Instruction/ maintenance manual of the product Manley Massive Passive Stereo Tube Equalizer Manley Labs
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OWNER'S MANUAL MANLEY MANLEY MANLEY MANLEY MANLEY MASSIVE PASSIVE MASSIVE PASSIVE MASSIVE PASSIVE MASSIVE PASSIVE MASSIVE PASSIVE STEREO TUBE EQ STEREO TUBE EQ STEREO TUBE EQ STEREO TUBE EQ STEREO TUBE EQ MANLEY LABORA TORIES, INC. 13880 MAGNOLIA A VE.
CONTENTS SECTION PAGE INTRODUCTION 3 BACK PANEL & CONNECTING 4 FRONT PANEL 5,6,7,8 CREDITS 8 THE MASSIVE PASSIVE BEGINNINGS, THE SUPER PULTEC 9 THE PASSIVE PARAMETRIC 10 WHY PASSIVE, WHY PARALLEL .
INTRODUCTION 3 THANK YOU!... for choosing the Manley MASSIVE PASSIVE STEREO TUBE EQUALIZER . This EQ is supposed to be somewhat different from any EQ you may have used before , as well, this manual may be a bit unusual in that you may find it worthwhile to read.
MANLEY LABORA TORIES 13880 MAGNOLIA A VE., CHINO, CA 91710 PHONE (909) 627-4256 FAX (909) 628-2482 email: emanley@manleylabs.com UNBALANCED ONLY OUTPUT AN EVEANNA MANLEY PRODUCTION DESIGNED BY HUTCH B.
1K2 1K8 27K 12K 8K2 5K6 3K9 2K7 1K8 1K2 820 560 220 330 470 680 1K 1K5 2K2 3K3 4K7 6K8 10K FREQUENCY FREQUENCY 2K7 FREQUENCY 3K9 820 560 390 270 180 120 82 FREQUENCY 680 1K 470 330 220 150 68 47 33 22.
OUT BELL SHELF CUT BOOST DB 0 20 BANDWIDTH 100 22 33 47 68 150 220 470 1K 680 FREQUENCY BOOST OUT CUT SHELF BELL 560 - 27K DB 16K 0 20 BANDWIDTH FREQUENCY 560 820 1K2 1K8 2K7 3K9 5K6 8K2 12K 27K 22 - .
4) BANDWIDTH . Similar to the "Q" control found in many EQs. A more accurate term here would be "Damping" or "Resonance" but we used "Bandwidth" to stay with Pu.
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.
Beginnings The very earliest equalizers were very simple and primitive by todays standards. Yes, simpler than the hi-fi "bass" and "treble" controls we grew up with. The first tone controls were like the tone controls on an electric guitar.
Another important concept. When you use the shelf curves the frequencies on the panel may or may nor correspond to other EQ's frequency markings. It seems there are accepted standards for filters and bell curves for specifying frequency, but not shelves.
And Why Parallel? The Massive Passive is a "parallel design" as opposed to the far more common "series design". A few pages back, we mentioned the main reason for going with a parallel design was to avoid extreme signal loss, which would require extreme gains and present the problem of noise or extreme cost.
Why Tube Gain Stages? The stupid answer is the name on the unit is "Manley Labs" and that is what we do. Unlike a current trend, we do not use tubes for THD, clipping character, cool marketing buzz-words, or plagiarism.
Normal Shelf Wide Bandwidth (slope =about 4 to 5 dB/oct) Special Shelf Medium Bandwidth (slope = about 8 to 10 dB/oct) "Pultec Shelf" Narrow Bandwidth Bell Cut Narrow Bandwidth (just for ref.
LOW SHELF +20 WIDE BW LOW SHELF +20 MED BW LOW SHELF -20 MED BW LOW SHELF -20 WIDE BW LOW SHELF +20 WIDE BW LOW SHELF +20 NARROW BW LOW SHELF -20 NARROW BW LOW SHELF -20 WIDE BW NOTICE THIS 8 dB BOOST.
Narrow Bandwidth Bandwidth at 12:00 Wide Bandwidth Wide Bandwidth Bandwidth at 12:00 Narrow Bandwidth "dB" set at max (20 dB) and changing the Bandwidth Max Boost Narrow Bandwidth 12:00 Boos.
LOW PASS FILTERS HIGH PASS FILTERS 1.5 dB bump on the 6K, 7.5K and 9K Filters 16.
1) To Open : Disconnect the AC Power cable, let sit 15 minutes to allow the power supply capacitors to discharge. Remember there are high voltages (300VDC) used in the Massive Passive and that the cap.
LEFT CARD +4 dBu -10dBv INPUT INPUT OUTPUT OUTPUT RIGHT CARD +4 dBu -10dBv INPUT INPUT OUTPUT OUTPUT BACK P ANEL BACK P ANEL BACK P ANEL BACK P ANEL This procedure also results in a polarity reverse which means that the 1/4" outputs will reverse phase both in bypass and EQ.
Equalizers EQs range from simple bass and treble controls on a hifi system to pretty tricky parametric EQs and 1/3 octave graphic EQs. As an audio freak, you have probably tried quite a few EQs and have gotten both great results and sometimes less than great and you probably have a favorite EQ.
EQ TECHNIQUE One of the best things about almost all EQs is that you don’t really need an instruction manual. You plug it in, turn a few knows and when nothing happens you take it out of “bypass” and the rest is easy. You just keep twiddling until it sounds like you want it to.
1) The song and the vocals was what producers wanted and perhaps that hasn’t changed much. Bands were recorded with live vocals back then. Even overdubs were a band thing. Much of the signature of both the British or American sound were the vocal harmonies.
Rather than try to do all your compression while recording vocals, save some for the mix. This takes a little pressure off of finding the “ultimate” compressor with perfect settings and you have the option of compressing the vocals as a group. Real Drums : Typically need lots ‘o’ EQ because we typically close- mike individual drums.
Loops : The trick? Make the bad stuff sound good and the good stuff sound bad. Put it all together and go nuts with the mute switches. For that ol’ telephone filter, first try the two mid bands with deep shelf cuts.
If you are attempting to master the project or “pre-master” (this year’s hot, new audio buzzword) yourself, here are some suggestions. Take a week off after mixing, then listen to the mixes on as many different systems as you can, friend’s homes, cars, boom boxes, headphones, etc.
Translations This is just a few commonly used musical terms translated into technical terms or specific Massive Passive techniques. Note that these are fairly loose descriptions and definitions. Your mileage may vary. Bottom, Fat the deep lows for more: bell boost below 100Hz or use any low shelf up to even 330Hz .
There are a number of possible symptoms of something not quite right, some may be interfacing, others we will touch on as well. If you suspect a problem the following paragraphs should help. NO POWER, NO INDICATORS, NADA - Probably something to do with AC power.
IT MAKES NOISES WHEN THE FRONT PANEL IS TAPPED - An easy one. Some tubes become microphonic over time. That means they start acting like a bad microphone. Vibration has caused the supports for the little parts in the tube to loosen and now the tube is sensitive to vibration.
MAINS CONNECTIONS Your MASSIVE PASSIVE has been factory set to the correct mains voltage for your country. The voltage setting is marked on the serial badge, located on the rear panel. Check that this complies with your local supply. Export units for certain markets have a moulded mains plug fitted to comply with local re- quirements.
29 SPECIFICA TIONS Maximum Input : 1.5% THD +20 dBm Maximum Output : 1.5% THD Unbalanced: 20-20K +37 dBm Balanced: 100 to 20K +37 dBm Low Freq Saturation +26 @ 20 Hz Headroom (referenced to +4 dBm) flat 33 dB Eq boosted full 20 dB 13 dB THD & Noise (1kHz @ +4 dBm) .
W ARRANTY All Manley Laboratories equipment is covered by a limited warranty against defects in materials and workmanship for a period of 90 days from date of purchase to the original purchaser only. A further optional limited 5 year transferrable warranty is available upon proper registration of ownership within 30 days of date of first purchase.
W ARRANTY REGISTRA TION We ask, grovel and beg that you please fill out this registration form and send the bottom half to: MANLEY LABORATORIES REGISTRATION DEPARTMENT 13880 MAGNOLIA AVE.
MANLEY 1K2 1K8 27K 12K 8K2 5K6 3K9 2K7 1K8 1K2 820 560 220 330 470 680 1K 1K5 2K2 3K3 4K7 6K8 10K FREQUENCY FREQUENCY 2K7 FREQUENCY 3K9 820 560 390 270 180 120 82 FREQUENCY 680 1K 470 330 220 150 68 4.
1K2 1K8 27K 12K 8K2 5K6 3K9 2K7 1K8 1K2 820 560 220 330 470 680 1K 1K5 2K2 3K3 4K7 6K8 10K FREQUENCY FREQUENCY 2K7 FREQUENCY 3K9 820 560 390 270 180 120 82 FREQUENCY 680 1K 470 330 220 150 68 47 33 22.
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