NOTES
1) Do not assume the knob settings "mean" what you expect they should mean. Part of this is due to the interaction of the controls. Part
is due to the new shelf slopes and part due to a lack of standards regarding shelf specification.
2) You may find yourself leaning towards shelf frequencies closer to the mids than you are used to and the "action" seems closer to the edges
of the spectrum than your other EQs. Same reasons as above.
3) You may also find yourself getting away with what seems like massive amounts of boost. Where the knobs end up, may seem scarey
particularly for mastering. Keep in mind that, even at maximum boost, a wide bell might only max out at 6 dB of boost (less for the lowest
band) and only reaches 20 dB at the narrowest bandwidth. On the other hand, because of how transparent this EQ is, you might actually
be EQing more than you could with a different unit. Taste rules, test benches don't make hit records, believe your ears.
4) Sometimes the shelfs will sound pretty wierd, especially (only) at the narrow bandwidth settings. They might seem to be having a complex
effect and not only at the "dialed in" frequency. This is certainly possible. Try wider bandwidths at first.
5) If you seem to be boosting all 4 bands at widely separated frequencies and not hearing much "EQ" as you might expect (except for level)
this is a side-effect of a passive EQ and probably a good thing. To get drastic sounding EQ you should try boosting a few bands and cutting
a few bands. In fact, it is usually best to start with cutting rather than boosting.
6) A reasonable starting point for the Bandwidth for shelves is straight up or between 11:00 and 1:00. It was designed this way and is roughly
where the maximum flatness around the "knee" is, combined with a well defined steep slope.
7) The Massive Passive has some internal dip switches for better optimised -10 applications however it is a slightly flawed implementation
- it reverses the phase or polarity so we only recommend using the +4 factory setting. If one must use -10 unbalanced mode, please consider
using special cables where the input is wired ring hot or using the phase switch on the console or workstation. On the other hand, if a set-
up requires -10 levels and can't deal with +4 pro balanced signals, then maybe, absolute polarity issues are a relatively minor problem.
8) The Massive Passive may sound remarkably different from other high end EQs and completely different from the console EQs. Yes,
this is quite deliberate. Hopefully it sounds better, sweeter, more musical and it complements your console EQs. We saw little need for yet
another variation of the standard parametric with only subtle sonic differences. We suggest using the Massive Passive before tape, for the
bulk of the EQ tasks and then using the console EQs for some fine tweaking and where narrow Q touch-ups like notches are needed. The
Massive Passive is equally at home doing big, powerful EQ tasks such as is sometimes required for tracking drums, bass and guitars, or
for doing those demanding jobs where subtlety is required like vocals and mastering.
CREDITS
PRODUCED BY EVEANNA MANLEY
EveAnna suggested that we work on a "tube parametric", and had a lot to do with the look of the Massive Passive including the
back-lit panels, engraved inserts and the name. She cleverly allowed the designer almost total freedom in the execution.
NAMED BY: RANDY PORTER & JUSTIN WEIS
We were less than thrilled by the working names we were using which included "Furthermore", and "Antiqualizer" so we ran a
"name this EQ" contest on our website with a cash or credit prize (good reason to check out www.manleylabs.com once in a
while). We got hundreds of names (most featuring the letter Q) but Randy and Justin separately came up with Massive Passive
and they both won and they both applied their credit towards the EQ they named. The nickname "Massivo" comes from
"Massivo Passivo" which the Manley assemblers prefer to call it.
DESIGNED BY "HUTCH"
Craig Hutchison came up with the concepts, circuits, and boards. Given that the Massivo is quirky, eccentric and over-the-top,
you can pretty much guess what the designer is like. He used SPICE3, WAVES plug-ins and several complex looking
breadboards and many listening tests in the process. Again, blame him for this long-winded, opinion-filled manual.
OTHER VALUED CONTRIBUTORS
Baltazar helped with circuit boards, mechanical drafting and proto-assembly. Michael Hunter helped develop all the inductors
(which was a major task). Dave Hecht (Record Plant), George Peterson (MIX), Seva (WAVES) and Ross Hogarth (Freelance
Engineer) were valuable sounding boards in the concept stage and Dave was the first to really evaluate it. Elias Guzman
fabricated all the circuit boards including several protos. Pre-production beta-testers include Larry, Rick, Don & Spencer at
Precision Mastering, Dave Collins at A&M Mastering, and Eddie Schreyer at Oasis Mastering, all known for their ears and
honest opinions. Last but not least, our dealers for their faith in us, especially, Barb and Al at Studio Tech in Texas, Raper
Wayman in the UK, Coast in Hollywood, and many more.
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