Manley Mastering Backbone, Owner'S Manual

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INSERTS 4 & 5…SWAP!
INSERT 4 and INSERT 5 are also special. You can reverse the order of these two using the but-
ton below marked SWAP. With the button pushed, Insert 5 precedes Insert 4. Whatever processors you
choose for these inserts, verify that with both units NOT bypassed and “flat” (e.g. zero compression),
that there are no unwanted effects related to the patch order, including other processors potentially in
the chain (especially Inserts 3 and 6 which are nearest 4 & 5).
It might be interesting to put compressor/limiters on these inserts. Depending on settings and the
order, there can be benefits in how each responds dynamically, especially if one unit tends to overshoot
a bit. Of course, the SWAP button will be appreciated by those who are tormented with the decision
of whether EQ should precede compression or vice versa. Usually, “it just depends.” With the gentle
processing typical in mastering, there isn’t much difference.
INSERTS 6-8
Next in the signal flow are INSERT 6 and INSERT 7, which are not special (like their neighbors
are, at least). Some engineers prefer these inserts for their main processors and some for their alterna-
tive or “occasional” processors. We know that was an ambiguous sentence, but what we mean is, use
these inserts for whatever you’d like to. We don’t mind either way.
INSERT 8 is special if for no other reason than being the last process in the chain. This, of course,
is likely the most appropriate place for your final limiter. The Manley Mastering SLAM! with the con-
verter option can be highly advantageous here because even if it is followed by your favorite mastering
quality A to D converter, it gives you an superb alternative converter and a contender for a new favor-
ite. We might suggest that this processor insert be used to sometimes push the level, after keeping the
signal at more reasonable and conventional levels earlier in the chain.
Between INSERT 7 and INSERT 8 is a multi-purpose function. Pushing the button labeled MIX
FADE below them engages the large Penny and Giles rotary knob to the right of INSERT 8. This is es-
pecially handy for “Producer Fades”. Most of the time, fades are simply done graphically in the work-
station, but there are occasions when one wants a manual fade and big knob to ride the volume down
(or up). This rotary knob is called the...
MIX/FADE KNOB
There is a small toggle switch associated with this circuit that sets up alternative functions. With the
switch down, the FADER is a fader. Simple. With the switch in the middle, the knob becomes a preci-
sion stereo mixer. Lastly, in the “up” position, the mixer uses the “DIFF” signal from that earlier part of
the console so one can blend in a little extra width.
The basic MIX function is typically used for several purposes. One is the so-called “parallel com-
pression” which generally employs a limiter set for somewhat drastic settings. When it is blended into
the main path, it has the effect of raising lower level signals without squashing transients, which sort of
translates to less quiet dynamics and increased ambiance. It can be considered a technique for manipu-
lating quiet sections rather as opposed to normal limiting that affects the louder passages.
One could also try lightly mixing in extreme EQ or compression settings on the SUM or DIFF parts
of the signal, via the back panel XLRs. If you’re interested, more details on MIX/FADE techniques fol-
low later on in the manual...