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INTRODUCTION 

THANK YOU!... 

for choosing the Manley 

SLAM!

. This unit combines Mic and Instrument Preamps, 4 limiters, comprehensive meter-

ing 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 recom-

mend 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 approri-

ate, 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 first 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 filled with warnings, caution flags, grumblings about some aspects of digital and has extended quo-

tations 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 ques-

tionable 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 flow of air can move 

through the ventilation holes. Airflow 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 fields, such as directly over 

or under power amplifiers 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 field. Magnetic fields 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 filter settings, dither, etc to find 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 <[email protected]>. Fill 

in your warranty card! Check the manual - your question is probably anticipated and answered within these pages...

RTFM 

3  

Summary of Contents for SLAM!

Page 1: ...OWNER S MANUAL MANLEY SLAM Stereo Limiter And Micpre rev3 11 11cd...

Page 2: ...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 TEM...

Page 3: ...some aspects of digital and has extended quo tations 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 p...

Page 4: ...ator 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...

Page 5: ...ied 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...

Page 6: ...mic patch ing 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 caus...

Page 7: ...nd 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...

Page 8: ...Hertz This is a HP filter in the Opto Limiter side chain that makes that limiter less sensitive to low frequen cies It does not affect the FET Limiter The filter helps minimise pumping and strange vo...

Page 9: ...cally 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...

Page 10: ...n Orange dot from the top down The Peak Hold dot and the third bar color are not available in this dual display mode MODE 2 SINGLE DISPLAY PEAK Position center This is a typical peak meter with a peak...

Page 11: ...UP position SET with TOGGLE in MIDDLE position MODE 3 SELECT MENU DISPLAY MODE 3 MODE 4 MODE 2 DUAL MODE 1 SINGLE COLOR CHANGE PEAK HOLD CURSOR PEAK HOLD INFINITE TIMED 1 SEC NO HOLD MODE 2 SELECT MEN...

Page 12: ...oximate RMS response Ahh hhh loudness Peak Meters are much faster and are supposed to catch events less than 0 0001 Sec compared to the VU s 0 3 Sec which means that transients have a much bigger infl...

Page 13: ...ct and gives a more complete picture for critical applications The FET Limiter Because we couldn t improve much on our old opto circuit we de cided to add a second type of limiter with its own charact...

Page 14: ...at you should make thoseAto D peak meters go as hot as possible digital full scale but NEVER clip Well we have two urban myths in that statement Often enough the next thing after the A D filters plug...

Page 15: ...weet combination The second typical problem setting for limiters and maybe even more for the SLAM is pumping The worst case scenario is a mix that has a very hot transient followed by a significanty q...

Page 16: ...letely agree with Robert s post and the suggestion to cre ate a few masters with lesser amounts of limiting Hopefully the password protected web site can become available and producers and or record c...

Page 17: ...tube back and forth as you pull it up If you suspect a tube you can swap it with the other channel If the problem follows the tube you were right it is that tube If not try swapping another pair of tu...

Page 18: ...Alternatively and assuming no test gear the highest gain corresponds to the lowest distortion This is a broad peak though and distortion may not be truly minimized but probably OK 3 Adjust LINE AMP G...

Page 19: ...TACK VF FET LIMIT fully CW off LED PEAK DUAL MONO no link 2 Adjust FET BIAS for 1 dB of reduction 3 Increase oscillator by 6 dB s Input 10dBu 4 Adjust FET LIMIT fully CCW 5 Adjust FET BALANCE for maxi...

Page 20: ...D TRIM front panel changes color change point Leave trim in middle of range Factory default 3 Yellow led s lit TO ADJUST A Go to mode 3 left bar lits B Hit reset one more time fast left bar flashes Ad...

Page 21: ...THE OTHER SIDE IS DEAD Let s assume this is not wiring We are pretty sure it is the SLAM If it were solid state you would generally send it back for repair Being a tube unit you can probably find the...

Page 22: ...DI modes there is a huge INPUT Level gain range and most pots do have 20 tolerance of position value Once in a while we get a call from a client with a digital studio with confusion about levels They...

Page 23: ...tributors and consumers The WEEE directive requires that both manufacturers and end consumers dispose of electrical and electronic equipment and parts in an environmentally safe man ner and that equip...

Page 24: ...20 1 ELOP Limiter Attack approx 10mS for 6dB GR Release 2 5 Sec Ratio 10 1 Frequency Response 5Hz to 60KHz Maximum Output 32dBm 30dBm into 1K load THD N 05 1KHz Dynamic Range 115dB typical Output Imp...

Page 25: ...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...

Page 26: ...just the threshold down at slower settings to maintain some clip protection but may notice that you don t have to adjust the threshold as much as one might expect with a conventional attack control Th...

Page 27: ...rade shows dial up 15 30 dB of gain reduction presumably to see a good number of LEDs flashing It is still a limit er and should be treated with some respect of the damage a powerful limiter in the wr...

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