Manley SLAM! - Manual (Page 26)

The 50% setting mixes some raw input with the post limiter signal, which is often difficult in a
mastering environment. Because the FET side-chain senses right off the output XLR, one immedi-
ate indication is significantly deeper gain reduction shown on the LED ladder, but less apparent
limiting to our ears. In some ways, it is like reducing the ratio and threshold, maintaining a similar
output level. It may sound a bit more open and may be useful where lower level passages need to
be raised without killing all transients. Another benefit is that the raw parallel path flows through
less circuitry.
The CLIP setting just introduces a soft clip circuit just below +18 dBv or about a dB shy of
where a converter set for +14 of headroom might hit DFS clipping. This could allow one more
safety valve with a bit of room for the digital filters to behave nicely. One may follow that
process with a digital limiter to lift the level a bit closer to DFS if desired.
You may notice that the ATTACK switch simulates some of the audible action we associate with
attack controls on compressors but still tends to grab most of the fast peaks. In other words,
you get some punch with slower attacks. Like other attack controls you may have to adjust the
threshold down at slower settings to maintain some clip protection, but may notice that you don’t
have to adjust the threshold as much as one might expect with a conventional attack control. This
is because there is a very fast limiter still hitting transients that are near our threshold of identify-
ing.
Should also point out that the OPTO side-chain filter has some level compensation built in
so that chopping off the lows, doesn’t cause a huge change in thresholds. There may be some
adjustment required depending on the spectral balance of the music though. With bright mixes
the 200 Hz may actually cause deeper limiting, plus there is a 3 dB peak above 4K to help
smooth excessive sibilance, though we don’t refer to it as a de-esser.
The hard-wire bypass function is not quite as trivial as might be expected. It is a bit more com-
plicated because of 2 input jacks, plus the 2 different outputs, plus all the metering. Selection of
either the XLR balanced (transformer) input or 1/4” unbalanced (op-amp) is done with a “pull to
toggle” switch on the back panel. Like many of Manley’s processors, using the 1/4” unbalanced
output bypasses the final transformer and may be a little cleaner or open sounding compared to
the transformer output, which may be a little warmer and richer or evocative of some vintage
gear. Might be worth checking out each input and output while you learn the unit. Subtle but
important differences.
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