MANLEY SLAM!

Product overview

The MANLEY SLAM! is a stereo limiter with two built-in all-tube mic preamps: record and mix with punch, loudness and integrity. Ready to print.

The SLAM! takes control of dynamics and loudness by combining MANLEY's all-tube preamplifiers with two distinct and simultaneous limiters, the musical ELOP® and the fast FET brick-wall limiter. With two mic preamps, DI inputs and line inputs and a high-headroom design optimised for digital conversion, it is ideal for tracking microphones and DI tracks, for mixing and even for mastering. Its Hi-Z input may just be the most exclusive DI there is.

Key features

• Two all-tube mic preamps with DI inputs and line inputs
• Two ELOP® optical and two FET brick-wall limiters, usable independently or in series
• MANLEY IRON® transformer-coupled balanced line inputs and outputs
• Selectable 48 V phantom power, phase reverse and 100 Hz mic filter
• Hi-Z DI input: 100 kΩ, or 10 MΩ with the jack half in
• Side-chain filter (200 Hz, 100 Hz or flat) and FET attack and release controls
• Mini-patchbay for ELOP® and FET side-chain inserts and external link
• Attenuable illuminated VU meters and gain-reduction LEDs
• Outboard power supply: heat and magnetic fields kept away from the audio

Two limiters, one purpose

The SLAM! uses a dual-stage limiting process for unparalleled dynamic control. The ELOP® optical limiter, renowned for transparent and effortless gain reduction, provides smooth, musical compression. It is followed by a lightning-fast FET limiter that catches the final peaks, creating loudness without the harsh artefacts of digital clipping.

The professional's tracking solution

With its all-tube, high-headroom microphone preamplifiers and a dedicated Hi-Z instrument input, the SLAM! is a front end for any signal. It delivers a rich analogue tone with enough clean gain for any microphone, from dynamics to low-output ribbons, so audio reaches the converters with maximum sonic impact and integrity.

Built for sonics, engineered for performance

The outboard power supply keeps heat and magnetic fields away from the sensitive audio circuitry for a pristine signal path. Flexible I/O, a mini-patchbay for side-chain inserts and attenuable VU meters that can be switched to prevent needle bending make it a robust tool for a lifetime of professional use.

In the box

• MANLEY SLAM! stereo limiter and mic preamp
• Outboard power supply

MANLEY SLAM!: frequently asked questions

What is the difference between the ELOP® and FET limiters?

The ELOP® limiter uses a passive optical cell for smooth, transparent, musical gain reduction and polished glue. The FET limiter is an aggressive brick-wall limiter that catches fast transient peaks and prevents digital clipping. Used in tandem, the ELOP® levels gently and the FET catches what remains.

Can I use the SLAM! for mastering?

Yes. Its transparent sound, balanced I/O, high headroom and the combination of two limiter types make it ideal for adding loudness and density to a final mix without unwanted artefacts. A dedicated SLAM! Mastering Version is also available.

Why an outboard power supply?

It keeps the high-voltage transformers and power conditioning away from the low-level audio path, so magnetic fields and heat cannot interfere: a cleaner, quieter signal with a lower noise floor.

How do I link two SLAM! units for stereo?

Connect the EXT LINK mini jacks on the rear of both units with a 1/8" TRS cable, so that compression and limiting act simultaneously and equally on both, keeping the stereo image stable and centred.

Where can I buy the MANLEY SLAM! in India?

The MANLEY SLAM! is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: Stereo vocal or instrument tracking

Two microphones recorded with limiting before the converters.

Connections

Setup

1. Set SOURCE to MIC and switch PHANTOM POWER +48V on for condensers.
2. Set INPUT for level.
3. Add ELOP® limiting for smooth levelling.
4. Set the FET LIMITER to catch peaks.

Tip: MIC 100Hz removes low-frequency rumble.

Workflow 2: DI bass and guitar

Instruments into the tube DI.

Connections

Setup

1. Set SOURCE to DI.
2. Insert the jack fully for 100 kΩ or half way for 10 MΩ.
3. Set INPUT and the ELOP® limiter.
4. Catch peaks with the FET LIMITER.

Tip: Up to 43 dB of DI gain is available.

Workflow 3: Mix bus loudness

Adding punch and loudness to a stereo mix.

Connections

Setup

1. Set SOURCE to LINE on both channels.
2. Set STEREO LINK to BOTH & EXT.
3. Use the ELOP® for glue.
4. Use the FET to raise loudness without clipping.

Tip: Use the SC HZ filter to stop low frequencies driving the limiters.

Workflow 4: Side-chain processing

Patching an external processor into the side chain.

Connections

Setup

1. Patch the side-chain send to the processor.
2. Return it to the matching RETURN.
3. Adjust the processor to shape what triggers limiting.
4. Set the limiter thresholds.

Tip: The mini-patchbay has separate ELOP® and FET side-chain inserts.

Workflow 5: Linking two units

Four channels or a surround setup with linked limiting.

Connections

Setup

1. Connect the EXT LINK jacks with a 1/8" TRS cable.
2. Set STEREO LINK to BOTH & EXT on both units.
3. Match the settings.
4. Process with identical gain reduction.

Tip: Linking keeps the stereo image stable and centred.

Workflow 6: Unbalanced -10 dBV equipment

Feeding consumer-level or unbalanced inputs.

Connections

Setup

1. Insert the 1/4" plug fully for +4 dBu.
2. Insert it half way for -10 dBV.
3. Set OUTPUT for the destination.
4. Check the level on the VU meter.

Tip: Using the 1/4" output bypasses the XLR output.