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SLAM! stands for "Stereo Limiter And Micpre" and it pretty much describes what it will do to most VU meters. Sam Ash Direct has the guaranteed lowest price and fast free, shipping.
SLAM! stands for "Stereo Limiter And Micpre" and it pretty much describes what it will do to most VU meters. Manley 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 natural as a mastering tooltube mic preamps, it also has masters degrees in DI, AtoD and DtoA, 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? Manley combined a high-quality Electro-Optical circuit with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And they 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. Manley is excited to announce the SLAM!
GET IN: The SLAM! starts with tube Mic Preamps on both channels with switchable phantom power and phase reverse. You get plenty of gain 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.
Got some Digital to deal with? No problem. There is a slot in the back for an optional 24 Bit/96KHz Analog to Digital converter and 24 Bit/192KHz Digital to Analog converter card. This allows you to record directly to your computer or workstation and provides a convenient way to use a digital insert to jump into the analog realm and back. AES and SPDIF digital inputs receive your stereo digital signal to convert to analog for processing by the SLAM! when the DAC input is selected. Or just take advantage of this killer DAC and use the DAC Output for monitoring, listening, or to go out to some other analog processors or tape machines.
The ELOP™ LIMITER: Manley's beloved Electro-Optical Leveling Amplifier circuit, 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 the 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 works.
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. Manley aimed at "sound" first, then experimented with circuits until they heard what they 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".
|Model||SLAM Stereo Limiter and Microphone Preamp|