An industry standard for professional mastering studios, the Mastering Version of the Stereo Variable Mu Limiter Compressor employs metal-film resistors loaded onto beautiful Grayhill sealed gold-contact switches for absolute repeatability, accuracy, and reliability. 1/2dB steps ensure precise and subtle adjustments. This is what defines mastering. High Pass Side Chain mod now comes standard. The switches specifically are like this: Input: -4 to 4 in 2 dB steps Output: -11 to 0 in 1/2 dB steps (24 detents) Threshold: -11 to 1 in 1/2 dB steps (24 detents) Attack: 11 positions Release: 5 positions

It looks awesome, but what is it Primarily, it is a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and well thought-out ergonomics. Full of features, timeless style, robust build quality, and that world-famous Manley Sound, we present to you the MANLEY VOXBOX®.That s nice. What s it good for While we were designing the VOXBOX® we couldn't help but notice how well it works on other instruments besides voice. There are some great settings for drums, bass, guitar, and keys and the two separate sections can be used together or independently. Stereo using two VOXBOXes You know we couldn t resist planning for that as well. There are Stereo Links for both the compressor and the De-Ess/Limiter sections, special compression settings and super-sweet EQ frequencies for your mix or pre-mastering. So don't just use it for voice. The name VOXBOX® represents only the beginning...MICROPHONE PREAMPLIFIER SECTION : The preamplifier is a clone of a highly regarded and popular mic pre: the Manley Mono Microphone Preamplifier! The mic input transformer is our own design wound in-house at the Manley Labs factory. High current 48V Phantom power is switchable from the front panel. A simple and effective passive BASS CUT switch kills rumble and reduces popping. The INPUT ATTENUATOR is a variable pad control situated before the first tube stage allowing the preamplifier to accommodate 4 line level signals via the balanced LINE INPUT and instruments via the front panel 1/4 DIRECT INPUT. These inputs are selected in the middle position of the dual-function phase invert switch. We provide both transformer balanced XLR output as well as a transformerless audiophile 1/4 phone jack output. The Gain switch is actually a clever variable feedback control that changes not only the gain but the slew rate and flavour of the circuit. With it you can choose how laid back and mellow or how up-front and aggressive you want it to get. See Notes on Variable Feedback for more info. Headroom is a strong point in this circuit, 31dBu capable. This is 5 to 10 dB better than almost all other pro gear. The music passes through only our super-clean pure Class A vacuum tube circuitry. There are obvious advantages to our purist approach and foremost is the un-electronic final sound that carries emotion into the digital realm. COMPRESSOR SECTION : This cool compressor design takes our opto-isolator approach of the Manley ELOP® Limiter to the max. We adjusted the Ratio down to 3:1 to turn our ELOP into a compressor and added ATTACK and RELEASE controls for more versatility. What is clever is how the signal is compressed before it hits the tubes with no detrimental effect on distortion or frequency response. This way, it can prevent mic-pre clipping and eliminate whole stages of electronics. This cuts the typical path of mic to tape in half! We also pioneered new thinking in the sidechain by using up to four different time constants simultaneously and controlling them with familiar simple attack, release and threshold controls. We call the approach Parametric Compression. We developed optimum settings or presets based our favorite Vactrols that we use in our own fast ELOP® Limiter, the quick LA-2A's T-4 module, the slower LA-3A and then created more complex special settings. This extended range and method of timing delivers fresh sounds from powerhouse punching drums to super-solid bass yet can also emulate the way good engineers delicately ride a fader while recording. It is transparent and liquid-smooth on vocals, easy to use and accurate. Also rare for an opto-based dynamic processor, this compressor works great on mixes. Of course, you ll be needing two VOXBOXes linked in stereo... EQ SECTION : Lots of folks requested that we include the Pultec Mid Frequency Equalizer in the VOXBOX®, but they wanted MORE.... Now we ve extended it to 33 frequencies in 3 bands with 6 new frequencies from 20 Hz to 150 Hz, and 6 more in the highs from 6.4 KHz to 20 KHz. Ever notice that only EQs with real inductors have the bottom end magic or that only Class A circuitry can keep the top end sweet This is for you. The EQ INPUT switch patches in the Line Input, Preamp Output, or the INSERT return. This switch serves double-duty acting as a bypass switch for the preamp and/or external processors or for processing two different tracks. DE-ESSER and LIMITER SECTION : Designed by folks with admittedly large gaps between their two front teeth, (Hutch and EveAnna) the VOXBOX® combo also includes a de-esser and peak limiter based on our original ELOP® Limiter design but with an added passive LC network to handle the de-essing four carefully chosen notch frequencies from 3KHz to 12KHz. (That 3KHz setting really tames those annoying frequencies!) The fifth position gives you a limiter which totally mimics the famous LA-2A. This means you can both compress pre-EQ then limit here post-EQ. Another cool feature is the ability to insert this de-esser silently and smoothly as the music plays, using it as needed. The METER is a full size illuminated Sifam VU meter. A five-position switch shows three audio levels: the line input, the preamp output and the final output. It also shows compressor gain reduction and the de-esser/limiter action. Other clever innovations incorporated into the VOXBOX® combo include warm-up muting circuitry, extensive magnetic field containment, smart -grounding , and silent switching. The sum-total is more than the separate parts: consider the reduced patching, the short path to tape and you having this much immediate control.As engineers, we choose what we use not based entirely on features and functions there is a sound, a texture we reach for and the VOXBOX® combo puts the Manley Sound together with Your Sound . FEATURES AND SPECIFICATIONS* MANLEY transformers w/nickel laminations in mu-metal cases* 2 Kohm MIC INPUT Z w/High current 48V Phantom power built-in* Hi-Z (100K) Direct Instrument Input* LINE and INSERT INPUTS (balanced XLR and 1/4)* PREAMP and EQ outputs LO-Z (50W)* Transformer balanced XLR outputs* Transformerless unbalanced 1/4outputs* STEREO LINK for Compressor and De-esser/Limiter* SIDE CHAIN MONITOR for De-Esser* Large ILLUMINATED Sifam METER with FIVE readout modes(older units before serial number MVB**1359 shipped before 9/2003 use: 12V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016C) Order spare bulbs using our parts order form.(newest units after serial number MVB**1359 shipped after 9/2003 use yellow LED lighting) * THD N (1KHz @ 20 dBu): 0.3%* Maximum output: 31dBu Manley VOXBOX Combo Specifications:* MIC PRE* Frequency Response: ±1dB 20Hz - 60KHz* Noise Floor (A-weight): -86 dB* Signal to Noise Ratio: 113 dB* Tube complement: 12AX7LPS and 6414* Gain: 40 to 60 dB* EQ* Frequency Response: 10 Hz 100KHz* Noise Floor (A-weight); -89 dB* Signal to Noise Ratio: 116 dB* Gain: unity* COMPRESSOR* Ratio: 3:1* Maximum Reduction: 16 dB* Attack Times: 4mS to 70mS* Release Times: .3, .5, 1, 2, 5 Sec* DE-ESSER and LIMITER* Ratio: 10:1* Maximum Reduction: 32 dB* Attack Times: 2mS* Release Times: .5 Sec* De-Ess Notch Frequencies: 3, 6, 9, 12KHz, none (LIMIT)* General Info:* THD N (1KHz @ 20 dBu): 0.3%* Maximum output: 31dBu* Power Consumption: 24-watts* Mains Voltage Frequency: 50 60Hz* Dimensions: 19 x 5.25 x 10 (occupies 3U)* Shipping weight: 21 lb.

The MANLEY GOLD REFERENCE MULTI-PATTERN MICROPHONES are a statement, quite simply, of the finest microphones that money can buy in the pursuit of truly accurate musical recordings. The Gold Reference Series employ our own design of large capsules (1.25 inch overall, 1 inch diaphragm diameter) which are executed to precise tolerances made possible by modern micro-milling machinery available today in California. The capsule rings and back-plates are milled from solid brass. The gold diaphragm film comes from Germany and is tensioned using proprietary techniques by David Josephson ensuring capsule-to-capsule constancy, combined with the speed, air, and superb ultra-high frequency response you have only dreamt about. The all-tube electronics in the MANLEY REFERENCE SERIES MICROPHONES are built around two triodes in cascade forming an entire gain-block. We have recently switched to a dual-triode 12AT7 tube, easily obtainable and replaceable, mounted in a ceramic socket. (We originally used 6072A until it became impossible to find quiet ones out of the NOS dreck left on the market, then we used 12AX7 for awhile.) The output is coupled through a MANLEY output transformer of unparalleled quality and substantial physical size employing nickel laminations with hum bucking bi-filar windings, encased in mu-metal. The polar pattern control is continuously variable between the OMNI, CARDIOID, and FIGURE 8 positions vastly increasing this mic s versatility. The Gold Mics make it possible to exactly tailor the proximity effect to achieve the desired character. We have chosen a very open weave stainless-steel grille for the capsule window which allows all the highs to reach the capsule unimpaired letting the engineer choose if, when, and how much pop screen is appropriate. As a result, the Reference Gold reaches to the furthest extremes of highs and lows with gorgeous natural acoustic smoothness. Some engineers tell us it sometimes hears more than they do! A locking 6-pin XLR connector for the 30 foot power supply cable carries the stringently filtered B and regulated heater voltages from the separate dedicated power supply. The audio signal exits the PSU via a traditional 3-pin XLR jack. The microphone body is machined from brass providing excellent shielding properties, polished to a high lustre, then plated with 24 karat gold for an impressive finish, inspiring confidence in artists and producers. Our proprietary precision suspension system is provided with each REFERENCE MICROPHONE (the capsule itself is mounted onto a neoprene-rubber shock-mount.) Because the entire working guts of the microphone may be removed for service in one piece from the housing, it is envisioned that the microphone need not be removed from the suspension. We also provide a very useful swivel of our own design with every REFERENCE MICROPHONE; its T-bar handle and locking clutch action require no tools to adjust. And no MANLEY microphone would be complete without a genuine leather capsule protector which slips (and ties) onto the end of the microphone to protect the capsule when not in use. Each REFERENCE MICROPHONE is packaged complete in a strong locking carrying-case.

A PICTURE IS WORTH A THOUSAND WORDS...Perhaps, but would photographs of our Variable Mu® Limiter Compressor or VOXBOX® have created their successes alone You have to hear this gear. You have to use this gear. Put your hands on the knobs and crank 'em. Engineers who have already gotten hold of the MASSIVE PASSIVE have told us: Why does it make everything sound so much better , It's organic and orgasmic., It's a f%#king powerhouse., It's unlike any other EQ., This is IT. The sound I've always dreamt of but couldn't ever get until now.GOT THE PICTURE Craig 'HUTCH' Hutchison designed these monsters... The MASSIVE PASSIVE is a two channel, four band equalizer, with additional high pass and low pass filters. Passive refers to the tone shaping part of this clever new EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound, kinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. Massive.... it's a fitting word for this beast. You'll need to experience this.Creating natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. The Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. Manley knows that recording and mastering equalizers are used by artists for artistic goals and we balanced this design with a little more art than science. The Massive Passive is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Massive allows twice as much EQ with half the coloration. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure. We could attempt to use dozens of superlatives to describe the sounds, but really, you have to experience it yourself. Words cannot do it justice. The astute reader will notice a lack of buzz words and that the Massive Passive is not built around gimmicks, plagiarisms, or conventional techniques. However, it is built to complement our Variable Mu® Limiter Compressor for instance.... This combo could just be the ultimate processing chain. It’s already a Mastering fave. To this end we finally have a new dedicated Mastering Version Massivo available too.The Filters - 5 frequencies Hi Pass and bypass, PLUS 5 frequencies Lo Pass with bypass. We made them extra steep. 36 dB/oct ! Why When you need to remove the garbage, this does the trick and allows more of the real music to be untouched. The other reason is that it sounds killer when combined with the regular bands. Towards the mids this degree of steepness may be tamed somewhat. We're going for pure usefulness not well, we guess it's standard. Thinking drums and guitar stacks, and other tough jobs. These filters are passive too.High Pass Filters = 22, 39, 68, 120, 220, OFFLow Pass Filters = 6K, 7K5, 9K, 12K, 18K, OFFLOW - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1KLM - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9HM - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10KHI - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 18K, 27K# Each band can be bypassed or set to boost or cut. This provides twice the control resolution over conventional EQs. It also eliminates the problem of a center detent not guaranteeing flat response.# Each band is capable of 20 dB of boost or cut combined with amazing headroom and freedom from clipping. Steep LP and HP filters for maximum effectiveness and achieved passively for minimal coloration. The minimum slope is 18 dB/octave and the 18kHz filter was designed for 60 dB/octave. # Modular design that allows future upgrades and special functions. The Massive Passive is an EQ platform with room to grow.# Transformer balanced floating outputs for ease of installation and a touch of desirable flavor. These too were custom designed for the Massive Passive to accommodate the huge boosts possible.# Manley quality, Manley engineering, and the Manley Sound. Features:• All-Passive tone sculpting circuitry • Unique Shelf curves use the bandwidth control • Overlapping and Interleaved Frequency choices • Every band switchable to shelf or bell • Vacuum tube make-up gain and line drivers • Parallel symmetrical topology • Premium components throughout • HP and LP Filters plus gain trims SPECIFICATIONS: • Ins & Outs Balanced XLR & 1/4 (accepts unbalanced) • Level +4 dBu nominal, internal switches for -10 operation • Bypass Switch bypasses EQ & tube circuits (not hardwire) • 44 Frequencies (roughly 1/4 octave spacing) • Frequency Range: 22 Hz to 27 Khz • EQ Boost/Cut Range : 20 dB boost, 20 dB cut • Nominal Q range: 1.5 to 3 (uniquely active in shelf modes) • Frequency Response: +/- 2 dB: 8 Hz to 60 KHz • Maximum Output @ 1.5% THD +37 dBv; +26dBv @ 20 Hz • THD & Noise (1KHz @ +4 dBu): 0.06% • Noise Floor (referred to +4dBu): -85 dB (A Weight) • Dynamic Range: 120 dB • Tube Complement: 2 x 12AX7EH, 4 x 6414 for serial MSMPX### after 2/2004• Tube Complement: 2 x 5751, 4 x 6414 for serial MSMP### until 2/2004• Power Consumption (120/240VAC): 72 watts • Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.• Operating Mains Voltage changeable with power transformer changeover switch and fuse value change.• Mains Voltage Frequency: 50~ 60Hz • Size (3U): 19 x 5.25 x 10 • Weight: Unit 21 lbs. Shipping Weight: 27 lbs.

The MANLEY VARIABLE MU® LIMITER COMPRESSOR has been our best selling product for many years. It is one of the very few compressors that has become a real standard in Mastering studios and contributed to most hit records over the last decade and probably the next. Mu is tube-speak for gain, and Variable Mu® is our registered trademark for this limiter compressor. It works by using the remote cut-off or re-biasing of a vacuum tube to achieve compression. The precious vintage Fairchild 670 also uses this technique and is one of few all-tube compressor to do so, that we know of. Even the side-chain has glowing rectifier bottles. How s it work The unique 5670 dual triode is at the center of the peak-reducing and compression action constantly being re-biased by the vacuum tube rectified side-chain control voltages which cause this tube to smoothly change its gain. Just like that. The COMPRESS mode is soft-knee 1.5 to 1 ratio while the sharper knee LIMIT mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12dB. Interestingly, the knee actually softens as more limiting is used. Distortion can be creatively used by turning up the Input and turning down the Output while using very little or no compression. See the gain reduction curves here! You might notice that the Variable Mu® Limiter Compressor has a ganged input control, but do not jump to conclusions that it is mono-unfriendly. Track away! There are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right The advantage of the stereo input control becomes dramatically clear when you switch to LINK mode, and that s what our Variable Mu® Limiter Compressor does better than anything else: final mix, 2-track, or mastering limiting and compression. - MANLEY input and output transformers with nickel laminations in mu-metal cases with flat frequency response from 20Hz-25KHz - BALANCED INPUTS and OUTPUTS (600 Ohms) - Fully differential ALL-TUBE circuitry using one each 5670, 5751 (or 12AX7), 7044 (or 5687), and 12AL5 per channel - Independently regulated B and Heater supplies - Hard-wire BYPASS switch - Stepped switch INPUT attenuator as of 10/2011. (older units use Silent dual-ganged potentiometer) - RECOVERY 5 steps: 0.2s, 0.4s, 0.6s, 4sec., 8sec. - Variable ATTACK: 25msec-70msec - Continuously variable THRESHOLD - LIMIT (4:1 to 20:1) or COMPRESS (1.5 to 1) - HP SC: High Pass Side Chain Filter -3dB @ 100Hz Large ILLUMINATED Sifam METERS (older units before serial number MSLC61642 shipped before 12/2003 use: 26V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016B) Order spare bulbs using our parts order form. (newest units after serial number MSLC61642 shipped after 12/2003 use white LED lighting) - STEREO LINK SWITCH - Several units can be linked for Surround (custom order ) - Maximum gain: 35dB - Max. output: 30dBu (26Vrms) 26dB Headroom

This is the Mastering Version of the Massive Passive with innovative repeatable, mechanically detented knobs of our own design. Range is clamped down for focus where mastering engineers live and breathe. Filters go higher and lower for solving problems in the mastering stage. Features - All-Passive tone sculpting circuitry - Unique Shelf curves use the bandwidth control - Overlapping and Interleaved Frequency choices - Every band switchable to shelf or bell - Vacuum tube make-up gain and line drivers - Parallel symmetrical topology - Premium components throughout - HP and LP Filters plus gain trims - Metal Manley mechanically detented GAIN and BANDWIDTH control knobs Specifications - Ins and Outs Balanced XLR and 1/4 (accepts unbalanced) - Level 4 dBu nominal, internal switches for -10 operation - Bypass Switch bypasses EQ and tube circuits (not hardwire) - 44 Frequencies (roughly 1/4 octave spacing) - Frequency Range: 22 Hz to 27 kHz - EQ Boost/Cut Range: Maximum 11dB boost or cut - Nominal Q range: 1.5 to 3 (uniquely active in shelf modes) - Frequency Response: ±2 dB: 8 Hz to 60 KHz - Maximum Output @ 1.5% THD 37 dBv; 26dBv @ 20 Hz - THD and Noise (1KHz @ 4 dBu): 0.06% - Noise Floor (referred to 4dBu): -85 dB (A Weight) - Dynamic Range: 120 dB - Tube Complement: 2 x 12AU7, 4 x 6414 - Power Consumption (120/240VAC): 72 watts - Unit is factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage - Operating Mains Voltage changeable with power transformer changeover switch and fuse value change - Mains Voltage Frequency: 50~ 60Hz - Size (3U): 19 x 5.25 x 10 - Weight: Unit 21 lbs. Shipping Weight: 27 lbs

Stereo Compressor / Limiter- Complete tube- MANLEY input & output transformer with nickel lamination in mu-metal housing- Sym. Inputs and Outputs (600 Ohm)- ALL-TUBE circuits each with 5670, 5751, 7044 or 5687 & 12AL5 per channel- Hard-wire BYPASS switch- Recovery 5 stages: 0.2 s, 0.4 s, 0.6 s, 4sec, 8sec.- Variable Attack Time: 25 msec - 70 msec- Variable Threshold- Limiter (4: 1 to 20: 1) or compressor (1.5 to 1)- HP SC: High Pass Sidechain Filter -3 dB @ 100 Hz- Stereo Link Switch- Maximum gain: 35 dB- Max. Output: +30 dBu (26Vrms) 26 dB Headroom