Скачать бесплатную программу для создания музыки

RPS-1 — это мощный VSTi-плагин для секвенирования паттернов, который позволяет пользователям быстро создавать сложные перкуссионные последовательности со случайными вариациями. Благодаря простому в использовании интерфейсу пошагового секвенсора пользователи могут указать вероятность запуска каждого сэмпла в указанный момент времени, что обеспечивает огромный контроль и гибкость при создании уникальных и сложных битов.

Pterosaur — это синтезатор с 16 осцилляторами, который предлагает пользователям широкий звуковой ландшафт с пышными текстурами и тонами. Этот виртуальный инструмент вдохновлен культовым звуком Supersaw Roland JP-8000, что позволяет пользователям независимо расстраивать и панорамировать каждый осциллятор для широкого спектра звуковых эффектов. Базовая форма волны, создаваемая генераторами Pterosaur, представляет собой пилообразную волну, которую можно преобразовать в гибрид пилы/импульса с помощью управления модулями.

Leto — это эмуляция винтажного моносинтеза Synthetone SX1000, выпущенного итальянским производителем Jen в 1977 году. Он предлагает один осциллятор, который может генерировать пилообразные, прямоугольные или импульсные волны (с регулируемой шириной импульса). Генератор шума позволяет добавлять к звуку белый или розовый шум. Доступны две огибающие ADSR для управления громкостью и отсечкой фильтра соответственно. Более того, один LFO может одновременно модулировать высоту тона, частоту среза фильтра и ширину импульса.

FL Studio — это мощная цифровая звуковая рабочая станция (DAW), используемая бесчисленным количеством музыкальных продюсеров, авторов песен и композиторов по всему миру. Чтобы получить максимальную отдачу от этого, вам нужно иметь в своем арсенале несколько качественных плагинов. В этой статье мы подробно рассмотрим 14 лучших плагинов для FL Studio. Популярность FL Studio за последние годы значительно выросла благодаря ее гибкости и возможности использования со сторонними плагинами. С этими шестью плагинами, перечисленными выше, вы можете поднять качество своей продукции на ступеньку выше и создавать звук профессионального уровня в своей домашней студии.

Prism Audio Titan True Reference Audio Interface with MDIO Expansion Titan is a world-class multi-track interface with unrivaled audio clarity and flexibility. Titan is perfect for music and sound recording, multi-tracking, overdubbing, stem-based mastering, analog summing, and critical listening applications. It uses the latest iteration of Prism Sounds trustworthy conversion. The Prism Sound Titan is a 1RU rack-mountable USB audio interface that provides musicians, vocalists, composers, and audio engineers with consistent accuracy and high-resolution multichannel audio I/O in home, project, commercial, and mobile studios. Its reliable clock allows it to operate at resolutions of up to 24-bit / 192 kHz with minimum jitter. It's ideal for recording, overdubbing, and even send-and-return routing, with latency as low as 0.08 Ms. The four XLR-1/4" combo inputs can be used to connect line or microphone sources, while two front-panel 1/4" jacks can be used to connect instruments like guitars or synths. The input pads and built-in limiters, as well as the phantom power, are all selectable. There are four 1/4" jacks on the back panel for dedicated line inputs. The eight 1/4" line outputs are perfect for connecting speakers and power amplifiers. In comparison, the two 1/4" jacks on the front panel provide the dedicated level and mix settings for independent headphone monitoring. In addition to RCA coaxial for S/PDIF or AES3, TOSLINK optical for S/PDIF or ADAT, and BNC for word clock, digital connectivity includes RCA coaxial for S/PDIF or AES3, and BNC for word clock. There is an RJ45 connection for future AVB integration. Titan's class-compliant USB 2.0 interface is compatible with Mac OS X and Windows computers. The package includes an IEC power cord, USB cable, rackmount ears, and XLR-to-RCA adapters. Features Flexible monitoring digital mixer Titan has a solid built-in digital mixer that can be set to give a variety of super-low latency feeds, such as foldback to performers, stereo and surround outputs, and more. Titan offers 18 simultaneous input and output channels, including eight analog recording channels, eight monitoring outputs, stereo digital input and output on a phono connector, also concurrent optical digital I/O ports. Connectivity with the future in mind Titan can connect to the most extensive range of PCs today and use a standard USB connection in the future. Add in the ProTools HDX and Dante modules for the most professional and flexible solution. MDIO Expansion of multichannel I/O The MDIO expansion slot allows your Prism Sound interface to stay relevant in an ever-changing world of I/O connectivity, extending its lifespan and providing a better return on your investment. Both choices allow you to stack additional Titan or Atlas units to create correct sample phase-locked audio. Multiple Titan or Atlas units can be connected directly to a DANTE-equipped computer using the DANTE module. Multiple Titan or Atlas units can be linked directly to an AVID Pro Tools HDX or HD native system via AVID's "Digilink" connection with the Pro Tools MDIO-HDX module. Software The Titan Controller applet manages in-depth control, while the front panel provides a continual visual representation of the unit's primary settings and levels. This program runs on the DAW computer and may be accessed whenever modifications are required. How does it function? The Titan is a multi-track USB audio interface that can be used for music and sound recording, multi-tracking, overdubbing, stem-based mastering, analog summing, and critical listening. Signal path Titan delivers Prism Sound's legendary performance, sound quality, and cutting-edge clock technology in a dedicated unit that works with Windows (Vista, 7, and 8, 32 and 64 bit, ASIO) and Mac OS X 10.4.11 later (Intel). Titan can be used stand-alone once configured with a computer and has S/PDIF or AES3 I/O. The audio driver on the host computer provides eight analog input channels and up to ten digital input channels for your audio workstation software. Eight analog output channels, ten digital output channels, and stereo headphone outputs can play 20 separate tracks simultaneously. All analog inputs are electronically balanced, with unbalanced operation enabled by default. The analog outputs are electronically balanced with 'bootstrapping,' which maintains the level even if one leg is grounded. Full Prism Sound audio quality with no compromises Titan does not make any concessions when it comes to audio quality. It's the culmination of years of digital audio conversion research and development, as well as considerable consultation with Prism Sound's consumers. Titan offers the same no-compromise analogue front and back ends as Orpheus, including the same fully-balanced-throughout architecture and isolation barriers to shield the analogue from digital and computer interference, but with a broader choice of PC interface possibilities. Titan builds on Prism Sound's years of experience building digital audio devices, such as its audio test equipment, used by a diverse spectrum of clients in the audio business, from pro-audio to consumer electronics. Titan is well-behaved as a computer peripheral and an audio processor due to this experience. Professional recording requires a high level of dependability. Prism Sound's converters have always relied heavily on accurate software calibration processes - pots and tweaks are inherently unreliable; hence there are none. THD+N measurements are commonly stated not necessarily to correspond well with the perception of sound quality. This is accurate - partially because traditional THD+N or SINAD given as RMS figures are a broad measure. With this in mind, we've gone to great lengths to ensure that not only is the Titan noise and distortion spectrum faultless but that the RMS distortion result is also up to par. USB interface that complies with industry standards Prism Sound has recognized the growing relevance of native processing power for professional users, as well as the fact that software for mainstream PC and Mac platforms has improved dramatically in recent years. Titan connects to the computer through a USB2 port. This is a UAC2 (USB Audio Class 2) interface that is natively supported in Mac, iPad, Linux, and Android and supported via a driver in Windows. - Titan is simple to link to your PC and outboard equipment. A controller application for both Mac and PC platforms allows you to configure the unit and control its built-in mixing and other features. Everything else is controlled entirely through the Titan controller program, except the monitor and headphone volume settings. The controller software appears onscreen as a distinct panel along with your existing editing program. Adaptable monitoring Professional users need more advanced monitoring capabilities, and they've grown accustomed to surround sound via HDTV and DVD. Thus, support for surround monitoring setups is becoming increasingly vital. The DAW user needs high-quality monitoring in addition to excellent analog recording channels. Titan's eight analog outputs enable multi-stereo to 7.1 surround monitor installations. Titan includes a physical volume knob that can be assigned to any or all of the analog or digital outputs for use as a monitor control in the control room. There are two headphone amps, each with its volume control and suited for all sorts of headphones. The headphones may be swiftly switched across the other output pairs, in addition to having their workstation feed and mixer. This is useful for the setup. Noise Shaping and Sample Rate Conversion The digital output features Prism Sound's four SNS noise-shaping curves, as well as Prism Sound's renowned synchronous sample-rate conversion, which allows results to multiple external devices at different sampling rates. Titan can handle unsynchronized or wrong-rate digital inputs and provide live 44.1kHz outputs from a 96kHz session, thanks to the sample-rate converter's ability to be employed at both the inputs and outputs. You can also reduce to 16-bits at mastering-house quality because Titan includes the full array of Prism Sound'SNS' noise shapers. Unsurpassed Jitter Rejection Prism Sound pioneered sampling and interface jitter testing in the 1990s, and as a result, our digital audio devices have unrivaled jitter rejection. Digital audio products from Prism Sound lock up quickly and re-generate ultra-stable clock outputs. Another feature of the classic Prism Sound converter kept was the clocking, which is equally as significant as the analog-path concerns in terms of sound. Titan is as rock-steady as its forefathers, whether it's providing a high-quality master clock for the rest of the room or dealing with a shaky clock from outside.

Фонокорректор Мэнли Чинук В 2005 году компания Manley Laboratories, эксперт по студийному ламповому оборудованию, разработала интегрированный ламповый усилитель треугольной формы с док-станцией для iPod для потребительского рынка и назвала его Stingray iTube, в соответствии с принятой компанией практикой давать имена большинству своих музыкальных инструментов. фи потребительские компоненты после морских животных. Chinook обеспечивает точное изображение и воспроизведение исходной записанной среды, а также отличную динамику и широкий частотный диапазон. Chinook, который был разработан и произведен в Калифорнии, олицетворяет преданность Мэнли нашему местному сообществу, а также простой, чистый и тихий сигнальный путь. Chinook демонстрирует превосходную линейность электронных ламп, а также обеспечивает универсальность, необходимую для адаптации к любой конфигурации проигрывателя. Все будет точно и музыкально представлено, от самых экзотических 180-граммовых аудиофильских пластинок до 25-центовой классики из секонд-хенда. Chinook фокусируется на элегантности дизайна, тщательном исполнении, эффективном производстве и высоком качестве. Повсюду используются аудиофильские и проверенные временем компоненты, демонстрирующие приверженность Manley соблазнительному звуку в сочетании с надежностью, на которую полагаются эксперты по всему миру. Функции и приложения 1. ПЕРЕКЛЮЧЕНИЕ РЕЗЕРВНОГО ПИТАНИЯ Переключатель питания на передней панели CHINOOK переключается между обычной работой и спящим режимом с почти нулевым энергопотреблением. За исключением определенной логики контроля активности, питаемой от отдельного крошечного сетевого трансформатора в блоке питания, в спящем режиме отсутствуют рабочие напряжения. 2. ПЕРЕКЛЮЧЕНИЕ НИЗКОГО/ВЫСОКОГО УСИЛЕНИЯ Регуляторы LOW/HIGH GAIN находятся внутри машины. Усиление можно изменить с 45 дБ до 60 дБ, изменив настройки внутреннего DIP-переключателя. Картриджи с подвижным магнитом обычно настроены на 45 дБ, а картриджи с подвижной катушкой - на 60 дБ. CHINOOK предварительно настроен на усиление 45 дБ. Отсоедините основной разъем от устройства перед изменением внутреннего усиления. Снимите крышку, подождав не менее 15 минут, пока разрядятся внутренние конденсаторы, если CHINOOK недавно использовался. Руки не должны касаться каких-либо частей доски. Измените настройки DIP-переключателя с помощью крошечной плоской отвертки. Каждый канал содержит два переключателя, включенных параллельно, для резервирования контактов и обеспечения целостности контактов. Каждая пара DIP-переключателей должна быть установлена на ОДИНАКОВОЕ значение, и оба канала должны быть установлены на одинаковое значение GAIN. Помните, что для усиления 60 дБ все переключатели GAIN должны быть установлены на КРАЙ устройства, тогда как для усиления 45 дБ все DIP-переключатели должны быть установлены в положение MIDDLE. 3. ВЫБИРАЕМОЕ НАГРУЗОЧНОЕ СОПРОТИВЛЕНИЕ И ЕМКОСТЬ КАРТРИДЖА CHINOOK поставляется с несколькими различными вариантами загрузки картриджей. Он поставляется с предустановленным внутренним усилением 45 дБ и нагрузкой 47 кОм / 50 пФ. Для большинства пользователей это отличное место для начала. 4. НАСТРОЙКА ПЕРЕКЛЮЧАТЕЛЕЙ НАГРУЗКИ Собственная емкость типичных соединительных кабелей фонокорректора составляет порядка 20–30 пФ на фут. Если соединительный кабель имеет длину 3 фута (1 метр), только на соединительный кабель может приходиться 60–90 пФ входной емкости. Продукт каждого производителя картриджа будет работать оптимально, если он подключен (нагружен) с заданным сопротивлением и емкостью в лабораторных условиях. Начните со значений, рекомендованных производителем картриджа, за вычетом емкости соединительного кабеля. Если предлагаемая нагрузочная емкость картриджа неизвестна, приемлемое значение по умолчанию составляет 150 пФ, что является суммой значений переключателя емкости кабеля и оконечной нагрузки. Это число представляет собой стандарт де-факто, принятый производителями предусилителей в прошлом и сегодня. После этого можно начинать экспериментировать с различными настройками переключателей, пока не будут найдены те, которые работают лучше всего. Аудиальные эффекты изменения емкости согласования могут различаться в зависимости от типа и марки звукоснимателя. Этого следовало ожидать, учитывая широкий диапазон характеристик импеданса источника современных звукоснимателей. В целом, значение емкостного сопротивления должно влиять на тонкую визуализацию и пространственные сигналы, с одной стороны, и на высокочастотное содержание, направленность и скорость воспроизводимого звука, с другой. 5. ВЫСОКОПРОИЗВОДИТЕЛЬНАЯ ПЕРЕДНЯЯ ЧАСТЬ За последние полвека в предусилителях CHINOOK максимально используются пассивные компоненты и усовершенствования активных схем. Гибридные каскодные блоки усиления без чрезмерно сложной схемы обеспечивают широкополосный высокий коэффициент усиления, низкий уровень шума и низкий уровень искажений. Несмотря на местные отрицательные отзывыиспользуемый в каждом блоке относительно минимален, мультипликативный аспект выходного (анодного) импеданса каскодного устройства гарантирует сохранение наиболее важных характеристик каждого каскада усиления. Этот метод делает коэффициент усиления каждого каскада безразличным к изменениям усиления лампы, вызванным допусками устройства или старением. Кроме того, входной каскад автоматически смещается прецизионной сетью сервоприводов, чтобы компенсировать отклонения устройства и допуски компонентов. Другие конструктивные особенности включают высокие рабочие токи покоя в каждом каскаде усиления. Полоса пропускания системы увеличивается, а статические и динамические импедансы в каждом каскаде уменьшаются. Это сделано для того, чтобы обеспечить достаточный запас для самых драматичных музыкальных исполнений и высококачественных оттисков. 6. ТОЧНОЕ «4-УГЛОВОЕ» УРАВНЕНИЕ RIAA В духе высокой точности все 4 угловые частоты фонокоррекции RIAA или постоянные времени были явно обработаны в предварительном усилителе CHINOOK. Три большие постоянные времени 3180, 318 и 75 мкс исторически были в центре внимания большинства разработок. При этом игнорируется четвертый угол около 3,2 мкс, из-за чего большинство фонокорректоров продолжают скатывать самые высокие октавные импульсы, поступающие от звукоснимателя, вместо того, чтобы поворачивать последний угол и переходить к плоской характеристике примерно на 50 кГц, когда он игнорируется. При разработке инверсных компенсационных цепей, как и в случае с другими выравнивающими усилителями, предназначенными для исправления частотно-селективной кривой акцента, необходимо соблюдать осторожность. Если цель состоит в том, чтобы создать очень точную пассивную сеть с усилителями с низкой обратной связью, то нужно быть осторожным. Согласно опыту, работа, затраченная на соблюдение обратной кривой выравнивания RIAA, дает преимущества, которые легко оправдывают более высокие затраты на закупку и производство. Для достижения этой цели в сети коррекции RIAA используются только выбранные вручную компоненты и/или компоненты с допуском 1%. Это приводит к идеальному согласованию фазы и усиления между каналами. Короче говоря, CHINOOK выявит различия в характере и индивидуальности вашей коллекции виниловых пластинок, картриджей, тонармов и проигрывателей. ТЕХНИЧЕСКИЕ ХАРАКТЕРИСТИКИ • Комплект электронных ламп - 6922 x 2 (каскад усиления) плюс 6922 x 2 (выходной каскад). Можно использовать любые типы 6DJ8, 7308, ECC88. • Гнезда Manley Teflon® и позолоченные RCA-разъемы обеспечивают несбалансированные входные и выходные соединения. • Таймер автоматического отключения звука: при включении компьютера выходные разъемы отключаются примерно на 45 секунд. • Схема автоматического отключения звука позволяет лампам и схемам прогреться и успокоиться. • Выходные разъемы отключаются, как только отключается питание. • Входная оконечная емкость (MM/MC): 50 пФ, 100 пФ и 200 пФ выбирается пользователем в трех положениях. 50, 100, 150, 200, 250, 300 и 350 пФ дают результирующие комбинации. • Входной импеданс подвижного магнита (MM) зафиксирован на уровне 47 кОм. • Входной импеданс подвижной катушки (MC): 5-позиционные значения, выбираемые пользователем: 50, 100, 200, 400, 800 Ом. Это дает 32 различных варианта нагрузки. • Усиление: внутренние DIP-переключатели позволяют выбирать между 45 дБ и 60 дБ. • Отклонение от кривой RIAA: при любом уровне усиления менее 0,5 дБ в диапазоне частот от 20 Гц до 20 кГц. От 10 Гц до 100 кГц, часто менее 1 дБ. • Искажение (THD+N) (входное согласование 47 кОм, усиление 45 дБ, синусоидальная частота 1 кГц, выход 0 дБн): THD+N, при нагрузке 100 кОм, полоса пропускания = 100 Гц–22 кГц, типичный 0,010% THD+N, при нагрузке 600 Ом, полоса пропускания = 100 Гц–22 кГц Типичное значение 0,030>#/p### • Динамический диапазон: 91 дБ при 1 кГц, 0,1% THD+N, полоса пропускания = 22 Гц–22 кГц, 107 дБ при 1 кГц, 1,0% THD+N, полоса пропускания = 22 Гц–22 кГц. • Уровень шума при усилении 45 дБ: -84 дБн, А-взвешенный • Уровень шума при усилении 60 дБ: -75 дБн, А-взвешенный • Выходное сопротивление 50 Ом • Внутренний источник питания: линейный B+, полностью регулируемый, нагреватель и шины управляющего напряжения. • Рабочее напряжение сети: устройства предназначены для работы с напряжением сети страны назначения: 100 В, 120 В или 220–240 В переменного тока. • Потребляемая мощность: 42 Вт (345 мА при 120 В переменного тока) • Частота сетевого напряжения: 50 ~ 60 Гц • Силовой трансформатор: Тороидальная конструкция для уменьшения излучения • Лампа для значка: светодиодная подсветка • Размеры: Ш=19", Д=11", В=3 1/2"

Manley Core Reference Channel Strip Manley Labs in Chino, California, has been producing high-quality microphone preamps, equalizers, microphones, mixers, and other audio gear for over 25 years. The Manley CORE Reference Channel Strip, their most recent piece of gear, expands on this tradition by combining a mic and line preamplifier, compressor, equalizer, and limiter into a single unit. The CORE has fewer knobs, allowing players to plug in and focus on what they're going to play next rather than fiddling with knobs. Computers, plug-ins, and software can quickly distract you from creating music. You may concentrate on your job rather than worrying about technology by designing a customized recording channel with incredibly high-quality stages – but no unnecessary features. The CORE components TM results from decades of engineering, listening, and collaboration with artists and engineers. Even though the CORE® has fewer knobs than similar devices, we believe they are the right ones! The CORE is the culmination of Manley's experience and understanding gained from working with the industry's most significant recording engineers and musicians. The Manley CORE will be the epicenter of your recorded art, handcrafted in the United States, built like a tank, built to last. The Core reference channel strip was created by Manley so that you can hit record and concentrate on your performance rather than your signal chain. Manley's goal with the Core was to create a sturdy, beautiful 2U steel chassis that housed a high-quality vacuum tube mic preamp, an ELOP (Electro-Optical) compressor, a good EQ section, and a quick FET Brickwall Limiter. It needed to be melodic, adaptable, and forgiving. Manley was successful on all fronts thanks to their extensive experience and insight gained from working with the industry's top recording engineers and artists. The Manley Core will become the heart of your recording studio, with excellent headroom, seductive sound, USA handcrafted build quality, and a meager price. In some respects, computers were supposed to make the recording process more accessible, and this is true. However, with the complexities of modern DAW software and thousands of plug-ins, simplicity often gets lost in the shuffle, diverting your attention away from the most crucial task: creating music. You can focus on your artistic activities rather than worrying about technology by building a dedicated recording front end with very high-quality stages — and without unnecessary capabilities, you'll rarely use. The Core's great-sounding modules result from Manley's decades of design knowledge and extensive listening, and they function well together. Input Level Control An input attenuator is the INPUT LEVEL control. It works similarly as a variable pad. Direct In (DI), Mic, and Line inputs are all affected. The level is reduced when rotated fully counter-clockwise and when rotated clockwise. Fully clockwise represents around 40dB of amplification for the Mic input. The MIC input will gain roughly 40dB with the gain switch set to LOW and the input level set entirely clockwise, while the LINE input will gain about 20dB. When the button is pushed in and lighted, the top label of the selection switches shows operational status. MIC/LINE chooses between the MIC XLR input and the LINE XLR or DI 1/4" inputs. The 120Hz high pass filter position is beneficial for minimizing breath "pops" or any time LOW frequencies are reduced, such as train or traffic rumble or air conditioning rumble. When engaged, the HI/LOW gain switch adds 10dB to the circuit (or 20dB of gain if the internal jumper is set). This switch can be set to LOW for most applications, although more significant gain may be required for low-output microphones or quiet sources. ELOP Compressor The VU meter is mechanical and shows the average level. It can't follow all signals accurately. As a matter of fact, things like snare drums are not displayed precisely. The VU meter might only be ticking above at -10 however, the actual peak level may be 20dB higher. This is all right, as all workstation has a digital peak meter, and it's ideal for keeping all of your peak levels in the DAW to around - 6dBFS. There is no specific reason to go to 0dBFS on the individual tracks, and the end result will sound better and combine better if the tracks are recorded with some headroom below zero. Also, it's a good general practice to look at the VU meter intermittently when recording and try to keep the majority of the track on the scale of the meter – not a hard and fast rule – but if you are pinning it all the time (unless for an intended effect) or the needle isn't moving at all, you might need to adjust the input gain of the CORE. Equalizer The Baxandall curves for the LOW and HI Shelf controls are centered around 90 Hz and 12kHz, respectively. The Mid Frequency EQ is a bell-shaped curve, with a range control in the low position of 100Hz to 1kHz, and in the high position, between 1kHz and 10kHz. The toggle switch is used to choose the required range. The selected frequency can then be boosted or reduced by about 10dB. The FREQUENCY control allows you to TUNE IN the desired frequency by continuously sweeping the frequency in the set range. MID FREQUENCY EQ, TOGGLE RANGE SWITCH, and FREQUENCY SWEEP are the controls that run vertically across the middle of the EQ section. All of these things work together. There is a lot of overlying between the shelf and peaking settings, which allows for a lot of EQ control. Limiter The FET output limiter is a high-ratio peak limiter with a lot of power. It can be used for a range of creative effects as well as setting a maximum output ceiling to prevent the next piece of gear in the chain from being overloaded. The LIMITING knob determines how much limiting is used. When the signal passes the threshold, the LIMIT LED illuminates, and when the signal is below the threshold and the release time has expired, it turns off. The LIMIT light operates as a general overload indicator at +20 dBu when Limiting is set to "Minimum." The RELEASE parameter determines how quickly or slowly the limiter returns to total loudness. The RELEASE time control was designed with an extensive control range in mind. Because very fast release timings can cause distortion, the RELEASE control's highlighted area is marked with a zig-zag on the dial. VU Meter The VU meter is mechanical and can only represent the average level of a signal; it cannot track every signal precisely. In truth, snare drums, for example, are not adequately represented. Although the VU meter may be reading -10, the actual peak volume could be 20dB greater. There's no necessity to record each track at 0dBFS, and the end result will sound better and blend better if the tracks are recorded with some headroom below zero.  Manley Core Reference Channel Strip Features: Based on Manley's award-winning VOXBOX, this reference-grade channel strip is simple to use. Manley's hand-wound transformers are used in this Class A tube mic preamplifier. The direct input circuit is comparable to the Manley SLAM! for incredible DI recordings Any signal is transparently tamed by an ELOP compressor with a 3:1 ratio. For versatile, appealing sound sculpting, use the Baxandall EQ with low/high shelving and sweepable mids. FET brick wall limiter with fast attack and continuously variable threshold and release controls Input, output, and compressor gain reduction levels can be displayed using flexible metering. Front-panel 1/4" DI; balanced XLR mic and line inputs Between the mic pre and the EQ/limiter, there's a 1/4" TRS insert point. After the preamp/compressor section, there is a balanced XLR direct output. The main output is balanced XLR. 2U steel chassis with 1/4" thick CNC-machined faceplate Handcrafted in the USA to Manley's rigorous quality requirements

Manley Force 4 Channel Microphone Manley is found in top recording rooms throughout the world. Their microphone preamps grace the rack of tracking rooms, and the massive passive EQ new compressor shaped nearly every hits in the last 20 years. They have continued their line of preamps with the addition of Manley Force, a four-channel,feature-rich tube preamp. This preamp channel is different from the Voxboxandthe 40DB preamp, and Manley has replaced the tube output stage with a specially designed MOSFET stage. The Manley FORCE contains four channels of real High Voltage vacuum tube microphone preamplifiers derived from the hugely popular and award-winning Manley CORE, housed in an exquisitely gorgeous chassis, and meticulously hand-crafted in California by America's premier high-end studio gear manufacturer. The Manley Force Box is solid with a thick Front panel. The knobs are solid machined aluminum giving a sturdy look. The great thing about this multi-channel microphone preamp like the Force with four-channel one can do a lot of microphone configuration. The Force is a four-channel vacuum tube microphone preamp based on the company's CORE circuitry, which was created for maximum headroom, extended frequency response, and low noise. Each channel contains a mic input with a hand-wound Manley IRON transformer and a front panel DI housed in a two-rack space chassis. High/low gain, 120Hz HPF, Polarity, +48VDC phantom, 7-segment LED meter, and a conductive plastic pot for level adjustment are among the controls per channel. The XLR audio I/O connectors on the rear panel and the 14-inch DI jacks are gold-plated. In reality, the level control is an attenuator. Because the gain switch is set to Low and the attenuator is turned as near to clockwise as feasible, the best S/N performance is obtained by setting the gain switch to Low and turning the attenuator as close to clockwise possible. The gain switch adds 10 dB of amplification when set to High. The maximum gain can be increased to 60 dB by moving an internal jumper, resulting in a modest rise in the noise floor. In Class-A operation, four Sovtek 12AX7WAs are used (one per channel), and unlike some "tube" preamps, they are powered from 300-volt rails for more headroom—and the Force flexes plenty of it. The red LED on the LED meter indicates output level; when it illuminates at +24 dBu, the preamp has around 8 dB before clipping. The MANLEY POWER power supply is an innovative design created by a global class team in this field led by Bruno Putzeys specifically for Manley Labs, specifically for High Voltage vacuum tubes, and specifically for audio. This power supply features 300 Volt DC rails to run the vacuum tubes, robust 6 Volt lines to power them up, as well as many other voltage rails for phantom power and different solid-state control voltages, as proven reliable and musically superior in the Manley CORE®. High voltage equals much headroom. Any 500-series design will not come close to this level of sonic performance. You can rely on us. This is Full FORCE audio brilliance, and it all starts with the power supply. All lines are important controlled, low impedance, efficient, and super-quiet in this low radiating high-frequency architecture. Traveling with the FORCE is a breeze because of the universal mains input, which accepts any voltage or frequency from anywhere on the planet. The four-channel Vacuum Tube preamp features a high voltage design with high headroom and fidelity. The Manley Force features some of the same technology found in Manley's core channel strip, but in this case, there are four straight ahead vacuum tube preamps that have been optimized for details, punch, and dynamic response. It is very simple to operate. There are four identical preamps inside the chassis, and each one has its controls. In the far left, there is Gain selection; in the low position, there is 40 DB maximum gain, and in the high position, there is 50 DB maximum gain. One can also configure the Force to have 60 DB maximum gain using an internal jumper. Next is the high-pass filter that switches between flat and 120 Hz roll-off. The polarity invert and 48 phantom power are also connected. Each channel has a direct-in for guitar or line-level signal such as keyboard, and at the back, there is a microphone input. The microphone input pass through a Manley transformer. Each channel on the Manley Force features its level meter. The curved row of LEDs looks great when tracking. Using the Force is different from the other microphone preamps. Typically with the preamp, the setting keeps the gain turned from the lowest position until a suitable amount of gain is acquired. But with Force, Manley recommends starting gain turned up and turning the control down. This is treated as a pad to maximize the signal-to-noise response, ensuring that one gets the cleanest gain. The power supply sets apart the Manley Force. It is configured to deliver 300 volts of power to each tube, which gives plenty of headroom, emphasizing the clarity and the detail in the signal. While completely respecting the transients, the Force's headroom never flinches, giving the impression that it will never distort. There are separate feeds for phantom power and for running the LEDs.The Force stands out as the only 4-channel mic pre in the middle of the pricing range with a design dedicated to tube amplification and no tone controls or A/D conversion. Features of Manley Force Preamp LOW versus HIGH 120Hz High Pass Filter switch, 7-Segment LED Peak Metering Switch to reverse phase Power switch for 48V phantom Attenuator for incoming signals (Variable Pad) Controlling the volume of the input signal in a silent manner (Variable Input Pad) DIRECT OUTPUT OF 1/4" This all-discrete solid-state circuit with 10 Meg Ohm input impedance is excellent for guitars, basses, keyboards, and other instruments and is similar to the DI in the Manley SLAM! and the Manley CORE. With its thoughtfully structured controls, silky and bulletproof rotary potentiometers, positive latching feature switches, and accessible Direct Input 1/4" jacks, the Manley Labs Force 4-Channel Microphone Preamp is an ergonomically designed microphone preamp. A double-inlay CNC-milled accent enhances the seven-way LED metering for each channel, which gives fast visible feedback for audio levels.  The microphone signals are sent directly into the MANLEY IRON Mic input transformer through gold-plated XLR connections. The front panel 1/4" Hi-Z 10 megOhm jacks accept line level or instrument level guitars and keyboards before reaching the input level control, serving as a Variable Input Pad. Here in the circuit, Phase Reverse and 120 Hz High Pass filters can be used, and then we're onto the 12AX7 dual triode amplification stage, which, of course, operates in pure Class A. The front panel controls may set the amount of GAIN for each channel to 40 dB or 50 dB. Internal jumpers provide an additional 10 dB of increase. The power supply is an innovative design created by a world class team led by Bruno Putzeys specifically for Manley Labs, specifically for High Voltage vacuum tubes, and specifically for audio. This power supply features 300 Volt DC rails to run the vacuum tubes, robust 6 Volt lines to power them up, as well as many other voltage rails for phantom power and different solid-state control voltages, as proven reliable and acoustically superior in the Manley CORE. Any 500-series design will not come close to this level of sonic performance. This is Full FORCE audio brilliance, and it all starts with the power supply. In this low radiating high-frequency architecture, all lines are important controlled, low impedance, efficient, and super-quiet. Traveling with the FORCE is a breeze because of the universal mains input, which accepts any voltage or frequency from anywhere on the planet.

Предусилитель Manley Jumbo Shrimp с дистанционным управлением Jumbo — это специальный продукт Manley, состоящий из двухканального несимметричного предусилителя линейного уровня, пяти стереовходов и двух параллельных линейных стереовыходов. Через пятипозиционный селекторный переключатель входов сигнал направляется прямо на управляющую сетку первой лампы усилителя. Усиленные сигналы затем отправляются через специальный каскад White-Follower для управления высококачественным стереорегулируемым аттенюатором ALPS, который отличается стабильностью, высокой надежностью, простотой обслуживания и исключительными свойствами отслеживания межканального уровня.

An introduction to the Manley MAHI Monoblock Amplifier Over the last seven or eight years, Manley Laboratories in Chino, California, has been producing new and updated devices with rather strange audio hardware names. In the early 1990s, the Manley-branded Tiny Triodes were well regarded. The Manley Tiny Triodes received a chassis rebuild in 1993 after the Manley firm broke off from VTL, becoming the Manley 35 wattMonoblocks, and later 50-watt Monoblocks. With hard-wired Triode functioning, the use of Ultra-Linear mode that was powerful was standardized. When 6414 dual triode and a12AT7EH dual input Triode are used, 40 watts RMS is produced in Ultra-Linear mode. In the TRIODE, around 20 watts are produced. The quartet used is EL84/6BQ5. For many years, the EL84 has become everyone's favorite tube, as it lasts for a long time and is known for its reliability.EI, JJ Tesla, Electro Harmonix, and Sovtek actively produce EL84s. The Manley Output transformer, along with Manley MAHI, plays a significant role together. The Stingray's new circuitry design modifications were implemented into the 50 Watt Monoblocks after inventing the Stingray Integrated amplifier in 1998. Finally, a little amplifier could produce huge bass. Soon, there was a need to upgrade the original EL84 50-watt monoblocks both physically and functionally after the arrival of the wonderful Manley Snappers in 2002. The chassis is coated with black powder, and the transformers are painted black. The position of the tube, switches, and location of the bias is in white. There are quality RCA inputs and a genuine WBT speaker. They design and construct their own printed circuit boards and spin their own transformers. In triode mode, the Mahi amps are rated at 18-27 watts, depending on the feedback setting. The Mahi's monoblock arrangement is a style statement in and of itself, units on its highest sale. Out of twenty non-integrated tube amplifiers, Thirteen are monoblocks in Class A and Class B on the Stereophile Recommended Components list. The Mahis are by-product of a Stingray integrated amplifier replacing a more basic 50 Watt Mono variant. Eve Anna claims that the Mahis sound better since they have a little bigger B+ rail capacity and separate channels and use short loudspeakers cable. Manley's newest production is the Mahi mono amplifiers, which naturally complement the Manley credo, "Tubes Rule." The Mahis are 10"W x 5"H × 11" D and weigh 18 pounds. The speaker binding posts (a single pair of robust WBT five-way jobs) and input jacks (RCA only) are situated in the upper part top of the amplifier, near the rear, and at the back of the transformers. It is simple to connect the speaker wires with this setup. The top of the Mahis is copiously and legibly labeled to show the purpose of each element, finished in a subtle black crackle-touch. Even though Manley Labs sells a wide spectrum of hi-fi equipment, the firm likely does more business with its excellent pro gear. The hi-fi gear from Manley reflects the company's pro-audio roots. Triode-Ultra Linear mode switching is common on the MAHI, although it was formerly a state-secret option in the 1950s. You may pick either 20 watts of triode operation or the ballsier-er control of 40 some-odd watts of UL operation. The Variable Feedback button on the top deck allows the user to control how much negative feedback is given to the amplifier for sound diversity and improved speaker-to-amplifier communication. With a large bank of 1200uF filter caps, the MAHI's B+ capacity has improved substantially. The MAHI delivers 180 Joules of storage energy. The output transformer of the MAHI Stingray is the same. The Mahi is characterized by a low level of noise, distortion, negative feedback, and the inherently large dynamic range of tube electronics. Getting connected to the MAHI   You have to connect all the cables. And then plug in the IEC power cord and the energized power outlet. To prevent your MAHI from magnifying any of your upstream equipment's waking-up noises, switch on all of your upstream devices like sources, preamplifiers, and so on.  Switching on the MAHI You should turn on the MAHI only after the front-end components are on. You can find the power switch on the rear of the chassis. The rocker switch is present adjacent to the AC power. The power switch was placed far back to keep the loud mains away from the input electronics. If you want to switch on the Mahi, turn the switch away from the power cable, turn it off, and turn towards the power wire. Because the Mahis Wattgate IEC inlets partially obstructed the power switches, turning off the amps was a little tough. The MANLEY MAHI badge illuminates. When the small input tube's heater kicks on, you can notice a flare of light. You should remember that it takes around 45 minutes for the system to attain thermal equilibrium after hearing sounds from the Mahi when using it for the first time. Power down in the MAHI  As a general guideline, turn on your amplifiers last and turn them off first to avoid amplifying any sounds that may come from source components turning on or off. When the Mahi is not in use, it is also advisable to turn off the power rather than leave it on. This will extend the life of the tube and the system. Under normal circumstances, the tubes should last a thousand hours if the BIAS is checked on a regular basis.  TRIODE vs. UL vs. TETRODE The MAHI output tubes may be set to either TRIODE or Ultra-Linear operation. First and foremost, we strongly advise that you turn off the amplifier before turning on the switch. When the screen grids are connected to the EL84 plates, it is called a triode. Triode mode is recognized for sounding pleasant and alluring, but it is, unfortunately, a less efficient means of running the output tubes. In Triode, you obtain roughly one-half the power you would in Tetrode. The screen grids are connected to unique taps on the output transformer's primary in Ultra-Linear, also known as "partial triode." These UL taps are positioned between the center and outside anode taps in a unique location. The screen grids are connected directly to the output transformer's center tap B+ in tetrode (or pentode) operation. There is no option provided, but there are many pieces of information about UL. Tetrode mode's sound is rough and less polished than triode mode's, but it's a lot more powerful, and occasionally more power is needed. What's fantastic about Ultra-Linear is that you get the best results using both, and not only that, it also depends on where the UL taps are placed in the output transformer design. The UL mode will be more triode-like when the UL taps are placed to the outer windings. The closer they are to the central tap, the more Tetrode-like they will become. The ideal balance between the two extremes is for the UL taps on this small amplifier, where you will receive more power pleasant feel. If you wish to compare triode and UL modes, first turn off the amplifier, then on the Triode-UL switch, and then turn it back on.  Variable Feedback of MAHI In MAHI, some global negative feedback is used. A tiny portion of the output signal is sent back to the input stage from the final speaker outputs. The complete circuit is therefore included in a feedback loop that includes the output transformer and some loudspeaker back-EMF, all 3dB (MIN), 6dB (STD), or 10dB (MAX) of it. With the Variable Feedback switch, you may control how much negative feedback is to be provided. Negative feedback changes the amplifier's slew rate or speed. You can feel free to try out this switch, even when music is played or for a different musical genre. You can also select whatever setting you want.