SLAM
  • SLAM
무료배송 수입대행

SLAM

QR 코드 공유
간단설명
SLAM! Stereo Limiter and Mic Pre
정가
12,000,000
판매가
17% 9,990,000
구매혜택
할인 : 적립 마일리지 :
브랜드
Manley
제조사
Manley
원산지
USA
배송비
무료배송
수입국
USA
관세/부가세
가격에포함
납품기간
15일이내
배송조건
100%무료
수입통관비용
가격에포함
SLAM
0
총 상품금액
총 할인금액
총 합계금액

상품상세정보

 

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 (ELOP?) 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 selectable phase reverse, high pass filter, and switchable phantom power (on the back panel). 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. The DI inputs have selectable input impedance, depending on how far you plug the 1/4" cable into the jack: push it in all the way and the input impedance is 100KOhms, pull it out halfway and it becomes 20 megOhms which reduces pickup loading and allows all the highs to get through. Come on in! 

Get it LOUD... two different and distinct limiters per channel:

The ELOP? LIMITER: Our beloved Electro-Optical Levelling Amplifier circuit, the ELOP?, still the favorite for vocal tracking, shows up here with its new switchable side-chain high pass filter making it much more useful for mixes and other tracks as well. One of the most appreciated aspects of our original ELOP? is the simplicity of a two knob limiter, which is optimum for demanding pro recording pressures. You can still grab two knobs and have complete control of level and dynamics and be ready to hit that record button. Intuitive controls and a straight ahead signal path through quality components simply work. The ELOP? limiter implementation is done like we did in our VOXBOX? which pioneered the idea of limiting the mic signal before it hits any active stage. The ELOP limiter moves to the line stage when LINE is selected. The ELOP sidechain provides different HP filters on a toggle. The 200 Hz setting has been tailored for vocals and adds a touch of de-essing.

The FET LIMITER: Here’s a new fast FET based "brick wall" limiter that spans the range of clean predictable limiting to the grunge and gravel that other FET based limiters are desired for. The FET RELEASE control allows you to dial up a variety of colors. There is even a "CLIP" setting that provides as round a shape as has ever been available. (Read more below about the CLIP settings.) We aimed at "sound" first, then experimented with circuits until we heard what we wanted discovering fresh approaches that provide a very wide range of useful dynamic control. For example, you can set up for a fast brick wall limiter with slower releases for minimum artifacts, or go with the faster releases to get some crunch and then get extreme loudness. The Attack control is unusual too providing the sonic control common with its historic brothers but very unusually retaining the zero overshoot “none-shall-pass” brick wall that defines a real limiter. And it’s punchy! As the saying goes, “Louder is better.” The SLAM! optimizes levels to analog to digital converters with ballz, warmth and loudness verging on silly or just clean and safe.

What is especially nifty is the ability to use the ELOP? and FET limiters together at the same time dialing in whatever amounts of each effect you like. Every limiter has its own character or sound and here we have combined two powerful world-class tools that can be uniquely blended and mixed to taste and purpose. Even the metering is appropriate for each limiter so you can easily see how each is contributing.

Metering on the SLAM! is exceptional. The two full size real VU meters show you the raw input levels, the final output levels, and the ELOP? Limiter gain reduction in the traditionally preferred format for visually displaying apparent loudness. VU’s are cool. Noticing how mastering engineers often need a switchable pad on their VU's because the "optimised" levels tend to pin the needles in the red, the SLAM! VU’s also have a 0, -3dB, -6dB switch to help with this situation. There are also very fast and super accurate multi-color LED ladder peak meters that display the input and output levels and the FET gain reduction, and some combinations. They will do Peak, Peak Hold timed, and Peak Hold until reset, and also allow you to manually set where the individual bars change colors to match your other gear. And with maximum clean I/O levels of +30 dBu, it is a lot more likely you will use these meters to see what’s clipping downstream. It probably won’t be the Manley tube line drivers inside!

The back panel should keep everybody happy. In the sea of jacks including the big power supply connector, you'll find all the usual XLR’s for transformer balanced I/O and 1/4" phone jacks for direct unbalanced I/O. Eight Bantam jacks in a mini-patchbay configuration handle the side-chain inserts and linking functions. You can insert EQs into the ELOP? and FET limiters, and there are more jacks for you to mix in an external signal into the side chains. Another pair of jacks provides for easy linking for 5.1 surround work if you have three or four SLAM!'s. It’s all here.

Speaking of Linking... all previous Manley dynamics units require both channels to be setup for near identical settings rather than the more common "just set the Left side". The SLAM! lets you do it both ways. The "L Side" method is the "STEREO LINK" mode and is quick and convenient but, like others, uses a mono mix for the side-chain. The "BOTH & EXT" adds the rear panel link jacks to the link buss so you could chain up several SLAM!s for linked surround work. Both or all 6 channels should be set similarly. This mode is usually better for mastering as it responds to the true peak level of the channels rather than an artificial mono mix.

Outside the Box, that's where the power supply is. The illuminated power switch turns on the external power supply. Keeping the power supply far away also keeps additional heat and magnetic fields away from the precious audio. The power supply is housed in a sturdy cast aluminum 7" x 4" x 5" box that is easy to mount to or place in the bottom of a rack. A seriously humongous 16 pin connector, and 6' multicore cable connects the two boxes.

The SLAM! also seems a natural as a mastering tool. The FET limiter works great on mixes, and the ELOP? now has a high pass filter switch that is spot-on for mastering. We offer a dedicated mastering version which eliminates the mic preamps, adds detented controls replacing the pots, and provides extra metering options. Manley compressors and EQs seem to be the most popular pieces of gear ever when it comes to mastering. The ultimate analog rack for the final important touches to the mix would have include the SLAM!, The Variable Mu? and The Massive Passive. Combine this with some digital processors of similar calibre and one has a respectable and very effective set of mastering tools. That Manley rack plus some Manley Microphones would make an ultimate stereo recording chain too. This is gear you’ll want to keep for a lifetime.  


Features and Specifications

 

  • 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
  • Micpre: Selectable 48V phantom power and PHASE REVERSE
  • Gain: 60dB max Micpre, 43dB max DI, 20dB max Limiter Gain
  • Input Impedance: 2000Ω Micpre, 1MegΩ DI
  • 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
  • Power 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.

TECH Notes and Upgrade Information
NOTE: The DIGITAL DAC/ADC OPTION for the SLAM! Has been discontinued 10/2009:

There was 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 allowed one to record directly  to the computer or workstation and provided a convenient way to use a digital insert to jump into the analog realm and back. An AES digital input received the stereo digital signal  to convert to analog for processing by the SLAM! when the DAC input was selected.  Or this killer DAC's Output could be used for monitoring, listening, or to be sent to some  other analog processors or tape machines. 

The digital inputs and outputs were on XLR's for AES/EBU standards and there was also a BNC for Word Clock and Super Clock input. The BNC was added for users' convenience and not just to help the unit's jitter performance. The jitter spec was "Almost Zero" and just about unmeasurable regardless of whether it was locked to its own crystal, the AES input, or the Word/Super Clock. A 7-way  rotary switch selected 44.1, 48, 88.2 or 96K, AES IN, Word Clock and Super Clock, for the AES output data rate. Notice we didn't say "sample rate". This ADC and DAC always used the internal 192K sample rate! Truly amazing sample rate converters based on SHARC DSPs were used to almost eliminate (not just reduce) jitter and provided the sonic benefits of 192K sampling, even at 48K or 44.1 data rates. These were very fast exceptional sounding world-class converters.

The ADC also had a pair of switches for DITHER and NOISE SHAPING and WORD LENGTH, plus something unusual: a filter select switch. We believed that the manufacturer's choice of filter was one of the biggest differences that affected the sound of a converter, so we gave the user 3 choices, 80K minimal effect, 20K Analog, (a passive filter similar to the 18K on the Massivo), and a 20K Digital FIR for something comparable to other converters. There were also 3 filters on the DAC side set for 20K, 40K gentle, and 80K. All of these were passive and quite subtle and useful. There was a dedicated balanced +4 phone jack output for the DAC, so these could be tube-converters or high end solid state. The ADC was similar, but tube or passive(!) front end, that allowed a mastering EQ to be cleverly used in this chain.The DAC output was always available. There was even a twisted way (called "Expert Mode") to patch the SLAM! so that one could have the MIC PRE/ELOP feeding an EQ, (or some other thing), returning back to the SLAM! to drive the FET LIMITER, meters, and the A to D converter.  Digital I/O Interface option: was $2,500 and is NO LONGER AVAILABLE since 10/2009 

SLAM! Digital I/O Interface Option Specs:

  • DAC: AES 24Bit 192KHz upsampling from 44.1, 48, 88.2, & 96KHz
  • A to D: 24Bit 96KHz
  • Power Consumption Slam! Digital: 
      0.688 Amps (688 milliamps = 688mA) @ 120V = 82.56 Watts
      0.344 Amps (344 milliamps = 344mA) @ 240V = 82.56 Watts

 

관련 상품

배송안내

 

 

 

 

일반배송안내

제품출고일

당일~2일 이내(제작상품 및 수입대행제외)

제품도착일

발송 다음날 (오후6시 이전 주문제품)

배송 가능지역

섬 도서를 포함한 전국 및 해외전지역

배송비용

50,000원 이상무료


 

초고속배송안내

제품출고일

결제 후 1~3시간 이내 출발

제품도착일

서울:출고후 2시간이내 / 지방:~12시간이내

배송 가능지역

도서지역을 제외한 모든지역

배송비용

거리에 따라 차등적용

※초고속 배송안내: 제품크기에 따라 오토바이, 다마스, 트럭등 이용해서 당일수령이 가능한 배송입니다.
※출고지: 마포/홍대

※배송비용:
기본적으로 착불이며, 구매금액이  50,000원 이상일때에는 요금에서 4,000원을 차감해드립니다.  
                    기본가격에 준하여 거리, 화물내용, 도착시간의 상황에 따라 달라 질 수 있습니다.
※주의사항: 오후 6시 이후, 토요일, 우천시 할증요금이 부과될 수 있습니다.

 

해외배송안내

제품출고일

~2일 이내(제작상품 및 수입대행제외)

제품도착일

지역별로 5일~15일

배송 가능지역

전세계 EMS협력국

배송비용

지역나라별 크기와 무게 요금상이

※해외배송: 한국에서 해외로 배송시 가장 저렴한 EMS배송 이용합니다.
※비용산출/  30kg이내/ 가장 긴 길이 3M 이내제품
※기타해외배송: 제품의 부피나 무게가 클 경우 가장 저렴한 운송방법 및 비용을 신속하게 산출해드립니다.


 

교환 및 반품안내


 다음과 같은 경우 교환 및 반품이 가능합니다.

주문하신 상품등을 실제 받으신 날로부터 7일 이내라면 교환 및 반품이 가능합니다.
받아보신 상품 등의 내용이 표시, 광고상의 내용 또는 기재된 내용과 다를 경우 교환이나 반품이 가능합니다.

 다음과 같은 경우 교환 및 반품이 가능합니다.

제품을 사용하지 않았다고 하더라도 상품의 택(tag)제거 또는 박스분실, 제품의 훼손등  개봉으로 상품 가치가 발생할 경우 상품수령 후 7일 이내라도 교환 및 반품이 불가능합니다.
 

일부 상품은 한번 사용으로 세균번식이 발생하는 제품(유선 마이크, 무선마이크등)의 경우, 교환, 환불이 불가능하는 제품도 있으므로 구매시 유의
   하시기 바랍니다. 

단 한번 사용만으로도 구매목적을 달성할 수 있는 품목의 경우,(이동식스피커시스템,충전식스피커시스템등)교환 환불이 불가능합니다.

주문제작 상품의 경우(케이블제작, 패키지조립 상품등), 주문자의 요청에의한 자재의 재단 및 , 포장박스, 택등이 훼손되므로 결제 후, 교환 및 
   반품이 어렵습니다.  


※수입대행의
경우, 교환 및 반품등의 절차가 까다롭고 배송비용이 크게 발생할 수 있으므로 구매시 신중을 기해주세요

중고제품 및, 진열상품, 창고방출등의  특가 상품의 경우, 제품 하자나 오배송의 경우를 제외한 고객님의 단순변심에 의한 교환, 반품이 불가능     할 수 있습니다.
 

 상품 청약철회 안내

상품 청약철회 가능기간은 상품 수령일로 부터 7일 이내 입니다.

 AS 안내

소비자분쟁해결 기준(공정거래위원회 고시)에 따라 피해를 보상받을 수 있습니다.

이미지 확대보기SLAM

SLAM
  • SLAM
닫기

비밀번호 인증

글 작성시 설정한 비밀번호를 입력해 주세요.

닫기

장바구니 담기

상품이 장바구니에 담겼습니다.
바로 확인하시겠습니까?

찜 리스트 담기

상품이 찜 리스트에 담겼습니다.
바로 확인하시겠습니까?

플러스친구연락처안내입금계좌안내영업시간안내오늘의 특가
스크롤우측배너

최근본상품

0/2
상단으로 이동
카트탭열기
SLAM 9,990,000원 / 배송비 : 3,500원 주문시결제(선결제)
SLAM
0
상품가격
0원
할인금액
0원
총 결제 예정금액
0원
닫기