ページ1に含まれる内容の要旨
OWNER'S MANUAL
MANLEY MANLEY MANLEY
MANLEY MANLEY
MASSIVE PASSIVE MASSIVE PASSIVE MASSIVE PASSIVE MASSIVE PASSIVE MASSIVE PASSIVE
STEREO TUBE EQ STEREO TUBE EQ
STEREO TUBE EQ STEREO TUBE EQ STEREO TUBE EQ
MANLEY
LABORATORIES, INC.
MANLEY LABORATORIES, INC.
13880 MAGNOLIA AVE.
CHINO, CA. 91710
TEL: (909) 627-4256
FAX: (909) 628-2482
http://www.manleylabs.com
email: emanley @ manleylabs.com
email: service @ manleylabs.com
Rev. MSMPXxxxx
ページ2に含まれる内容の要旨
CONTENTS SECTION PAGE INTRODUCTION 3 BACK PANEL & CONNECTING 4 FRONT PANEL 5,6,7,8 CREDITS 8 THE MASSIVE PASSIVE BEGINNINGS, THE SUPER PULTEC 9 THE PASSIVE PARAMETRIC 10 WHY PASSIVE, WHY PARALLEL 11 PHASE SHIFT, WHY TUBES 12 CURVES 13 to16 TUBE LOCATIONS, ETC 17, 18 EQUALIZING EQUALIZERS (GENERAL) 19 EQUALIZER TECHNIQUES 20 to 24 TRANSLATIONS 25 TROUBLESHOOTING 26, 27 MAINS CONNECTIONS 28 SPECIFICATIONS 29 WARRANTY 30 WARRANTY REGISTRATION 31 APPENDIX 1 - EXAMPLE SETTINGS 32 APPENDIX 1 - T
ページ3に含まれる内容の要旨
INTRODUCTION THANK YOU!... for choosing the Manley MASSIVE PASSIVE STEREO TUBE EQUALIZER. This EQ is supposed to be somewhat different from any EQ you may have used before , as well, this manual may be a bit unusual in that you may find it worthwhile to read. Even though at first glance the Massive Passive looks fairly conventional, you should take an hour and read this manual before you jump to conclusions or confusions. The usual stuff like precautions, hook-up instructions, and operational in
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THE BACK PANEL MANLEY LABORATORIES AN EVEANNA MANLEY PRODUCTION CHANNEL 2 13880 MAGNOLIA AVE., CHINO, CA 91710 CHANNEL 1 PHONE (909) 627-4256 FAX (909) 628-2482 BALANCED INPUT DESIGNED BY HUTCH email: emanley@manleylabs.com IMPEDANCE = 20K OHM NOMINAL BALANCED INPUT SERIAL NUMBER BALANCED or BALANCED or UNBAL INPUT UNBAL INPUT +4dBu / -10 dBv +4dBu /-10 dBv 9 5 WHEN RACK MOUNTING: 10 BALANCED OR UNBALANCED INPUT LEAVE SPACE FOR 6 VENTILATION AND FOR UNBALANCED 1/4" OUTPUTS PIN 1 = SHIELD =
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THE FRONT PANEL 22 ± 1K 82 ± 3K9 220 ± 10K 560 ± 27K 22 - 1K 82 ± 3K9 220 ± 10K 560 ± 27K BOOST SHELF BOOST SHELF BOOST SHELF BOOST SHELF BOOST SHELF BOOST SHELF BOOST SHELF BOOST SHELF OUT OUT OUT OUT OUT OUT OUT OUT POWER CUT BELL CUT BELL CUT BELL CUT BELL IN CUT BELL CUT BELL CUT BELL CUT BELL IN 0 0 GAIN -6 +4 -6 +4 0 20 0 20 0 20 0 20 0 20 0 20 0 20 0 20 DB DB DB DB DB DB DB DB BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH 12K 9K 12K 9K LOW 18K 7K5 18K 7K5
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THE 4 BANDS 22 - 1K 560 - 27K HIGH SHELF BOOST LOW SHELF BOOST BOOST SHELF BOOST SHELF OFF OFF OUT OUT CUT CUT BELL BELL CUT BELL CUT BELL 1 2 GAIN 3 CCW = FLAT 0 20 0 20 DB DB 4 BANDWIDTH BANDWIDTH 5 BANDWIDTH CCW = WIDE FREQUENCY FREQUENCY 150 3K9 220 100 2K7 5K6 330 1K8 68 8K2 FREQUENCY 470 1K2 12K 47 SELECT 820 33 680 16K 22 560 27K 1K 1) BOOST / OUT / CUT, TOGGLE. Each band has individual toggles to select whether that band will boost or cut or be bypassed. "OUT" is a hardwire bypass for t
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4) BANDWIDTH. Similar to the "Q" control found in many EQs. A more accurate term here would be "Damping" or "Resonance" but we used "Bandwidth" to stay with Pultec terminology and because it is a "constant bandwidth" (*) design rather than "constant Q" and because of the way it uniquely works in both Bell and Shelf modes. In Bell modes, you will find it similar to most Q controls with a wider shape fully CCW and narrower fully CW. The widest Q (at maximum boost) is about 1 for the 22-1K band an
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NOTES 1) Do not assume the knob settings "mean" what you expect they should mean. Part of this is due to the interaction of the controls. Part is due to the new shelf slopes and part due to a lack of standards regarding shelf specification. 2) You may find yourself leaning towards shelf frequencies closer to the mids than you are used to and the "action" seems closer to the edges of the spectrum than your other EQs. Same reasons as above. 3) You may also find yourself getting away with what seem
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Beginnings "The Super-Pultec" The very earliest equalizers were very simple and primitive by Manley Labs has been building a few versions of the Pultec-style todays standards. Yes, simpler than the hi-fi "bass" and "treble" EQs for many years as well as an updated version of the EQ-500 controls we grew up with. The first tone controls were like the tone (another vintage EQ). These are classic passive EQs combined with controls on an electric guitar. They used only capacitors and Manley's own gai
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"The Passive Parametric" Another important concept. When you use the shelf curves the frequencies on the panel may or may nor correspond to other EQ's For years, we had been getting requests for a Manley parametric frequency markings. It seems there are accepted standards for filters equalizer, but it looked daunting because every parametric we knew and bell curves for specifying frequency, but not shelves. We use a of used many op-amps and a "conventional parametric" would be common form of spe
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Why Passive? And Why Parallel? If you hate tech talk, just skip this section - it has to do with The Massive Passive is a "parallel design" as opposed to the electronic parts and circuits and design philosophy. far more common "series design". A few pages back, we mentioned the main reason for going with a parallel design All EQs use capacitors. They are very easy to use, predictible, was to avoid extreme signal loss, which would require cheap and simple. Some sound slightly better than others.
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Phase Shift? Why Tube Gain Stages? Deadly topic. This is probably the most misunderstood term floating The stupid answer is the name on the unit is "Manley Labs" and that about in the mixing community. Lots of people blame or name phase is what we do. Unlike a current trend, we do not use tubes for THD, shift for just about any audio problem that doesn't sound like typical clipping character, cool marketing buzz-words, or plagiarism. We distortion. We ask that you try to approach this subject wi
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LOW SHELF CURVES Just like most EQs, a 100Hz low shelf doesn't reach "max" until about 10 Hz. Normal Shelf Wide Bandwidth (slope =about 4 to 5 dB/oct) Special Shelf Medium Bandwidth (slope = about 8 to 10 dB/oct) "Pultec Shelf" Narrow Bandwidth Bell Cut Narrow Bandwidth (just for reference) 22Hz and 33Hz are different shelves when the Bandwidth is Narrow The top graph is for the other 20 Low shelves 22 Hz Shelf Wide Bandwidth 22 Hz Shelf Narrow Bandwidth 33 Hz Shelf Wide Bandwidth 33 Hz Shelf Me
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MORE 100Hz SHELVES SHOWING BOOST AND CUT WITH VARIOUS BANDWIDTHS THIS IS ABOUT +1.5 DB AT 300 Hz AND NEGLIGIBLE LOW SHELF +20 WIDE BW LOW SHELF +20 MED BW LOW SHELF -20 MED BW LOW SHELF -20 WIDE BW SPICE SIMULATION CURVES THESE CURVES SHOW ONE OF THE IDEOSYNCRACIES AND IT IS POSSIBLE FOR A LF BOOST TO SOUND AS IF IT HAS LESS LOWS DEPENDING ON THE FREQUENCY AND INSTRUMENT. SIMILAR CURVES APPLY TO THE HIGH SHELVES AND PARTICULARLY 10K AND 12K CAN BE STRANGE WHEN THE BW IS NARROW 50 100 NOT
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TYPICAL BELL CURVES "dB" set at max (20 dB) and changing the Bandwidth Narrow Bandwidth Bandwidth at 12:00 Wide Bandwidth Wide Bandwidth Bandwidth at 12:00 Narrow Bandwidth Changing "dB" and Changing Bandwidth Max Boost Narrow Bandwidth 12:00 Boost Narrow Bandwidth Max Boost Wide Bandwidth 12:00 Boost Wide Bandwidth 15
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LOW PASS FILTERS 1.5 dB bump on the 6K, 7.5K and 9K Filters HIGH PASS FILTERS 16
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THE GUTS AC VOLT CHANGE GAIN TRIM GAIN TRIM +4 / -10 CHANGE +4 / -10 CHANGE 5751/12AX7 5751/12AX7 6414/12BH7 6414/12BH7 6414/12BH7 6414/12BH7 1) To Open: Disconnect the AC Power cable, let sit 15 minutes to allow the power supply capacitors to discharge. Remember there are high voltages (300VDC) used in the Massive Passive and that the capacitors may continue to hold a charge after power is removed - BE CAREFUL! We suggest using gloves and/or "one hand only" when the top is off. Remove the singl
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DIP SWITCH SETTINGS Channel 1 Channel 2 LEFT CARD RIGHT CARD -10dBv -10dBv +4 dBu +4 dBu INPUT INPUT INPUT INPUT OUTPUT OUTPUT OUTPUT OUTPUT This procedure also results in a polarity reverse which means that the 1/4" outputs will reverse phase both in bypass and EQ. This may not be problem but you should be aware of this. It is definately better to keep PC or "polarity correct" in general. If it is a problem, you may be able to correct the polarity simply by hitting the "phase button" on the cor
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Equalizers Now we have a new breed of digital parametrics that have few limitations - other than does it actually sound good and is it available EQs range from simple bass and treble controls on a hifi system to for your format and is it stable and bug-free and is it a hassle to get pretty tricky parametric EQs and 1/3 octave graphic EQs. As an a signal in and out of it? Within their realm, some are getting good. audio freak, you have probably tried quite a few EQs and have gotten both great res
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EQ TECHNIQUE If mic choice is a mystery, you might want to research some Steve Albini or George Massenburg interviews. Rather than guess wrong, One of the best things about almost all EQs is that you don’t really some engineers compare 3 or 4 probable choices. Some choose the need an instruction manual. You plug it in, turn a few knows and mic that minimizes EQing later, some hear the mic’s transient or when nothing happens you take it out of “bypass” and the rest is dynamic character and antici
