you may need to experiment with placement in the rack to eliminate the hum. In most
situations it should be quiet and trouble free.
We also suggest that you get familiar with the back panel switches and jacks before it gets mounted in a rack. If you
have the digital option, experiment with the lter settings, dither, etc to nd your favorite settings, then rack it.
WATER & MOISTURE
As with any electrical equipment, this equipment should not be used near water or moisture. Beer is OK though.
SERVICING
The user should not attempt to service this unit beyond that described in the owner’s manual.
Refer all servicing to your dealer or Manley Laboratories. Our service department is available for questions by phone
(909) 627-4256 x325, online at <www.manley.com/service.php> or by email at <service@manleylabs.com>. Fill
in your warranty card! Check the manual - your question is probably anticipated and answered within these pages...
RTFM
3
The Swiss Army Knife
The SLAM! is an unusual product that doesn’t quite t into a simple
catagory. We get questions like “Why have a mic-pre on a limiter?”,
and “Why so many input and output jacks?” and “Why no hard-wire
bypass on this mastering processor?”. And the only answer is “It’s not
just a ....., it does a lot more”. It isn’t a channel strip - no EQ, besides
being stereo. It isn’t just another front-end for the workstation. It isn’t
just a mastering processor. Maybe the SLAM! is a new category.
The SLAM! is a an outboard limiter and a new low-noise high gain
tube mic-pre, and a mastering processor, and a DI. As a mic pre it
offers about 70 dB of gain and a new circuit, unlike any previous
Manley Preamp. The gain stages are based on a circuit developed by
Mitch Margolis for the Steelhead phono preamp. The SLAM! can be
used as a mastering processor (not a multi-band limiter), a processor
that real mastering engineers use to create loudness without messing
up the mix. As a DI or Instument Input it offers 2 impedances (100K
and 10 meg ohms), plenty of gain, limiting, and if you want to have
fun use both channels with your fave EQ inserted between...
First Things First
We only have a few simple suggestions for your rst few dates with
the SLAM!.
1) Don’t rack mount it until you are familiar with the back panel and
have experimented a bit with the jacks and switches that you might
use later. No problem racking it, but this way is easier at rst.
3) This is a limiter and limiters generally can create weird distortions especially when the gain reduction is deep and releases
are fast. The SLAM! FET limiter has very fast releases so it can
be dangerous. The OPTO is easier to use because the attack &
release are slower which is why opto’s have always been popular.
Sometimes we want the ease of opto and the speed of FET, and
using the FET gently to ‘clean up’ the overshoots of the opto is
pretty easy too. With the FET limiter alone, some experimentation and critical listening is a must. Different songs and sounds
seem to want different settings and one may often be surprised by
the optimum setting.
4) Because the SLAM! is old-school analog, the limiters won’t
have the ‘precision’ of a digital limiter that can be easily set to
hold peaks within 0.1 or 0.2 dB of clipping. If you intend to use it
as a brick wall limiter before the A to D converter as a method to
be safe/lazy/ clever, in an attempt to get hot levels within .2 dB of
digital clipping you may be creating the worst case scenario for
an analog box. It is difcult to set the SLAM! up to do that. It can
be pretty good IF you take the time to carefully set the controls.
Foolproof and easy - no, but if you want ‘easy’, then the safest
way is to accept -2 to -5 dB DFS (23+ bits), and use a digital
limiter like an L1 or L2 for the last few dBs. The combination
provides the best of both worlds. Another approach is to try the
“CLIP” setting plus the OPTO which is a bit easier and may or
may not be as audible. It might not be worth being obsessed with
hitting -.1 dB DFS and focus on the sound instead.
2) Watch those levels. There is a lot of gain and ways to manipulate
gain on the SLAM!. We have seen guys set up 30 dB of boost to a
line signal, 30 dB of limiting and were not aware of how drastic those
settings might be because they were unfamiliar with the box. On he
LED meters, one segment = 1 dB (approximately), and if you see the
LEDS go half way down, you are hitting 13 dB of limiting which is
generally drastic. Most engineers prefer 6 dB or less limiting. You
need to use your ears, and your eyes. Common mistake.
a) Unity gain for line inputs is near 12:00 for the INPUT and
OUTPUT controls. Begin with the ELOP and FET thresholds
fully clockwise (5 oclock). A good starting point.
b) To set INPUT levels start with the VU on INPUT and the
VU attenuator at the “0dB” especially as you become familiar
with the SLAM!. You have to be aware that practically all the
knobs and switches affect level and gain and that you want to
start off on the right foot, so get the INPUT set rst. Then set
Thresholds and Output level. Most early confusion has been
due to level settings.
c) The LED PEAK METER (audio mode) is most useful to
view when setting up the limiters and comparing how much
louder it can get while hitting the same peak level. Compare
your original peak level in Bypass to the level possible with
limiting engaged.
5) Once you have found your favorite back panel settings, feel
free to rack mount the SLAM!. Yes, you can leave Phantom on
all the time. Old consoles didn’t have phantom switches and it
was always on - no problem.
4
MANLEY SLAM!
POWER SUPPLY UNIT
electric shock, do not expose this unit
refer all servicing to qualified personnel only
WARNING:
to reduce the risk of fire or
to rain or moisture.
CAUTION:
risk of electric shock.
do not open, high voltage.
line voltage
switch
replace fuse
with same
type and rating
FUSE
ON
N9512423
5
4
3
2
POWER
1
1) POWER MULTI-PIN: 16 PIN AMP connector that screws into the matching socket on the back of the SLAM!. This
should be connected rst. Rotate the whole connector until it mates with the socket, then just a turn or so on the outer
ring clockwise will complete the mating. Force will NOT be needed. The cable is 6 feet long and keeping the supply
6-12” away from other gear reduces the possibility of induced hum, though this supply won’t radiate much. The supply
may get reasonably warm, and this is an intentional trade-off to keep those magnetic elds minimal.
NOTE: The bulk of the power supply will not turn on (including the LED) unless this connector is inserted, because the
SLAM! remote controls the power for most of the Power Supply Unit.
2) IEC POWER SOCKET: Use the supplied IEC cable to connect the Power Supply Unit to wall current. This supplied
cable should be the proper type for your country.
3) POWER TOGGLE: “ON” is marked. Note that BOTH this toggle has to be in the ‘ON’ position and the SLAM!
front panel red ‘POWER’ button has to be pushed to turn on the SLAM!.
4) FUSE: The fuse protects you and the SLAM! in case of a catastrophe. Replace only with the same value and type.
Failure to do so voids the warrantee. For 117 volts AC mains this fuse is a 2 Amp standard 1/4” SLO-BLO MDL 2.
For 220 volts AC mains this fuse is a 1 Amp standard 1/4” SLO-BLO MDL 1. A blown fuse often looks ‘blackened’.
Several blown fuses indicates a problem needing repair. Both the Supply and SLAM! should be returned to the dealer or
Manley Labs for service if the correct value fuses continue to blow.
5) VOLTAGE CHANGE-OVER SWITCH. This should be set to the proper voltage for you country by the factory. The
switch is marked, and in general a good habit to verify this setting is correct before plugging any new gear in and turning
it on. The carton the SLAM! arrives in will also be marked for 117 or 220.
In case you were wondering about the handle, it is to mechanically protect the switches and fuse.
The 4 mounting screws allow the supply to be mounted in a rack or screwed down to something.
5
THE BACK PANEL
IN =100K OHM
1/2 IN =10 MEG
DRIVES ADC
1/4” BYPASSES
XLR O/P. XLR
INSTRUMENT
UNBAL OUTPUT
FULLIN = +4dBu
HALFIN = -10 dBv
INSTRUMENT
UNBAL OUTPUT
FULLIN = +4dBu
HALFIN = -10 dBv
IN =100K OHM
1/2 IN =10 MEG
1/4” BYPASSES
XLR O/P. XLR
DRIVES ADC
CHANNEL 2
BALANCED INPUT
TRANSFORMER
BALANCED OUTPUT
EXT LINK
(5.1)
I/P OPTO
INSERT INSERT
SC MIX
CHANNEL
OPTO SC
FET SC
SEND
SEND
RTN
EXT LINK
(5.1 etc)
SC MIX
I/P FET
CHASSIS
GROUND
CIRCUIT
RTN
SERIALNUMBER
DESIGNED BY HUTCH
ANAGRAM TECHNOLOGIES,
JERRY GARSZVA, E. MANLEY
M. MARGOLIS, B. HERNANDEZ
DO NOT HOT PLUG
TURN OFF POWER SUPPLY
PHANTOM
POWER 48V
OFF
MUTE MONITORS
THEN PULL
TOTOGGLE
CHANNEL 1
BALANCED INPUT
TRANSFORMER
BALANCED OUTPUT
1 6
12 11 10 9 8 7 2 3 4 5
This is just a description of the various jacks and switches on the back. We suggest that you might want to not rack-mount the SLAM!
until you’ve spent some time becoming familiar with the various patching and switches. Sorry, but the back panel is more complex
than most
gear and there are options galore. That’s what happens when you get what everybody asks for.
For simple maps that show a few examples of how to patch the SLAM!, check out Page
1) POWER CONNECTOR. First verify the POWER SWITCH on the front panel is off (out) and Outboard Power Supply is off (toggle towards FUSE). The Outboard Power Supply has a captive 6 foot cable, with the mating plug. There is a painted white dot on the
plug that should face UP and/or gently rotate it to nd the “key” or where it ts. Force is denately not needed. Rotate the ring on the
front of the connector CLOCKWISE about 1 turn, which locks the connector in place.
The SLAM! uses a trickle of power to remote control the power of the main supply. This means the Outboard Power Supply can not be
turned on without it being connected to the SLAM!. This is a safety feature. Also, with that exception and the +&-6 volt supply used for
tube laments (heaters) all other pins are protected from passing current or a charge stored on power supply capacitors. In other words,
its pretty safe, and that you can’t get a shock, and can’t power it up hot but still better to have both power switches off to connect this plug.
2) CHANNEL 1 INPUT. This is a Neutrik Combo jack that accepts XLRs, 1/4” mono phone plugs, 1/4” balanced phone plugs. This
is both the LINE INPUT and the MIC INPUT. Phantom Power (6) is not advised except for some MICs, and in particular FET condensor mics and some rare exceptions that require it. If Phantom is ON, turn it off before patching into this jack (or any other mic patching) or at least turn the monitors, headphones, etc down because there will be a loud speaker killing POP. Contrary to urban myth, it
is highly unlikely Phantom Power will damage any mic or cause it to sound different, except during patching. It is a good idea, not to
have Phantom on for LINE inputs, as it might be possible to damage something with the 48 volts if you select MIC (which can enable
phantom).
3) CHANNEL 1 OUTPUT. This is a transformer oating balanced +4 dBu output (Pin 2 hot). It is equally happy feeding balanced or
unbalanced inputs but for unbalanced inputs, be sure that the XLR’s Pin 3 is grounded or connected to Pin 1 or the shield. There is also
a transformerless unbalanced 1/4” phone jack output described below (5).
4) INSTRUMENT INPUT. This is a 1/4” mono unbalanced high Z input for guitars, basses, synths, etc. It has about 30 dB more gain
than the Combo jack input and uses the mic-pre. The input impedance is 100K suitable for synths and guitar processors/amp simulators but might be a bit dull for some guitars direct. For very high Z (10 meg ohm) physically insert the jack half way. Cool trick, huh?
This will sound brighter for many guitars and basses, but should have little or no effect if any electronics are between the guitar and
input.
5) CHANNEL 1 UNBALANCED OUTPUT. This jack provides an unbalanced +4 dBu output pre-transformer. It can also provide a
semi-pro or consumer -10 dBv with plug inserted half way.
__________________________________________________________________________________________________________
FAQ - Why no -10 input when you provide a -10 output? There is no dedicated -10 dBu input but both the Combo jack (2) and Instrument Input (3)
can be used in conjunction with the INPUT knob. Why share the same XLR for both MIC and LINE and no Phantom Switch on the front? It was origi-
nally, but we added the HP lter on that switch, and felt it was ‘safer’ for your speakers to have the phantom on the back (see item 17).
Why no separate MIC-PRE output? 3 reasons, the mic-pre would require a good line driver (no more space for more tubes), the opto limiter works
between both ‘sections’, and the Combo jack is used by both mic and line. In other words, it required 4 more XLRs and 2 tubes for this box and there is
no room. 2 channels & 24 jacks plus 6 switches already, and gotta draw the damn line somewhere.Why use bantam jacks for side-chain inserts? (see 8)
6
6) PHANTOM POWER SWITCH: This simply turns on 48 regulated volts of phantom power that ‘rides’ on Pin 2&3 of
the BALANCED XLR INPUT. In this case, it is also only ON when you select one of the 3 Mic modes on the SOURCE
switch.
However, we do have several warnings:
a) Because you can and will have a typical line input often plugged into that XLR and because you can easily switch to
MIC, and because there is a chance some gear is not designed with DC blocking capacitors (or they are rated for less than
48 volts) there is a chance of doing damage to line level gear by ‘accident’. We don’t know of this ever happening but can
imagine that it is possible.
b) In general, patching mics with phantom turned on is a habit to break. Mic signals are typically 1/100th of a volt, and
phantom is 48volts so rather huge speaker killing pops are likely - unless monitors, headphones, etc are turned way down or
off. c) For the same reason as above, running mics through patchbays, intermittant cables and corroded XLRs with phantom
turned on may be extra noisy and crackley. If you need phantom, you need good solid connections. The only mics that need
phantom are most FET condensor mics, and some other internally preamplied mics and a few DI boxes. We don’t know of
any dynamic mics or tube condensor mics that require phantom.
d) Contrary to urban myth, we also don’t know of any mic that can be damaged by phantom, whether it needs it or not,
except a few ‘modied’ vintage ribbon mics that had their protective capacitors removed. Early Neve and Trident consoles
applied phantom power to every mic jack and offered no switch to turn it off. It is probably also a myth that some mics
sound better with phantom off, but not a myth that bad jacks and cables will sound better with it off. Use phantom power
only if its needed.
7) GROUND TERMINALS: These provide separate grounds for use in some installations, with special star grounds or
other grounding techniques to prevent hum. In most situations the two terminals are simply connected with a wire. The
top terminal marked CHASSIS is the AC third pin MAINS ground which also connects to the chassis’s, rack rails and can
internally connect to XLR pin 1. The bottom terminal marked CIRCUIT is the internal audio ground, which also connects to
the 1/4” jacks sleeves.
8) SIDE-CHAIN INSERTS AND LINKING. These are all regular Bantam jacks, like are used in most patch-bays. Why
these? Again size, space and they offer true, no-BS inserts like a patch-bay does. Most studios have Bantam to XLR adapter
cables (we used to chop long patch cables in half and solder on XLRs) and if they don’t, they should. All of the outputs are
impedance balanced (30 ohms), single ended +4 dBu signals. The inputs are single ended, high Z, with the ring connected to
ground through a 30 ohm resistor and should be compatible with most pro gear, balanced or unbalanced.
Some engineers like to patch in an EQ into the side chain of some compressors or limiters which alters how the limiter
responds. For example if the EQ is set to boost at 6K (or HP ltered at 3K), the limiter becomes more of a De-esser. Some
dynamic controllers seem to be extra sensitive to low frequencies and bass, so we lter out low frequencies to prevent
excessive pumping or squashing on bass heavy material. A text-book limiter would not have side-chain inserts because it is
supposed to accurately limit true signal peaks. The SLAM!’s Opto Limiter has a switch that provides some side-chain low
freq ltering at 100 and 200 Hz. The 200 Hz setting also boosts about 4 dB at 6K, for a bit of gentle de-essing to be the “vocal setting”.
Because there are actually 4 limiters in the box, side chain inserts require 8 jacks (sends and returns). The two top jacks are
sends for the Opto limiter (L&R) and they are half-normalled to the two returns below them. Some may also use these as
alternative outs from the MIC PRE, but the Opto Limiter and, to a lesser degree, the FET Limiter will affect them, but it
avoids the nal tube stages.
The next 4 jacks are similarly used for the FET Limiter. The Send is an op-amp isolated version of the unbalanced main
output. Any plug or patch cord in any of the ‘returns’ breaks the normal and unless there is a healthy +4 dBu signal inserted
there, you won’t see any limiting.
The jacks marked EXT LINK (5.1) are just intended for those lucky guys with 3 SLAM!s who need a way to link 5 or 6 limiters for surround work. Two regular Bantom patch cables are required. These jacks are parallelled, and the rings carries the
Opto audio link, the tip carries the FET DC link. The LINK toggle on the front panel must be in the BOTH & EXT position
and all controls on all 3 units are used. The Opto Link blends all 6, the FET link uses the moment-to-moment highest signal
of the 6 channels.
The bottom two jacks are unused at present, but might be useful for mods and special versions. We had an idea to use them
for a ‘blend’ input because some guys like to use the drum sub-mix to ‘push’ the 2 buss limiters, but we felt this was a bit
excessive and can be done with the above side-chain inserts easily enough.
9) CHANNEL 2 BALANCED INPUT: Similar to Channel 1 described by 2) above.
10) CHANNEL 2 BALANCED OUTPUT: Similar to Channel 1 described by 3) above.
11) CHANNEL 2 INSTRUMENT INPUT: Similar to Channel 1 described by 4) above.
12) CHANNEL 2 UNBALANCED OUTPUT: Similar to Channel 1 described by 5) above.
7
THE FRONT PANEL
1)SOURCE: This is the Input Selector that you use to choose the input to the SLAM!. The choices are LINE, DI, MIC, MIC ø (phase
reverse), and MIC 100 HZ (high pass lter) which has a little graphic showing the lter. LINE selects the BALANCED LINE INPUT
Combo jack (XLR or 1/4”) and is intended for +4 dBu signals, but by cranking the INPUT level can be used with -10 dBv signals.
DI selects the INSTRUMENT INPUT jack and routes it through the mic preamp for lots of gain if needed. MIC also uses the BALANCED LINE Combo jack and routes it through the mic pre for 60 dB of gain (and another 20 dB by cranking the OUTPUT level).
MIC ø is the same except opposite and just phase reversed (the proper term is polarity reversed). MIC 100 Hz is normal polarity but
the lows below 100 hertz are ltered out which is useful on many vocals and overheads, to remove pops, air conditioning rumble, etc.
2) INPUT: This is the rst volume control and has about 60 dB of range for MIC and DI, and from -20 to +20 for LINE. For LINE,
the normal setting will be 12:00, or straight up, but this isn’t the rule or an absolute calibration. For MIC or DI, the knob might be
anywhere depending on the mic, the loudness of the instrument, the distance, etc., and it might be prudent to turn the knob down to
start, rather than starting at 12:00.
3) OUTPUT: This is the nal volume control and is used to set the output level to tape or disk, and as the ‘gain make-up’ after the
Opto Limiter, if you need to compare ‘limit and bypass’. The FET Limiter senses the signal right at the output jack, so it acts as if it
is a nal limiter after the OUTPUT level. Circuit-wise the FET Limiter is directly after the Opto, and before the OUTPUT level (but
doesn’t act like it) and before the nal tube gain stage/ line driver. The range of this knob is about -20 dB to +20 dB with unity gain
near 12:00. Most of the time it will live between 12:00 and 3:00.
4) OPTO LIMITER: A simple threshold knob for the OPTO limiter. Fully clockwise (+26) is ‘out’ and a good place to start. As you
turn this knob counter-clockwise, there is more likelyhood that limiting will happen. Some dynamics units have the threshold go one
way and some the other. On the SLAM!, all of the pots, should make the signal louder when turned clockwise, (except the RELEASE
which is a switch).
5) SC HZ: Side-Chain Hertz. This is a HP lter in the Opto Limiter side-chain that makes that limiter less sensitive to low frequencies. It does not affect the FET Limiter. The lter helps minimise pumping and strange volume changes. Sometimes kick drums and
bass seem to ‘trigger’ too much limiting. The FLAT setting, bypasses the lter, 100 lters 100 Hz by 6 dB and more for frequencies
below that. Similarly 200 lters 200 Hz 6 dB and more below but also boosts about 4 dB at 6 kHz for gentle and subtle de-essing and
can be considered a vocal setting. Normally, 2 lters like these require one to change the threshold signicantly, but these are compen-
sated to minimize that.
6) FET LIMITER: Another simple threshold knob. One can blend any balance of Opto and FET limiters by using the two threshold
controls. Each limiter has its own character and advantages, and they complement each other, so that by using both, one can get most
of the advantages without the disadvantages. For example, the Opto can limit deeply, smoothly and has a high ‘ratio’, but is a little
slow for drums, while the FET Limiter can be very fast, but not as deep. The Opto has inherant time constants but the FET can be
adjusted for attack and release times. What the Opto misses, the FET should catch, depending on how you blend them and the FET
ATTACK time.
7) ATTACK: This just affects the FET Limiter. With compressors, ‘attack knobs’ are used to set how fast the compressor responds and
pulls down a signal. Traditional limiters don’t have this because it compromises the ‘concept’ of limiting if there is any overshoot. We
compromised somewhere between ‘text-book limiter’ and ‘typical compressor’, and simulated much of the ‘sound’ of the attack control while still providing more transient reduction than is apparent. VF is very fast (.1 mS), F is fast (1mS) and M is moderate (10mS).
VF is the best if you need to prevent ‘overs’ and is closest to the traditional or text-book limiter. F and M tend to let more transient
through but are also more punchy and may be less detrimental to drums. Expect to adjust the FET LIMIT knob a bit for similar depths
of reduction when you change ATTACK (typical). There is another side-chain that grabs much of the peaks, almost inaudibly, but our
ears tend to hear the side-chain that has the ATTACK and RELEASE knobs. Use your ears to determine the best setting. Instruments
with fast transients like drums show the biggest differences, vocals less so, and soft ute-like sounds may not be affected except for a
little threshold difference.
8
8) RELEASE: This only affects the FET Limiter. There are 11 positions numbered from 2 Seconds (slowest), to 10 milli-Seconds
(fastest). Slow releases tend to be the least audible and will be cleanest. Medium release times on the SLAM! are pretty fast for a limiter and where the most loudness increase tends to be, but if pushed too far also might be obvious with pumping or a volume rise after
the ‘cresendo’. This may also be near the edge of when ‘modulation’ starts to become audible, especially if there is a lot of bass energy in the signal. Achieving maximum loudness cleanly is not automatic and might require a bit of play between threshold(s) release
time and attack because it really depends on the music. The SLAM! attempts to minimise all the negatives, pumping, modulation, loss
of ‘energy’ that is typical for a limiter with fast attack and release times because this is where the maximum loudness lives - but - this
is dancing on the edge of a dangerous cliff.
The SLAM! release time can be set up for ridiculously fast releases (10 & 25 mS) that pretty much guarantee modulation distortion
with lows, which is most often undesirable but can be used as an effect and yet another paint brush. We might caution using ultra-fast
release times with bass instruments, but it can be fun on rude drums and blazing solos. There is also a CLIP setting, which introduces
a FET clipper that is fairly round like some low feedback tube circuits overdriven and is a bit reminiscent of speaker distortion. We
wanted to provide a psycho-acoustic memory of loud, and this is one way. The CLIP is best suited to enhance a moderately distorted
guitar, of fatten a synth. It is not intended to replace your Marshall, or amp simulator, but can often be used to take them a bit further.
9) STEREO LINK: A 3 position toggle. The center position disables stereo linking and is labelled DUAL MONO. All of Manley’s
previous limiter/compressors provide a LINK switch and both L&R controls have to be used for proper operation. Meanwhile, most
other compressors just use the left side while the right side controls become useless. Enough people requested, for us to include this
mode of LINKing. This is the STEREO LINK or up position. Both ways have advantages. The modern ‘left-side only’ is convenient,
easy and can be clever especially on a plug-in. The problem is that almost all implementations mono the L&R, which means sounds
that are hard right or left are 6 dB less likely to trigger limiting than sounds down the center, and anything out-of-phase won’t be seen
by the limiter at all. We think a proper ‘mastering compressor’ is supposed to react to the peak waveform of both the left and right
equally, or stop the same peaks that causes the A/D to clip. This is easy in digital, but in analog it requires the user to use both sides,
and that the limiters react equally based on whichever side has the loudest peak. So the SLAM! also has that mode “BOTH & EXT”
or the down position. This mode is also used for the back panel linking to other SLAM!s for surround projects. For recording instru-
ments the STEREO LINK mode is ne but for serious mastering the BOTH & EXT mode is usually best. ***NOTE: No LINK of the
CLIP functions, because why have one side clip the other?***
10) LED (meter): This switch controls the LED bar graph meter. In the center position is basically an PEAK display of the audio output. The upper position is basically to display GR (Gain Reduction, especially the FET Limiter). The down position is a momentary
switch that RESETs the peak hold (clears the dot) and is used to select the LED meter MODE if held down for a few seconds. A full
and complete description of the LED Meter is on page 12. Sufce it to say here that it does a lot.
11) LIMIT LEFT: Push it in to engage both the OPTO Limiter and the FET Limiter and the OUTPUT level control and it lights up
blue. This is not a hard-wire bypass, nor can it be, on a Swiss Army Knife, that has multiple inputs and outputs, mic pre-amps, etc. A
hard-wire bypass on a mastering version is a bit more likely.
12) POWER: OK, we won’t do a 300 word description of a power switch this time. Push it, it lights RED, and turns on the bulk of
the Outboard Power Supply, which has been on idle drawing almost zero current. (If it doesn’t, remember that there is also a power
switch on the power supply that has to be turned on.) The VU meters should light up, and about 30 seconds later the MUTE relay
disengages (to prevent tube warm-up thumps) and audio should be available or rising gently. This box has a long warm-up time but
should be stable in a minute and very nice in 15 minutes. Power-down mutes immediately. This might be a concern in a live situation;
plan accordingly.
If you are not using it for 8 hours, you might as well turn it off to save power bills and tube life. There is a school of thought that
suggests that the initial turn-on is the hardest on tubes, and shortens their life and to some degree that is true. From our experience, it
all depends on the individual tube and some last 30 years and some 30 seconds. If you are concerned with tube life and down-time, repairs etc, buy a set of extra tubes and save yourself some panic when you least need it. Changing a tube is almost as easy as changing
a light bulb and once the top cover is removed should take 20 seconds (compare that to a repair needing the ‘ol soldering iron).
13) LIMIT RIGHT: Just like 11, but for Channel 2. Push to engage limiting and the OUTPUT level.
14) VU: Selects the source for the VU meters. I/P (input) shows the level directly after the INPUT level pot and is a good place to set
the MIC-PRE gain or rough out operating levels. O/P (output) shows the output level appearing on the output jacks. GR shows the
OPTO Gain Reduction, but not the FET. Most Opto Limiters use a VU to display gain reduction. When the limiters are bypassed the
VU drops to below -20 which is not intended to imply extra hard limiting. The Opto can also be displayed on the LED meters, with an
expected increase in speed because the Vactrols in the Opto Limiter are faster than VUs.
15) VU ATTENUATE: One can also pad the VU’s down by 3 or 6 dB which is especially useful if the client is in the room and eye-
ing the VU needles pegged in the red. Mastering engineers need this because a nal mix has a lower ratio of peak to average level,
and probably lower again after mastering. The SLAM! will tend to do that too. For individual tracks, we expect the 0 or no pad to be
the most common but it depends on the instrument and distorted guitars may few and moderate peaks, but some percussion has huge
peaks. We suggest the 3 dB pad for most mastering, and allowing about 3-6 dB below digital full scale on the peak meters. Why? FIR
lters usually need 1dB to 2 dB of headroom, MPEG usually requires 4-6 dB, the mastering engineer needs some room to work. The
6 dB VU pad is a hint that maybe this is project is ‘hyper-compressed’, especially if is still bending far into the red. It is nice for CD
playback though.
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