Manley SLAM! - Manual (Page 27)

A few points inspired by some of the early comments from SLAM! users make it into this addendum
too.
The SLAM! is designed primarily as an old school text book limiter and as such the Output Level knob
is not after the final FET limiter. The idea is to set the peak-stop threshold and adjust the incoming level,
which is why the level controls are larger. More fun is to be had adjusting the Input and Output Level
controls than the Thresholds, which can often just be thought of as ‘set and forget’ especially if the FET
Attack time tends to live in one setting. The Output level is not a ‘gain make-up’ control typical of a
compressor but consider it as another Input level before the FET and after the Opto.
Some of the skills or habits we have with soft compressors, might be less useful with a limiter. For
example, just setting it by ear, with similar input / output levels and an acceptable number of dBs of
gain reduction or approaching it as an effect might not get the best results. The approach of trying to
achieve a brick wall level and then tweaking how the unit is driven (those Input and Output knobs) usu-
ally seems to work best. Put another way, limiters or limiting is not often a great effect in itself, but the
increased volume when it is used reasonably can be. So it is about loudness rather than a cool pumping
action, or pleasant warmth. It can do some of that, but was designed to be pretty clean for a tubed unit,
and hot aggressive colors can be dialed in with the FET limiter.
The LED Gain reduction display is 1 dB per segment. We have seen numerous people at trade shows
dial up 15-30 dB of gain reduction presumably to see a good number of LEDs flashing. It is still a limit-
er and should be treated with some respect of the damage a powerful limiter in the wrong hands can do.
In other words, it can be particularly vicious. The worst-case scenario is bass-heavy mixes, fast attack
and releases, and deep limiting, where some GR modulation can happen. Though much has been done
to allow those very fast releases, which maximize loudness, it does pay to be aware that distortions and
edginess might be a side effect. Sometimes the best answer is exactly what many mastering engineers
do daily, which is use 2 or 3 compressor/limiters each doing a few dB rather than one doing 10 dB. The
LED meters can be very useful in comparing peak levels, especially when used with the Bypass button.
Part of the secret to getting the most out of the SLAM!, is to learn the LED meter modes. Everybody
has a favorite display mode, but they all are rather useful and you may find yourself changing modes
more than expected. Of course, some rely too much on the meters and forget to listen and assume that
particular operating levels are important. There is a healthy range of signal levels that are easily accom-
modated. We only suggest using less limiting for the first few weeks until you are reasonably familiar
with the unit. There is a learning curve and no real tricks or settings that seem to be common. Every mix
may be different.
Lastly, it is not in any way like the Variable MU and was never intended to be. Each has its own purpose
and special ‘unique talent’. The SLAM! may be easier to describe as a damn-fast transient killing secret
weapon, or a tubed, analog L-2 with a buncha features, or maybe just a serious “go-louder box” with
huge cajones. Enjoy!
27