An introduction to the Manley Stereo Limiter Compressor

An introduction to the Manley Stereo Limiter Compressor

The Manley Nu Mu Stereo Limiter Compressor combines the iconic Variable Nu Mu T-Bar mod tube front end with the same ultra-smooth side chain and timing characteristics for a faster and punchier audio path, accompanied by a high voltage discrete and FET solid-state amplification and output stage for a quicker and punchier audio path. It's essentially a "clean" version of the Variable Mu, made for modern digital and electronic music when color and masking aren't as necessary as they were in the early days of digital.

The Manley Nu Mu, which includes Manley's new HIP function, fine-tunes dynamic control to bring lower-level details without suffocating thrilling transients. The Manley Nu Mu is smartly developed to build efficiently and aesthetically to evoke gorgeous compliments from your clients, both visually and ergonomically. It's all proudly hand-built in California.

1. CONTROL OF THE OUTPUT. On both the L and R channels, the OUTPUT control is provided. It changes the volume of that audio channel's output. The ninth marking, or 11 o'clock, is when you reach unity.

2. THRESHOLD Control. On both the L and R channels, the THRESHOLD control is provided. THRESHOLD, also known as gain reduction, determines the required amplitude for compression or limiting to work. The most intense effect is when the control knob is set to MIN or totally counterclockwise.

3. LIMIT / COMPRESS SWITCH. When the switch is engaged and lighted, the Nu Mu can employ two compression ratios: compression (roughly 3:1) or limiting (about 10:1).

4. BYPASS / IN SWITCH The Nu Mu's BYPASS switch is a 'Hardwire' bypass for best performance. The audio will travel through either the Limiter or the Compressor if the switch is engaged and light to the "IN" position, allowing all of the front panel controls to operate. This setting ensures that the limiting or compressing isn't destroying the original sound but rather enhancing it or at the very least balancing it off.

5. VU METER. The Nu Mu's large bespoke VU meters simplify tracking both channels. When the switch (7) is set to REDUCTION, it displays the gain reduction in dB from the 0 dB point. The meter monitors the output in decibels when this switch is set to O/P and lighted.

6. HIP CONTROL. The "Hip" control compresses the overall signal at lower volumes (lower in the dynamic range spectrum) while leaving the louder dynamics alone. You get louder soft passages and the louder sections' natural dynamics. Parallel compression, in which the compressed signal is combined with the uncompressed signal, was previously the only option to get around this problem.

7. METER SELECT SWITCH. The Meter select switch allows the user to watch either the Gain Reduction or the Unit's Output. The output of the channel you're monitoring is seen in the associated VU Meter while the switch is engaged and lighted.

8. ATTACK CONTROL. The ATTACK control affects how long it takes the Compressor to respond to impulses that are higher than the threshold. The attack is a continuously variable control that affects the length of a transient required to trigger gain reduction.

SLOW 0.13s, MID 0.07s, FAST 0.013s, all with a 63 percent gain reduction.

SLOW 0.64s, MID 0.35s, and FAST 0.064s with a 90% gain reduction.

Most percussive signals will not cause limiting or compression if you turn the knob completely counterclockwise at the lowest level. It can be found on both the left and right channels.

9. RECOVERY CONTROL. When the signal goes below the threshold level, the RECOVERY control specifies how long it takes the Compressor to recover.

Five options with a 63 percent gain decrease recovery: 0.1s, 0.16, 0.32, 0.64s, and 1.7s.

With a 90% gain decrease recovery, five options are available: 0.227s, 0.368s, 0.736s, 1.6s, and 3.87s.

10. LINK FUNCTION. When you utilize the LINK function, it connects the two stereo channels. The THRESHOLD, ATTACK, and RECOVERY CONTROLS are all linked through the LEFT CHANNEL CONTROLS.

11. INPUT LEVEL SWITCH. A toggle switch is used to regulate the input level. Each channel has its own Input Level control. There are three different levels of attenuation to choose from. +3dB, 0dB, and -3dB are the three decibel levels.

12. HP SC SWITCH. The High Pass Side Chain filter is set to 100Hz by default. When this switch is turned on and lighted, everything above 100Hz will be compressed or limited. If you want the bass to come through loud and clear while limiting or compressing everything else, this is the setting to use.

13. POWER SWITCH. When an IEC power lead is attached to the unit, the Power Switch emits a soft blue color. The Nu Mu is in STANDBY mode, as indicated by this. The Nu Mu is switched from standby to warm-up mode when the power switch is pressed. The backlit VU meters will begin to flash as the power switch illuminates to a brighter blue. The MUTE relays will lift, and the VU meters will stop flashing after this 30-second warm-up period.

Manley Mic preamp

Manley created the first modern 300B high-fidelity amplifiers, as well as the first modern high-powered tube power amplifiers and the KT90, the first new power tube design in thirty years. Manley was also the first in the United States to use ULTRA ANALOGTM converters, as well as the first in the world to demonstrate a converter with tubes. This website features the world's first 300B preamp as well as the first amps capable of switching topologies between single-ended and push-pull.

From the early 2000s to the present, Manley has concentrated on reducing production methods and being more efficient while adhering to the brand's guiding values of high-end audio quality and American manufacturing integrity.

The Tube mic preamps from Manley are a modern classic that gives unmistakable clarity and detail to every sound that goes through them. You can now enjoy the harmonically "alive" Class A sound in a simple UnisonTM-equipped plug-in, which is ideal for Apollo audio interface users.

The MANLEY all-tube microphone preamplifiers come in 2-channel and single-channel configurations and are designed to work with modern capacitor (condenser) microphones. By adjusting the amount of total negative feedback on the GAIN switch, 40 to 60 dB of gain, enough for most ribbon mics, may now be selected in exact 5dB steps. This is a fascinating function, as it allows you to modify the sound's slew rate (speed), location, and tonal balance from mellow and "tubey-er" to faster, punchier, and more forceful.

Both variants use the same tube complements one hand-selected 12AX7EH for low noise and one 6414 (or 12BH7) for each high-current output stage. Each component is hand-wired with silver solder and audiophile-grade components. Our current power supply design approach is demonstrated by double insulated custom-built power transformers and custom-built high-capacity reservoir capacitors.

When you need to run your tunes via some tubes before hitting a sterile digital recorder, the front panel 1/4" DIRECT INPUT jack makes these preamplifiers double duty as a pure tube line stage for instruments including bass, drum machines, and keyboards. In this setting, the total gain is 20dB lower than the GAIN switch indicates position.

Advantages of the Manley's Mic -preamp

• Manley's Class A tube mic preamp gives vocals and other instruments a smooth, clear sound.

• Using Apollo audio interfaces, record "through" the legendary Manley preamp in real-time.

• Make your tracks come alive by adding tube detail and complicated circuit behaviors.

• UnisonTM technology allows you to control Apollo mic preamp gain staging and impedance from the Manley Preamplifier plug-in.

• The Manley Tube Preamp plug-in, like the hardware, adds a smooth "HiFi" quality. Simply place it in the Unison slot of your Apollo interface's Console or LUNA software to bring voices and bass to life, punch up acoustic guitars and percussion, and bring synths forward.