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.

SLAM! stands for Stereo Limiter And Micpre and it pretty much describes what it will do to most VU meters. We had to put a switch on this limiter to drop its internal VU meters down 3 & 6dB to keep the poor little needles from bending– it'll get LOUD fast (hence the exclamation mark). And on top of being an amazing pair of (actually four) Limiters, and Class A tube mic preamps, it also has masters degrees in DI, AtoD and DtoA, VU and PPM but that was too much for an acronym. When it comes to classic gear, especially classic limiters, we can all agree numbers like LA2s, 1176s, 2264s, and others come to mind. What if all those sounds were to be found in one stereo tube unit. Interested We combined our favorite Electro-Optical circuit (ELOP®) with a damn fast FET based brick-wall limiter reminiscent of some cool classics. And we added a sidechain filter that can remove low frequencies that makes it more useful for a variety of tasks, while retaining that easy, it just works quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that both optimise the signal for digital recording, due to the brick-wall capability, and let you dial in how clean or crunchy, or punchy, and how loud and proud you want it. Manley is excited to announce the SLAM! GET IN: The SLAM! starts with tube Mic Preamps on both channels with selectable phase reverse, high pass filter, and switchable phantom power (on the back panel). We’ve got plenty of gain for you in this new tube circuit, up to 60dB with 20dB more in the limiter– plenty for soft singers using low output ribbon mics. The input attenuator is right up front, like a variable pad so your loud rock ‘n’ rollers won’t cause a problem either. Track direct with the Direct Instrument input or bring your line level inputs into the SLAM! for processing. The DI inputs have selectable input impedance, depending on how far you plug the 1/4 cable into the jack: push it in all the way and the input impedance is 100KOhms, pull it out half way and it becomes 20 megOhms which reduces pickup loading and allows all the highs to get through. Come on in! Get it LOUD... two different and distinct limiters per channel: The ELOP® LIMITER: Our beloved Electro-Optical Levelling Amplifier circuit, the ELOP®, still the favorite for vocal tracking, shows up here with its new switchable side-chain high pass filter making it much more useful for mixes and other tracks as well. One of the most appreciated aspects of our original ELOP® is the simplicity of a two knob limiter, which is optimum for demanding pro recording pressures. You can still grab two knobs and have complete control of level and dynamics and be ready to hit that record button. Intuitive controls and a straight ahead signal path through quality components simply work. The ELOP® limiter implementation is done like we did in our VOXBOX® which pioneered the idea of limiting the mic signal before it hits any active stage. The ELOP limiter moves to the line stage when LINE is selected. The ELOP sidechain provides different HP filters on a toggle. The 200 Hz setting has been tailored for vocals and adds a touch of de-essing.The FET LIMITER: Here’s a new fast FET based brick wall limiter that spans the range of clean predictable limiting to the grunge and gravel that other FET based limiters are desired for. The FET RELEASE control allows you to dial up a variety of colors. There is even a CLIP setting that provides as round a shape as has ever been available. (Read more below about the CLIP settings.) We aimed at sound first, then experimented with circuits until we heard what we wanted discovering fresh approaches that provide a very wide range of useful dynamic control. For example, you can set up for a fast brick wall limiter with slower releases for minimum artifacts, or go with the faster releases to get some crunch and then get extreme loudness. The Attack control is unusual too providing the sonic control common with its historic brothers but very unusually retaining the zero overshoot “none-shall-pass” brick wall that defines a real limiter. And it’s punchy! As the saying goes, “Louder is better.” The SLAM! optimizes levels to analog to digital converters with ballz, warmth and loudness verging on silly or just clean and safe. What is especially nifty is the ability to use the ELOP® and FET limiters together at the same time dialing in whatever amounts of each effect you like. Every limiter has its own character or sound and here we have combined two powerful world-class tools that can be uniquely blended and mixed to taste and purpose. Even the metering is appropriate for each limiter so you can easily see how each is contributing. Metering on the SLAM! is exceptional. The two full size real VU meters show you the raw input levels, the final output levels, and the ELOP® Limiter gain reduction in the traditionally preferred format for visually displaying apparent loudness. VU’s are cool. Noticing how mastering engineers often need a switchable pad on their VU's because the optimised levels tend to pin the needles in the red, the SLAM! VU’s also have a 0, -3dB, -6dB switch to help with this situation. There are also very fast and super accurate multi-color LED ladder peak meters that display the input and output levels and the FET gain reduction, and some combinations. They will do Peak, Peak Hold timed, and Peak Hold until reset, and also allow you to manually set where the individual bars change colors to match your other gear. And with maximum clean I/O levels of +30 dBu, it is a lot more likely you will use these meters to see what’s clipping downstream. It probably won’t be the Manley tube line drivers inside!The back panel should keep everybody happy. In the sea of jacks including the big power supply connector, you'll find all the usual XLR’s for transformer balanced I/O and 1/4 phone jacks for direct unbalanced I/O. Eight Bantam jacks in a mini-patchbay configuration handle the side-chain inserts and linking functions. You can insert EQs into the ELOP® and FET limiters, and there are more jacks for you to mix in an external signal into the side chains. Another pair of jacks provides for easy linking for 5.1 surround work if you have three or four SLAM!'s. It’s all here.Speaking of Linking... all previous Manley dynamics units require both channels to be setup fornear identical settings rather than the more common just set the Left side. The SLAM! lets you do it both ways. The L Side method is the STEREO LINK mode and is quick and convenient but, like others, uses a mono mix for the side-chain. The BOTH & EXT adds the rear panel link jacks to the link buss so you could chain up several SLAM!s for linked surround work. Both or all 6 channels should be set similarly. This mode is usually better for mastering as it responds to the true peak level of the channels rather than an artificial mono mix.Outside the Box, that's where the power supply is. The illuminated power switch turns on the external power supply. Keeping the power supply far away also keeps additional heat and magneticfields away from the precious audio. The power supply is housed in a sturdy cast aluminum 7 x 4 x 5 box that is easy to mount to or place in the bottom of a rack. A seriously humongous 16 pin connector, and 6' multicore cable connects the two boxes.The SLAM! also seems a natural as a mastering tool. The FET limiter works great on mixes, and the ELOP® now has a high pass filter switch that is spot-on for mastering. We offer a dedicated mastering version which eliminates the mic preamps, adds detented controls replacing the pots, and provides extra metering options. Manley compressors and EQs seem to be the most popular pieces of gear ever when it comes to mastering. The ultimate analog rack for the final important touches to the mix would have include the SLAM!, The Variable Mu® and The Massive Passive. Combine this with some digital processors of similar calibre and one has a respectable and very effective set of mastering tools. That Manley rack plus some Manley Microphones would make an ultimate stereo recording chain too. This is gear you’ll want to keep for a lifetime.

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.