Manley SLAM! Mastering Version incorporates detented and loggable 1/2dB steps built with 1% metal film resistors on sealed gold-contact Grayhill switches. The SLAM! Mastering Version offers a step beyond the original SLAM!, with no mic preamps, dedicated mode switches for the ELOP and FET limiters and additional ELOP limiting ratios and FET limiter modes.
The differences between SLAM! Mastering Version and SLAM are below:
The mic pre and input select switch are removed and the switches become dedicated “mode” switches one each for the ELOP and the FET limiters.
The ELOP limiter gets more Ratios – 10:1, 5:1, 3:1, 2:1 and something new called AutoHF which starts off as a 1.5:1 ratio and increases gradually to 10:1 for highs. This is something like a de-esser, and of course can work with the ELOP SC toggle at 200Hz for even more effect.
The FET limiters get new modes that are 50%, Norm, LP Lim, Both, Clip. The “50%” setting mixes in the straight signal to the limited signal which is often difficult to do in a mastering environment and because the FET sidechain “reads” off the output, the amount of gain reduction doubles. It resembles halving the FET ratio but is cleaner due to the mix. The “LP Lim” setting only comes into play for hot signals and reduces the depth of gain reduction for high frequencies. This translates to: hot signals + moderate gain reduction = brighter, more present signal, less distortion and more guts. The “Clip” setting introduces a fixed threshold clipper circuit set up about -1 dB DFS or +19 dBm at the XLR.
The LEFT blue “limit” button becomes a master stereo LIMIT bypass switch. When it is not engaged, it becomes a true hard-wire bypass (this was not possible on the mic preamp regular version obviously).
The Right blue button becomes the DAC select switch (stereo).
The what-was-the-Phantom toggle on the back of the unit becomes the Unbalanced 1/4″ jack input select in this new mastering version.
No pots. All knobs in the Mastering Version are detented in mostly 1 dB steps, with some appropriate 1/2 dB and 2 dB steps, right where they should be.
No mic preamps or instrument inputs. Instead the tube sections are paralleled for lower noise and distortion
All pots are replaced with rotary switches for detented resettability and easier calibration
The mastering version has a true hard-wire bypass function, which is not possible on the regular version with mic preamps, etc. What was the Left Bypass, becomes the full Bypass (in stereo and hardwired). No separate L & R bypass buttons
There are dedicated unbalanced transformerless inputs on the mastering version. What was the Phantom Power switch on the back now selects XLR or 1/4″ inputs
The ELOP limiter now has 5 ratios, which may put it into the compressor/limiter category. The ower ratios may be better suited for complex mixes
The FET limiter has 5 modes (these last two features replace the INPUT selector)
Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable bias
Output Tubes: 2 x 6414W NOS USA dual triodes
I/O: MANLEY transformer coupled Balanced Inputs and Outputs
Gain: 20dB max Limiter Gain
FET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 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 1KΩ load)
THD+N: <.05% @ 1KHz
Dynamic Range: 115dB typical
Output Impedance: 200Ω
ower Consumption Slam! Analog:
0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6 Watts
0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts
Outboard Power Supply: factory set for 100V, 120V or 220-240VAC operation for original destination country’s mains voltage.
Operating Mains Voltage: changeable with power transformer re-wiring via switch and fuse value change.
Mains Voltage Frequency: 50~ 60Hz
Size: 19 x 12 x 3.5 (occupies 2u)
Shipping Weight: 25 lbs.