All prices are valid for U.S. sales only. Forinternational sales inquiries, please refer to the agent in your home country which can be found on the Manley Labs international distributor webpage: http://www.manleylabs.com/international.html

The MANLEY all-tube microphone preamplifiers are available in 2-channel or single channel versions, primarily intended for use with modern capacitor (condenser) microphones. Now, 40 to 60 dBs ofgain, enough for most ribbon mics, are selectable in precise 5dB steps by varying the amount ofoverall negative feedback on the GAIN switch. This is a very interesting feature indeed, allowing you to change the slew rate (speed), placement, and tonal balance of the sound from mellow and "tubey-er" to faster, punchier and more aggressive.

Tube complements are common to both models: 1x 12AX7LPS hand-selected for lowest noise, and 1 x 6414 for each high-current output stage. Eachunit is painstakingly hand wired using silver solder and audiophile-grade componentry. Double shieldedcustom-built power transformers and custom-built high capacity reservoir capacitors demonstrateour modern power supply design approach. The front panel 1/4" DIRECT INPUT jack makes thesepreamplifiers serve double duty as a pure tube line stage for instruments such as bass, drummachines, and keyboards when you need to get your tunes through some tubes before hitting asterile digital recorder. Total gain in this mode becomes 20dB less than indicated on the GAINswitch. Both transformer coupled balanced and direct (via humongous metalized film MultiCaps)capacitor coupled unbalanced outputs are provided giving you the choice of audiophile-purist or bigiron sounds. Perennial shoot-out winners, our single-ended preamp designs have become favoritesamong top engineers and home recordists alike looking for "that rich Manley sound with the tightbass and the top end that goes on forever" which begs to go direct to tape. It's a BIG sounding micpre!

The MANLEY all-tube microphone preamplifiers are available in 2-channel or single channel versions,primarily intended for use with modern capacitor (condenser) microphones. Now, 40 to 60 dBs ofgain, enough for most ribbon mics, are selectable in precise 5dB steps by varying the amount ofoverall negative feedback on the GAIN switch. This is a very interesting feature indeed, allowing you tochange the slew rate (speed), placement, and tonal balance of the sound from mellow and "tubey-er"t h rough to faster, punchier and more aggressive. Tube complements are common to both models: 1x 12AX7LPS hand-selected for lowest noise, and 1 x 6414 for each high-current output stage. Eachunit is painstakingly hand wired using silver solder and audiophile-grade componentry. Double shieldedcustom-built power transformers and custom-built high capacity reservoir capacitors demonstrateour modern power supply design approach. The front panel 1/4" DIRECT INPUT jack makes thesepreamplifiers serve double duty as a pure tube line stage for instruments such as bass, drummachines, and keyboards when you need to get your tunes through some tubes before hitting asterile digital recorder. Total gain in this mode becomes 20dB less than indicated on the GAINswitch. Both transformer coupled balanced and direct (via humongous metalized film MultiCaps)capacitor coupled unbalanced outputs are provided giving you the choice of audiophile-purist or bigiron sounds. Perennial shoot-out winners, our single-ended preamp designs have become favoritesamong top engineers and home recordists alike looking for "that rich Manley sound with the tightbass and the top end that goes on forever" which begs to go direct to tape. It's a BIG sounding micpre!

Primarily, it is a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and well thought-out ergonomics. Full of features, timeless style, robust build quality, and that world-famous "Manley Sound", we present to you the MANLEY VOXBOX.

MICROPHONE PREAMPLIFIER SECTION: The preamplifier is a clone of a highly regarded and popular mic pre: the Manley Mono Microphone Preamplifier. The mic input transformer is our own design wound in-house at the Manley Labs factory. High current 48V Phantom power is switchable from the front panel. A simple and effective passive BASS CUT switch kills rumble and reduces popping. The INPUT ATTENUATOR is a variable pad control situated before the first tube stage allowing the preamplifier to accommodate +4 line level signals via the balanced LINE INPUT and instruments via the front panel 1/4" DIRECT INPUT. These inputs are selected in the middle position of the dual-function phase invert switch. We provide both transformer balanced XLR output as well as a transformerless "audiophile" 1/4" phone jack output. The Gain switch is actually a clever variable feedback control that changes not only the gain but the slew rate and flavour of the circuit. With it you can choose how laid back and mellow or how up-front and aggressive you want it to get. Headroom is a strong point in this circuit, +31dBu capable. This is 5 to 10 dB better than almost all other pro gear. The music passes through only our super-clean pure Class A vacuum tube circuitry. There are obvious advantages to our purist approach and foremost is the un-electronic final sound that carries emotion into the digital realm.

COMPRESSOR SECTION: This cool compressor design is the result of blending the control

ideas in our best selling Variable MU Compressor Limiter with the opto-isolator approach of the Manley Electro-Optical Limiter. We figured out how to compress the signal before it hit the tubes with no detrimental effect on distortion or frequency response. This way, it can prevent mic-pre clipping and eliminate whole stages of electronics. This cuts the typical path of mic to tape in half! We also pioneered new thinking in the sidechain. Rather than compromise, we developed a technique of using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls. We call the approach "Parametric Compression". We developed optimum settings or presets based on the Light Dependent Resistors of our own fast ELOP, the quick LA-2A, the slower LA-3A and then created more complex special settings. This extended range and method of timing delivers fresh sounds from powerhouse punching drums to super-solid bass yet can also emulate the way good engineers delicately ride a

fader while recording. It is transparent and liquid-smooth on vocals, easy to use and accurate. Also rare for an opto-based dynamic processor, this compressor works great on mixes. Of course, you’ll be needing two VOXBOXes linked in stereo...

EQ SECTION: Lots of folks requested that we include the Pultec Mid

Frequency Equalizer in the VOXBOX, but they wanted MORE.... Now we’ve extended it to 33 frequencies in 3 bands with 6 new frequencies from 20 Hz to 150 Hz, and 6 more in the highs from 6.4 KHz to 20 KHz. Ever notice that only EQs with real inductors have the bottom end magic or that only Class A circuitry can keep the top end sweet? This is for you. The EQ INPUT switch patches in the Line Input, Preamp Output, or the INSERT return. This switch serves double-duty acting as a bypass switch for the preamp and/or external processors or for processing two different tracks.



DE-ESSER & LIMITER SECTION: Designed by folks with admittedly large gaps between their two front teeth, (Hutch and EveAnna) the VOXBOX also includes a de-esser & peak limiter based on our original ELOP design but with an added passive LC network to handle the de-essing– four carefully chosen notch frequencies from 3KHz to 12KHz. (That 3KHz setting really tames those annoying frequencies!) The fifth position gives you a limiter which totally mimics the famous LA-2A. This means you can both compress pre-EQ then limit here post-EQ. Another cool feature is the ability to insert this de-esser silently and smoothly as the music plays, using it as needed.

The METER is a full size illuminated Sifam VU meter. A five-position switch shows three audio levels: the line input, the preamp output and the final output. It also shows compressor gain reduction and the de-esser/limiter action. Other clever innovations incorporated into the VOXBOX include warm-up muting circuitry, extensive magnetic field containment, ‘smart -grounding’, and silent switching. The sum-total is more than the separate parts: consider the reduced patching, the short path to tape and you having this much immediate control.

As engineers, we choose what we use not based entirely on features and functions– there is a sound, a texture we reach for and the VOXBOX puts the ‘Manley Sound’ together with ‘Your Sound’.

SLAM! stands for "Stereo Limiter And Micpre" and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending– it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym.

When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested? We combined our favorite Electro-Optical circuit with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, "it just works" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM!

GET IN: The SLAM! starts with tube Mic Preamps on both channels with switchable phantom power and phase reverse. We’ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter– plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ‘n’ rollers won’t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. Come on in!

Got some Digital to deal with? No problem. There is a slot in the back for our optional 24 Bit/96KHz Analog to Digital converter and 24 Bit/192KHz Digital to Analog converter card. This allows you to record directly to your computer or workstation and provides a convenient way to use a digital insert to jump into the analog realm and back. AES and SPDIF digital inputs receive your stereo digital signal to convert to analog for processing by the SLAM! when the DAC input is selected. Or just take advantage of this killer DAC and use the DAC Output for monitoring, listening, or to go out to some other analog processors or tape machines.

Tubes on the 2-Buss! For years a small studio has had two choices. But not really.Does one spend big bucks for a big console or petty cash for a mini mixer with a minisound? One is overkill and the other killed the music. These days, studios basedaround workstations need a simple but superb mixer, and many had hoped for it to have that Manley sound. They asked. We responded.

The 16x2 comes in 3 flavors:

The MIC version has very low noise mic preamps with up to 60 dB of gain selectable on a rotary switch which replaces the aux knob. The XLR has the appropriate 2400 ohm impedance and switches to 68K for the 1/4" plugs. (so yes you can run line level signals into it.) The MIC version also has phase reverse and inserts on every channel.

Tubes on the 2-Buss! For years a small studio has had two choices. But not really.Does one spend big bucks for a big console or petty cash for a mini mixer with a minisound? One is overkill and the other killed the music. These days, studios basedaround workstations need a simple but superb mixer, and many had hoped for it to have that Manley sound. They asked. We responded.

The 16x2 comes in 3 flavors:

The 8+8 version mixes it up, with 8 mic channels and 8 line channels (shown above). Great for location recording, keyboard rigs and general purpose tasks.