ADDENDUM FOR SLAM! MASTERING VERSION
The mastering version has a number of changes compared to the regular SLAM!:
1) There are no mic preamps or instrument inputs. Instead the tube sections are paral-
leled for lower noise and distortion.
2) All pots are replaced with rotary switches for detented resettability and easier cal.
3) The mastering version has a true hard-wire bypass function, which is not possible
on the regular version with mic preamps, etc. What was the Left Bypass, becomes the
full Bypass (in stereo and hardwired). No separate L & R bypass buttons.
4) The right BYPASS button becomes the Limiter Bypass (tubes & transformers still
active)
5) There are dedicated unbalanced transformerless inputs on the mastering version.
What was the Phantom Power switch on the back now selects XLR or 1/4” inputs.
6) The OPTO limiter now has 5 ratios, which may put it into the compressor/limiter
category. The lower ratios may be better suited for complex mixes.
7) The FET limiter has 5 modes (these last two features replace the INPUT selector).
About item 6, the OPTO can be selected for 10:1, 5:1, 3:1, 2:1 and a new ‘AUTO HF’ mode
where high frequencies get a higher ratio and low freqs get a low ratio. This mode is the most
gentle. As with most compressors one might need to lower the threshold as one lowers the ratio,
if keeping a similar depth of gain reduction is wanted. The threshold markings are based on the
10:1 ratio and a setting of +18 is intended to help reduce DFS overs with a converter with 14 dB
of headroom over +4 dBm. Many mastering converters are set for 14 dB of headroom and the
+18 setting would be a good starting point. Of course being an Opto, it cannot be ultra-fast and
some peaks will probably get through and it generally will have the typical (puffy) sound of an
opto (because of its inherent time constants). It should be pointed out that much of that charac-
ter is reduced when used in conjunction with the FET limiter. The FET usually catches some of
the overshoots and time/gain behavior of the Vactrol and that can reduce the familiar Opto sonic
signature.
The FET limiter has some subtle enhancements, some of which will not be apparent on all ses-
sions. In particular, the LP LIM function will not be obvious unless the input signals are rather
hot and more than a few dB of limiting is taking place. LP LIM is meant for those jobs that
require more drastic treatments. If those conditions are met, 1) the NORM setting may be verg-
ing on ‘crunchy’ and might seem dulled due to reduced transients, 2) the LP LIM setting can be
less crunchy, and seem to have more ‘presence’ because the FET limiter won’t be pulling down
as much mids and highs as it will lows where most of the energy is. It may also be difficult to
compare NORM and LP LIM because the change involves a 3 or 4 second time constant. At
normal levels, the two modes will be similar sounding. LP LIM seems to help in extreme cases
where loudness is the prime goal. Use the Bypass button to check how much dynamic presence
is added.
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Summary of Contents for SLAM!
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