Manley Labs Headphones Langevin Dual Vocal Combo User Manual

OWNER'S MANUAL  
LANGEVIN  
DUAL VOCAL COMBO  
MANLEY  
LABORATORIES, INC.  
MANUFACTURED BY:  
MANLEY LABORATORIES, INC.  
13880 MAGNOLIA AVE.  
CHINO, CA. 91710 USA  
TEL: (909) 627-4256  
FAX: (909) 628-2482  
 
INTRODUCTION  
THANK YOU!...  
for choosing the Langevin Dual Vocal Combo. Manley Labs bought all the rights to the Langevin  
name and circuits in 1992. Manley uses the Langevin name for its solid state products including  
versions of an all discrete Pultec and Electro-Optical Limiter, and Mic Preamp.  
The Dual Vocal Combo is the result of a suggestion to combine the "Langevin Dual Mono  
Microphone Preamplifier with EQ" with the "Langevin Dual-Channel Electro-Optical Limiter" for  
a competitively priced stereo or 2 channel VoxBox-like product. Both the mic preamp and the  
LangevinEL-OParerecognisedasgreatvaluesandserioushighperformanceall-discreteprofessional  
units. While the combination is not quite a "solid state VoxBox" because it doesn't have some of the  
compressor & EQ functions and no de-esser, it is 2 channels of the "essentials" for half the price.  
The "Combo" is 100% discrete transistor in the signal path and there are no op-amps except to drive  
the LEDs in the Opto circuit, and the Meter circuit. Negative feedback is minimal, only one  
transformer (mic input) per channel and much of the components are the same as in the Manley tube  
gear.WhilewewereplanningthisunitweupgradedthefrontpanelInstrumentInputsforhigherinput  
impedance(150Kohms)andhighergain(25dBmore)sovirtuallyallguitars, bassersandsynthsand  
drum machines could be recorded direct-to-tape comfortably.  
Thank you again, and please enjoy!  
WATER & MOISTURE  
Aswithanyelectricalequipment,thisequipmentshouldnotbeusednearwaterormoisture. Ifliquid  
enters the preamplifier, it must be immediately returned to your dealer for servicing.  
SERVICING  
The user should not attempt to service this unit beyond that described in the owner's manual. Refer  
all servicing to Manley Laboratories.  
WARNING!  
!
TO PREVENT THE RISK OF ELECTRIC SHOCK  
DO NOT OPEN THE CABINET  
REFER SERVICING TO  
QUALIFIED PERSONEL  
3
 
A
B
C
D
E
F G H I H G F  
E
D
C
B
A
POWER  
INPUT  
80 Hz  
L.F.  
EQ IN  
H.F.  
12 KHz  
80 Hz  
L.F.  
EQ IN  
H.F.  
12 KHz  
INPUT  
OFF  
ON  
PHANTOM  
(PULLON)  
PHANTOM  
(PULLON)  
ATTENUATE  
40 Hz  
IN  
-10  
+10  
EQ OUT  
-10  
+10  
8 KHz  
40 Hz  
-10  
+10  
EQ OUT  
-10  
+10  
8 KHz  
IN  
ATTENUATE  
DUAL VOCAL COMBO  
DIRECT  
INPUT  
DIRECT  
INPUT  
GAIN  
REDUCTION  
METER  
OUTPUT  
METER  
OUTPUT  
REDUCTION  
GAIN  
SEP  
LINK  
LIMITER  
BYPASS  
REDUCTION  
REDUCTION  
BYPASS  
J
K
L
M
N
O
P
0
N
M
L
K
J
The Dual Vocal Combo has 2 channels which are mirror images of each other and is further divided into top  
and bottom sections which correspond to the Mic Pre with EQ and the Opto-Limiter Sections. Don't let the  
mirror image aspect confuse you!  
A) INPUT ATTENUATE. This is the basic GAIN control which can also be considered MIC GAIN or INPUT  
LEVEL. The range is from "off" to 50 dB of gain. Don't be afraid of turning this knob as loud as is needed. It is  
the first component (other than the mic transformer) in the signal path so exceptionally loud signals can be  
attenuated enough to prevent clipping in almost all situations.  
B) 80 Hz / 40 Hz. Sets the corner frequency for the L.F (Low Frequency) Shelf EQ. Mostly frequencies below  
the setting get affected but the gentle slope means that some frequencies higher than the corner also get  
boosted or cut.  
C) L.F. How much boost or cut is applied to the lows. The range is from -10 dB to +10 dB. It is intended as a  
safe, smooth basic tone control and not as a comprehensive 'do everything' EQ but is very effective at  
compensating for the proximity effect from Cardioid pattern mics.  
D) EQ IN / EQ OUT. EQ OUT Bypasses the EQ stage and EQ IN allows boosting and cutting.  
E) H.F. How much boost or cut is applied to the highs. The range is from -10 dB to +10 dB. Also intended as  
a safe, smooth basic tone control and very effective for adding that 'air' or 'sparkle' when needed.  
F) 12kHz / 8 kHz. Sets the corner frequency for the H.F (Low Frequency) Shelf EQ. Mostly frequencies above  
these points get boosted or cut but some effect is still heard below these points. Watch out for sibilance  
problems.  
G) PHANTOM POWER. Puts 48 volts on the mic XLR connector to power certain mics. The LEDS (H) next to  
the switches will glow when PHANTOM power is ON. THIS SWITCH MUST BE PULLED TO TOGGLE.This  
is to prevent accidents like blowing your speakers. ALWAYS turn down the INPUT ATTENUATE before  
hitting this switch. Mic signals are typically one hundredth of a volt and phantom is 48 volts so expect it to  
POP unless the INPUT is turned down. The big POP can also happen if you change a mic, mic cable, mic  
patch, etc. Turning down the monitors, headphone levels, etc is the alternative but get into the habit of turning  
it down with mics even when you aren't using Phantom. Also note that if you have slightly intermittant or dirty  
connectors in the mic path, that noises will be far worse.  
Phantom power is only required for solid state condensor mics and not dynamic mics, tube mics and  
especially not for old ribbon mics. Some vintage ribbon mics can be damaged with Phantom. FET condensor  
mics will generally be silent without phantom. With most mics, phantom power will have no effect, not make  
them sound worse, unless there are dirty connectors.  
I) POWER ON / OFF. When power is turned ON the VU Meters will glow. If not, then make sure the power  
cable is plugged in or the fuse has not blown.  
4
 
J) DIRECT INPUT. This is for plugging in an electric guitar, bass, synth, etc into the Dual Vocal Combo. The  
input impedance is high (150 kOhms) appropriate for these instruments and there should be plenty of gain  
available. Electric guitars and basses may need a fair amount of H.F. Boost to sound comparable to an amp  
because there happens to be a lot of H.F. boost going on in the innards of most amps. A jack plugged into  
this input will interrupt the normal mic XLR input.  
OPTO-LIMITER SECTIONS  
K) IN / BYPASS. BYPASS turns off the limiter and its controls. IN allows limiting or levelling. This should be  
the most used control on the limiter. Always compare the original sound to the sound after the limiter to verify  
you are not accidentally over-squashing. Remember that sound is compised of pitch, duration and volume or  
dynamics. The point is not to throw away one element (dynamics) just tame it and control it as needed.  
L) GAIN. This is the 'Make-up Gain' after the limiter. It is usually set so that there is no volume change when  
switching IN / BYPASS to allow easy A/B comparisons OR as the final output level to optimise how hard the  
signal is hitting tape or to optimise the level to an A to D convertor.  
M) REDUCTION. This sets the THRESHOLD of limiting and the amount of limiting. Turning it clockwise,  
creates deeper limiting. We generally advise that 4 to 6 dB of limiting (levelling) is fine for vocals and most  
individual intruments and 1 to 3 dB is good for percussive sounds and mixes. Too much limiting on a mix will  
usually first make the drums quieter which is not generally desirable. The amount one should 'level' vocals  
depends mostly on the singer's technique and talent, the musical style and the thickness of the arrangement.  
Sometimes with very dynamic vocals, loud dense tracks and a mix that is not vocal forward significantly more  
levelling might be needed. We have heard of people using 10 to 12 dB of vocal limiting with good results but a  
bunch more extra care will be needed. In the pauses between lines, the gain will rise that 10 or 12 dB along  
with headphone leakage, air conditioning rumble, throat noises, etc. Don't forget that if you are like many  
engineers, you will be limiting the vocal again in the mix, so don't feel you have to do all the limiting during the  
recording - play it safe. There is no Un-Do button, and the alternative is the dreaded Re-Do. Questionble EQ,  
you can fix, over limiting is very difficult to fix later.  
N) METER OUTPUT / REDUCTION. This switch is for the VU meters. In METER OUTPUT, the VU's show  
the final output level like most VU meters. In REDUCTION mode the meters show how much limiting is  
occurring in dBs. Because VU meters are not lightning-fast, you may not see all the limiting that is actually  
happening with fast transient sounds.  
O) VU METERS. These are smaller versions of standard Sifam VU meters. It is worth pointing out that VU  
meters were always intended to correspond to apparent 'volume' similar to how our ears work and are not like  
the 'peak' meters you have on your digital recorders. VU meters work great for analog tape, but for digital use  
the 'LED ladders' on your A to D or digital machine. The meters should glow when power is on.  
P) SEP / LINK. This switch allows the 2 limiters to act independently (SEPARATE) or to 'track' together in  
LINK mode. SEP is used if each channel has different types of sounds going through it. LINK is used for  
stereo sounds. When limiters or compressors are linked and a loud signal on one side forces limiting then,  
both limiters pull down the same amount of dBs. This is so that the center image doesn't tug one direction  
then the other, which is a bit distracting and wrong sounding. With this unit, set up BOTH channels for normal  
limiting then switch to LINK. Some limiter compressors just use the just left channel controls in LINK mode  
and while convenient is not really the right way. Those limiters "mono" the audio that controls the limiting  
which gives excess limiting for sounds in the center and no limiting for out-of phase sounds, meanwhile peaks  
in either channel can overload the A to D. The Langevin and Manley units combine the control voltages rather  
than the audio and provide a more useful limiting function but not quite as conveniently.  
5
 
BALANCED  
LINE OUT  
BALANCED  
LINE OUT  
OUT  
UNBALANCED  
ONLY  
AN EVEANNA MANLEY PRODUCTION  
OUT  
UNBALANCED  
ONLY  
MIC IN  
MIC IN  
MANLEY LABORATORIES  
13880 MAGNOLIA AVE., CHINO, CA 91710  
PHONE (909) 627-4256 FAX (909) 628-2482  
N9512423  
POWER  
CIRCUIT  
REPLACE FUSE  
WITH SAME  
TYPE AND  
LIMITER  
IN  
LIMITER  
IN  
GROUND  
CHASSIS  
RATING  
CAUTION - RISK OF ELECTRIC  
SHOCK. DO NOT OPEN.  
REFER SERVICING TO QUALIFIED  
PERSONNEL ONLY  
SERIAL NUMBER  
CHANNEL 2  
CHANNEL 1  
TO REDUCE THE RISK OF ELECTRIC  
SHOCK DO NOT EXPOSE THIS  
EQUIPMENT TO RAIN OR MOISTURE  
A
B
C
D
E
F
G
D
C
B
A
A) LIMITER IN. This is a balanced input that allows you to get a signal straight into the opto-limiter without  
going through the mic pre and EQ. As soon as you insert a plug into this jack, it breaks the normal signal path  
from the EQ. The pin-out is as follows:  
TIP = +, hot or positive going signal  
RING = -, low or negative going signal  
SLEEVE = Ground (shield)  
B) MIC IN. This is where you plug in the mic cable. Because this input has up to 50 dB of gain and can have  
Phantom power, we strongly suggest that the INPUT ATTENUATE and/or monitor level is turned way down to  
avoid huge pops or thumps when you plug a cable in here.  
Pin 1 = Ground (shield)  
Pin 2 = +, hot or positive going signal  
Pin 3 = -, low or negative going signal  
C) BALANCED LINE OUT. This is the final output after the Mic Pre, EQ and Opto-Limiter. It is ONLY meant to  
drive balanced inputs. If one uses this XLR to connect to an unbalanced input expect some low level  
distortion and a 6 dB loss. It is not a pseudo-balanced, transformer-like floating output typical on much gear  
that is meant to be tolerant of any patching. Why not? No Op-Amps used here (pretty much needed for that  
trick) and most of those circuits don't seem to sound great. If you need to feed an unbalanced input just use  
the UNBALANCED OUTPUT.  
Pin 1 = Ground (shield)  
Pin 2 = +, hot or positive going signal  
Pin 3 = -, low or negative going signal  
D) OUT UNBALANCED ONLY. Use a regular 1/4" plug here to connect to an unbalanced or balanced input.  
The nominal output here is +4dBm and not the -10dBu "consumer" level found on some budget semi-pro  
gear. To feed that kind of input, you have to turn down the INPUT ATTENUATOR or better yet, the Limiter's  
GAIN and ignore the VU meter which is set up for +4 levels.  
TIP = +, hot or positive going signal  
SLEEVE = Ground (shield)  
E) FUSE. This is a 1/4" 1 amp slo-blo fuse. The fuse is a protection device intended to protect you and the  
unit in case something is very wrong. Sometimes it is just the fuse that fails for some unknown reason, so if it  
blows and you can't power up the unit, try another fuse (same type and value). If it blows too, prepare to send  
in the unit for repair.  
F) POWER. This is where the power cable gets plugged in. You Dual Vocal Combo should come with an IEC  
power cable appropriate for your country and voltage.  
G) GROUND TERMINALS. These 'ground posts' are intended to help in some installations particularly where  
a special audio grounding scheme is used. The top post is the audio circuit ground and the bottom is chassis  
and AC third pin ground. For almost all applications these posts are connected together with a strap or solid  
piece of wire. If you are getting hums and buzzes, this is a good place to start experimenting, and why we  
include them.  
6
 
MIC PRE BASICS  
This Microphone Preamp, like most mic preamps, is pretty easy to use. First we can discuss why  
outboard mic pre's have become "a must have item" in almost every studio even though your console  
probably has a bunch of them and that manufacturer claims that they are really great and you don't need  
outboard mic pre's. Then, why is everybody buying them, using them, and why are most people going back  
to tubes or vintage transistor based circuits?  
Good question. The signal from a typical mic is very low - anywhere from 20 to 70 dB below your  
normal line level signals. 95% of the time 30 to 40 dB of gain is all that is needed to boost the signal to line  
levels. Where you really need a lot of gain is with most ribbon mics and when you are recording chamber  
musicfromadistance. Micsignalsarefragileandraw. Thefragilityisapparentwhenonecomparesvarious  
mic pre's - each preamp seems to sound different - no EQ, no compression, nothing elaborate - just basic  
gain. Maybe it is the mic reacting different into different circuits. Each preamp, tube or solid state seems  
to impart a flavour or color (or personality) of its own. Some of these flavours are subtle and some are not.  
A few engineers have an array of mic pre's and use them almost like effects - using each for a certain flavor  
as needed. The rest of us only have the budget for one or two great mic pre's so we tend to choose one that  
sounds "best", or is priced for us, or is used by "xxxxxx". The Langevin Microphone Preamplifier is superb  
sounding - probably because it has a simple all discrete gain stage with a minimum of components and a  
minumum amount of negative feedback. Specifications, while important, will not be truly indicative of an  
audio product's "sound" until methods of determining the transient accuracy are established. Transient  
accuracy is not a "spec" and test benches don't produce hit records. The transient details are important for  
reproducing the true character of the instrument, the room and stereo image. Most solid state circuits use  
a large amont of negative feedback to lower noise and distortion at the cost of transient accuracy. This  
preamplifier started out clean and quiet so minimal negative feedback was necessary.  
Op-amp based designs, by comparison, have dozens of transistors in each "chip" (its easier to  
fabricate a transistor than a resistor on silicon), hundreds of dB's of negative feedback and sometimes a few  
discrete transistors to provide performance that an "IC" simply cannot. The result is good specs - but that  
harsh, hard, cold sound that makes shakers sound like pink noise, makes vocals sibilant in an unpleasant  
way, and can only render a 2 dimensional image at best. We prefer tubes or simple discrete circuits.  
We mentioned mic signals are fragile and raw. Some consider that the "headroom" factor is the most  
important issue in mic pre's. We believe that it is just one of a number of issues including the harmonic  
character of the distortion. Except for the final output, all circuits are "Class A" which is usually associated  
withzerocrossoverdistortionandnearclippingwillbe evenorder distortionandlessupperharmonics.This  
Preamplifier has more headroom than most solid state mic pre's because of the 48 volt power supply used,  
compared to 30 volts (+/- 15V or 24 volts) used in other designs. If overdriven, which is not easy, it starts  
to clip in a gentle, smooth way.  
Another consideration above and beyond technical concerns when it comes to the art of  
recording music is that every preamp seems to have some comparative influence on the  
"sound" of the mic signal. When we have a choice, we tend to use the preamp that either best  
flatters the singer or instrument or gets closest to the desired final sonic goal. Sometimes, the  
choice is the clean & pristene pre and sometimes it is the vintage or aggressive box but it  
seems to be getting rarer that we choose the basic console mic preamps. The Dual Vocal  
Combo is typically considered "clean but vintage" and not as "dry" as many all-discrete mic  
preamps. People have used the words "smooth" and "strong" to describe it but undoubtedly  
you will find your own words to descibe it compared to your console and other units.  
7
 
CONNECTING YOUR PREAMPLIFIER  
Easy - Connect the mic to the Microphone Input XLR, then connect the Line Output to your  
tape machine or console. Read on, there are some things to consider.  
On the back panel are female XLR's labelled MIC INPUT A and MIC INPUT B. The signal  
from the MICROPHONES get plugged in here. Here are a few warnings and suggestions.  
These XLR connectors also "send" PHANTOM POWER to the mics. Some mics can be  
damaged by the 48 volts of phantom power. A few PZMs and a few ribbon mics have been  
known to "fry" when fed phantom power. The suggestion is to ALWAYS have PHANTOM  
switched off when switching mics, cables, patches that involve mics etc. You ONLY use  
phantom power for PRO SOLID STATE "FET' CONDENSOR MICS. Tube mics, dynamic  
mics, ribbon mics and battery powered mics should have phantom switched "off". This is  
true for all mic pre's. With this MIC PRE you "PULL THE TOGGLE to SWITCH PHAN-  
TOM". It is a locking toggle to prevent "accidents". The second great reason for not using  
phantom if you don't have to is that - if you change a connection (patching) with phantom  
on, then the pre amp will be fed a quick burst of 48 volts (when it normally is amplifying  
about a hundredth of a volt), which can then be monitored - usually once. After you have  
replaced your speakers, you have learned a valuable lesson about turning down the volume of  
the monitors before changing mics or mic patches. This is a good idea with phantom on or  
off. Consider a variation of this - any mic connection just a little bit bad,will be extra noisy  
with phantom turned on. This goes for cables, patchbays, patch cords etc. Suggestion #2 -  
Avoid running mic signals through patchbays. Some patchbays "ground" all the "sleeves"  
which can add a ground loop into your delicate mic signal. Suggestion #3 - Set up the Mic  
Pre in the studio near the mic and use a short mic cable. Why ? Microphones often have  
"light duty" line drivers and you can lose an audible amount of signal in long cables. You can  
get the best fidelity by having the Mic Pre close to the mic at the "cost" of having to walk  
into the studio to adjust a level control. You also avoid almost all of that phantom power /  
patching problem because now you are patching a regular line level signal only.  
TheMIC INPUT XLR PIN OUT is :  
PIN 1 = CIRCUIT GROUND  
PIN 2 = HOT or positive going phase  
PIN 3 = LOW or negative going phase  
The LINE OUTPUT XLR PIN OUT is:  
PIN 1 = CIRCUIT GROUND  
PIN 2 = HOT or positive going phase  
PIN 3 = LOW or negative going phase  
This is a simple balanced output. It will feed balanced inputs but not unbalanced inputs  
"correctly". When it is plugged into an unbalanced input, expect a 6 dB loss of output level.  
Use the 1/4" unbalanced output to drive unbalanced inputs. The best way to drive an  
unbalanced input with the balanced XLR is not to connect to PIN 3 at the output XLR - just  
use PIN 1 (ground) and PIN 2 (signal). Better to have PIN 3's signal float than short which  
will distort quietly and you may not notice the 6 dB loss.  
8
 
Reversing the polarity or phase is often needed when two or more mics are picking up the  
same source. For example it would be needed when one mics the top and bottom of a snare - one  
skin is going towards one mic and the other skin is going away from the other mic. If one signal  
is not "reversed" then you lose lows. Polarity reverse can also help with some vocal / mic /  
headphone situations because " somewhere " the polarity flipped one too many times. It happens.  
Generaladvise-tryiteachway-listen, withvocals, alwaysaskthesingerwhichwaytheyprefer.  
The headphones may "cancel" with the sound they hear in their skull while singing. This Mic Pre  
has no provision for changing the polarity. If you are recording direct to tape it is a good idea to  
have a few phase reverse adapters on hand. All you need is two XLRs (a male and female) and  
a foot of mic cable. It doesn't matter which end is which. Wire it up as follows:  
PIN 1 (Shield) > PIN 1  
PIN 2 > PIN 3  
PIN 3 > PIN 2  
You can use this between the MIC and PREAMP or often between the PREAMP and TAPE. If  
you use both at once, you come out in phase. Mark these cables PHASE REV ! This is another  
reason why a 1 foot cable is good - thus avoiding confusion with normal cables.  
We did include a 1/4 inch phone jack input on the front panel for electronic instruments.  
This input has a 500 kohm input impedance similar to instument amplifiers which range from  
50K to 1 Mohm. It provides a good input with gain control and EQ limiting and meters. You can  
use either the INSTRUMENT INPUT or MIC INPUT but not both at the same time. As with  
guitar amps, long cables from the guitar can lose highs so it may be worth having a low  
capacitance 10 foot cable on hand.  
On the wiring PIN-OUTS, you may have noticed we specified CIRCUIT GROUND rather  
than just GROUND. We have a few terminals on the back panel for various "ground schemes".  
TheCIRCUITGROUNDisthesamegroundastheelectronicsintheMicPrewhiletheCHASSIS  
GROUND is the same as the steel enclosure that is bolted to the rack and is also connected to the  
"third pin AC Mains Ground. Both terminals are normally connected together with a small  
"ground strap" but this strap can be moved to the side and wire can be attached to the terminals.  
These are "MINI BANANA" style and will not accept regular size bananas found on electronic  
test gear. Be careful with the ground strap because it can get lost if the terminals are loose. If it  
does get lost - you can use a short bare wire.  
There are two good reasons for using these ground terminals. The first is finding and fixing  
humandthesecondispreventinghum.Ifyouhavepluggedeverythinginrightandyouaregetting  
humthenyouhaveanumberofoptionswiththeseterminals. Youcantrysimplymovingthestrap  
so that chassis ground is separate from circuit ground. This is similar to breaking off the third pin  
AC ground but includes the ground from rack mounting . One can experiment with attaching a  
wirebetweentheconsolegroundandthecircuitgroundorbetweenarackandthechassisground.  
These are all techniques some technicians use when wiring studios. They also often cut the  
ground (shield) on one side of the cable to prevent loops. DO NOT cut the shield on MIC cables  
because you lose phantom, shielding at the mic, and hum only gets worse !  
One other cause of hum - Some gear may radiate a field into whatever is closest. Move the  
Mic Pre or the offender away from each other. That may help.  
9
 
OPERATION NOTES  
The Langevin Electo-Optical Limiter follows certain traits and traditions established by the UREI  
LA-3A and similar levelling amplifiers. These traits can be divided into two aspects - electronic and  
operation. The electronic concept is simple and rather clean. Use the audio to light up LEDs which shine  
onto photo-resistors. These photo-resistors in combination with a fixed resistor simply act as a voltage  
divider to attenuate the signal. The line amplifier only functions to provide extra gain to make up for  
attenuation losses and then act as a fine cable driver. Simple, elegant and minimal. Operation aspects are  
also simple, elegant and minimal. There are usually only a "threshold" and "gain" control. Most have no  
user adjustment of "attack", "release", "ratio" or functions for de-essing or external sidechains. The user  
is "stuck" with fixed time constants and a feature list that seems anemic compared to dynamic processors  
costing far less.  
So why are "LA" style opto based limiters so popular ? Several reasons. To paraphrase Letterman  
"The number one reason why "LA" style limiters are favorites is because.... they work right on vocals".  
This "rightness" has a few aspects. The first is that "LA" style limiters don't leave much trace of limiting  
as they work. This is partly due to tubes, partly to the simplicity of the opto circuit and partly because  
the user can't alter the attack and release. Almost every VCA based design seems to leave electronic  
personality on that critical vocal track. This is usually undesirable. Our Opto circuits has no active  
limiting in the signal path. Tube circuits have the potential to be musically more transparent than  
transistors because tubes are generally more linear devices. However, there are many poor examples of  
tube circuits in use, and many ways to butcher the quality. We chose to use our Langevin line amplifier  
circuit which we also use in the Langevin Enhanced Pultec Equalizers (rather than copy UREI designs)  
because frankly our circuit sounds better and cleaner.  
Back to this matter with fixed time constants. We get requests to modify our "ELOP" for more  
controls but we get even more people raving about how great and useful the "ELOP" is now. The attack,  
release, knee and ratio (curve) are a function of the Vactrol Cell we chose to use. The choice was based  
on the attack and release characteristics. Changing the time values in this circuit involves different  
choices of Vactrols. Not practical. Not in a "LA" style limiter. There is a major advantage to fewer  
controls. You simply adjust the Threshold for the desired limiting amount and adjust the Gain for the  
desired level to tape - then record. The limiter does what its supposed to do - nothing more - nothing less.  
Kinda like automatically right, strangely quick and easy, and pretty much non-distracting. We use the  
phrase "Set it and forget it". This is a very important feature that would be lost with a variety of controls.  
A good engineer wants to be ready to record "now" and does not want to be fussing with controls while  
a lead vocal is going to tape. Unfortunately most compressors drag the engineer's attention away (and  
often the singer's and producer's attention away as well).  
The time and slope characteristics of Opto elements are not easy to describe and probably even  
more difficult to simulate. The attack is fast, not super fast "brick wall", but fast enough to "catch"  
consonants. It is also a function of level. At lower reduction levels and lower peaks the Vactrol is slower.  
It becomes faster with sharp peaks and heavier levels of reduction. Release is similar but 10 to 20 times  
slower. Quick peaks are handled with quick release and as gain reduction nears zero the Vactrol gets  
slower like gentle braking to a stop. It is possible to"trick out" an opto circuit for conventional operation  
but generally the results have been not well liked.  
10  
 
The slope or ratio is also difficult to simulate. The initial ratio is low and becomes higher with  
more gain reduction until the leds light up fully and further reduction is not easy. This upper limit of  
reduction is in the area of 20 dB or at the bottom of the GR meter where the ratio becomes low again  
but this would be a severe setting that few engineers could use. Distortion becomes audible at very  
deep limiting. In a tech shop, it is easy to drive the limiter to 20 dB of reduction and beyond where the  
GR meter shows a flaw in that it "folds back". We put a higher priority on having the meter show  
what the Opto was doing accurately with "normal settings" than extreme test bench observations. Test  
benches don't make hit records.  
So the Opto Limiters seem to be great for vocals, what else are they used for and what about  
sounds where the time constants are less than optimum ? Historically "LA" style limiters are often  
used for bass and guitar tracks. They can be ideal for brass, saxes, synths and similar sounds with  
superb results. There are other compressors that work well for these instruments but few that are as  
transparent. Usually, when you hear of an engineer using a non-Opto compressor for these  
instruments it is usually framed with "for the crunch" or because they add some desired color. There  
is only a very small number of "clean" general purpose variable time compressors which seem to give  
Opto units competition - our Variable MU is at the top of that list. Where the "LA" style limiters are  
not always appropriate is for percussion and for mixes where the percussion is just right. The Opto  
typically reacts fast to peaks - fast enough to remove drums from a mix but not quite fast enough to be  
called "brick wall". Individual drums tend to have a little of the initial transient let through but the  
desirable tone of the drum is diminished. If used gently, this can be applied to brighten up the attack  
of the drum, but it is difficult to apply in practice because drums can be very dynamic. One great use  
is on the room mics. The initial drum sound is pulled down, then the natural reverb is increased.  
Shades of early Led Zep. While we mentioned that "LA" style limiters are not what we suggest for  
mixes, there are times when the drums are too loud or when the engineer can mix "into" the limiter.  
Both techniques are possible but not necessarily easy. One trick is very little movement on the GR  
meter. Some of our clients use the Opto on mixes as an effect. This application is valid as long as the  
effect given and the effect desired are the same. There is not many options for adjustment and fine  
tuning. The good news is that at least the Manley is clean enough to pass a good mix. In a live sound  
setting the Opto will perform as a fine speaker protection device. Once again the Threshold is set for  
minimal limiting with music and is just adjusted to occasionally pull down peaks. Ideally you won't  
be able to hear a little limiting like this. You can easily get about 3 dB of limiting on a mix before it  
becomes audible in most situations. If the limiter GR meters are typically hitting -6 on a mix then the  
limiting will probably be obvious and most styles of music will suffer somewhat.  
If what you want is to use a box to process a mix or drums, then you should probably be using a very  
good compressor that has attack, release and a low ratio. "Multiband Compressors" are OK for this,  
but in most peoples hands they have become something to be feared especially by mastering  
engineers who can rarely fix the damage done. It has become common for people to be sent back to  
the studio to re-mix, minus the multi-band. The only mastering engineers we know that own them  
keep them in the closet except to demonstrate why not to use them and show the comparison between  
a pro mastering processing chain and cheese.  
11  
 
SPECIFICATIONS  
Frequency Response  
THD & Noise  
20 Hz to 20 KHz (+/- 1 dB) Mic Pre  
20 Hz to 50 KHz (+/- .5 dB) Limiter  
.075%  
.06%  
(1Khz @ +4 dBm) Mic Pre  
(1Khz @ +4 dBm) Limiter  
Signal to Noise ratio  
107 dB  
Limiter  
Headroom  
26 dB (ref +4 dBv)  
+30 dBv (75 volts p to p) Limiter  
70 mV mic, 800mV direct  
Limiter  
Maximum Output  
Maximum Input (with Input at max)  
Maximum Gain (factory set for 45 dB)  
38 dB to 53 dB (internal trimmer) Mic  
25 dB Direct Instrument 1/4" input  
(knob set to 45 dB)(off to +40 dB range)  
15 dB  
Limiter  
Maximum Limitting  
20 dB  
11 dB w +4 sine  
Attack Time (fixed)  
Release Time (fixed)  
20 mS  
500 mS  
Input Impedance  
2400 Ohm, transformer coupled  
(optimised for mics with 100 to 600 ohm output impedances)  
150,000 Ohm @ 1/4" direct input  
Output Impedance  
11 Ohms (balanced)  
6 Ohms (unbalanced)  
XLR Pin-Out (balanced)  
PIN 1 = Ground or Shield  
(not appropriate for driving unbalanced inputs)PIN 2 = HOT (+)  
PIN 3 = LOW (-)  
1/4" Phone Jack Pin-Out (unbalanced)  
Sleeve = Ground or Shield  
Tip = Signal  
(We suggest mono plugs but if a stereo plug must be used the Ring needs to be connected  
to the Sleeve)  
Power Consumption  
Size  
Shipping Weight  
20 watts  
19" X 3.5" X 10" (1U)  
20 lbs  
12  
 
TROUBLE-SHOOTING  
There are a number of possible symptoms of something not quite right, some may be interfacing, others we will touch  
on as well. The Dual Vocal Combo has a variety of balanced and unbalanced inputs and outputs optimised for typical standards  
and most problems are due to the right cable in the wrong jack. However if you suspect a problem the following paragraphs  
should help.  
NO POWER, NO INDICATORS, NADA - Probably something to do with AC power. Is it plugged in? Check the fuse on  
the back panel. A blown fuse often looks blackened inside or the little wire inside looks broken. A very blackened fuse is a big  
hint that a short occured. Try replacing the fuse with a good one of the same value and size. If it blows too then prepare to send  
the unit back to the dealer or factory for repair. The fuse is a protection device and it should blow if there is a problem. If the  
unit works with a new fuse, fine. Check the MAINS VOLTAGE SELECTOR if one is fitted. Some of our models are able to  
have them and some don't. It should be set correctly for your mains voltage.  
LIGHTS BUT NO SOUND - First try plugging the in and out cables into some other piece of gear to verify that your wires  
are OK. Assuming that it was OK into the other unit it probably is still a wiring thing. The AES standard calls PIN 2 HOT on  
XLRs but there is still lots of gear out there with PIN 3 HOT. When two units are connected and both are unbalanced but don't  
seem to agree which pin is hot - the signal is shorted out. If it is not lost entirely, it will be almost gone and extremely distorted.  
THE CURE - a phase reversing adapter that swaps pin 2 and pin 3 on one XLR - or get out a soldering iron and swap wires  
yourself. AllManleygearafter1995ispin2hot. SomeManleygearhasbalancedandfloatingoutputsandsomehasunbalanced  
transformerless outputs. This unit has two discrete line drivers - one driven from the other. If the XLR pin 2 is shorted to ground  
or pin 3 there will be no signal from the XLR. If pin 3 is shorted to ground - a typical way to drive unbalanced inputs - then  
the output on pin 2 will be 6 dB low. The best way to drive unbalanced inputs is with the unbalanced outputs.  
LEVELS SEEM TO BE WRONG, NO BOTTOM - Several possible scenarios.  
The above paragraph describes the output line drivers. If you are using the balanced XLR outputs and feeding an unbalanced  
input (it happens) you will only be getting 1/2 the signal which means that you lost 6 dB. There is a "trick" if you just want to  
use the XLRs but from time to time feed unbalanced inputs. Insert a 1/4" mono (tip - sleeve) plug (unwired) into the unbalanced  
output. This makes the levels right. You could leave this plug in permanently but we don't recommend it because you can have  
6 dB more headroom into balanced inputs if it is removed. More headroom is one of the biggest factors of great sounding gear.  
Manley uses the professional standard of +4 dBm = Zero VU = 1.23 volts AC RMS. A lot of semi-pro gear uses the hi-fi  
reference of -10 dBm = Zero VU. This is a 14 dB difference that will certainly look goofy and may tend to distort. Often there  
are switches on the semi-pro gear to choose the pro reference level. We do not provide that kind of switch because of inevitable  
compromises in the signal path. If the loss looks close to 6 dB and it sounds thin then one half of the signal is lost. The cause  
is probably wiring again. One of the two signal carrying wires (the third is ground / shield on pin 1) is not happening. Check  
the cables carefully because occasionally a cable gets modified to work with a certain unit and it seems to work but its wrong  
in other situations. If only one side of the Limiter exhibits this problem, it may be a problem in the Limiter. See the next item.  
If you have almost no signal and what you can hear is distorted then you probably have pin 2 shorted to ground or to pin 3.  
This might happen if the cable is mis-wired and/or you are feeding an unbalanced input.  
USING THE 1/4" JACKS BUT THE LEVEL IS LOW - The 1/4" output jacks on this unit are unbalanced and require a  
mono plug (tip - sleeve plug) and not a stereo plug (tip - ring - sleeve plug. The Limiter uses the ring to set the output level for  
this output. When the ring is shorted to the sleeve the output becomes 6 dB louder. This is needed because the XLR has  
differential outputs which together give that extra 6 dB. Using the ring compensates for this difference and both outputs will  
be the same level (+4 dBv). Other manufactures often use a common circuit that does this in a different automatic way. The  
genericnameis"transformerlike"butunliketransformers, theseoutputscanbeunstable(oscillates)intosomecablesandoften  
have low headroom into unbalanced inputs. Our method works better as long as one uses a mono phone plug.  
We have included an appendix: WIRING YOUR OWN CABLES that may help.  
For reference both the XLR and 1/4" back panel inputs are balanced electronically and not with a transformer. The inputs will  
work fine and should reject hum from either balanced or unbalanced outputs. The 1/4" Direct input on the front is unbalanced  
and meant for guitars and basses. In many situations it can be used for low level sources but watch out for ground loop related  
hum.  
13  
 
HUM - Let's assume it knows the words. Once again - several possibilities - several cures. Most likely it is a ground loop. The  
two most common procedures are: try a 3 pin to 2 pin AC adapter (about a dollar at the hardware store) which is better than  
messing up the power cable by bending the ground pin until it breaks off. Method two - cutting the shield on one side of the  
cable. This is usually done at every female XLR to "break" all loops. You may get a loop simply from the rack. All the other  
gear in the rack is "dumping" ground noise onto the rack rails. Try removing the Limiter from the rack so that it is not touching  
any metal. You may have cured a non-loop hum. Some gear radiates a magnetic field and some gear (especially if it has  
transformers) might receive that hum. A little distance was all it took. This unit has GROUND terminals on the back panel.  
Normally these terminals are simply connected together with a "ground strap" (a small flat piece of metal that can become lost).  
First check that the strap is connecting the two ground terminals. If missing try a short piece of wire to connect these terminals.  
Not that - try separating them, try connecting a wire from the rack to the each terminal, try connecting a wire from the console  
to the terminals (one at a time). These terminals are meant to help with a variety of different studio "grounding schemes".  
Experiment - you will come up with the best way for your situation.  
A cool method of reducing all sorts of hum and noise is to use the new 60-0-60 balanced AC power transformers available from  
Equi=Tech and Furman. It costs more but works best. Hum might be because of the unbalanced input but this hints at ground  
loops and questionable wiring.  
THE METERS ARE OUT OF CALIBRATION - If the problem only seems to be when the unit is just turned on it's normal.  
It should warm up. It might be a half dB out for 15 minutes - relax. If they drift a tenth of a dB over the course of a day it is  
because of bad AC power fluxuations - chances are other gear is doing worse, you just haven't found out yet. Your unit will  
have been factory calibrated and tested twice before you received it. Sometimes parts drift a bit in value over the years, or you  
haverepacedtubesandwanttheunitcalibratedatthesametime,oryoujustwantitasperfectasitcanbe.Thesearegoodreasons  
to turn the page and go through the calibration procedure or sent it to a technician or the factory for a tweak. If you send the  
unit to a tech, you should include this manual because they will need it. If you do it yourself, you will need an Oscillator and  
a few screwdrivers and it would be nice to have a VOM meter and Scope but not necessary.  
Once in a while we get a call from a client with a "digital studio" with confusion about levels. They usually start out by using  
the digital oscillator from their workstation and finding pegged VU meters the first place they look and they know it can't be  
the workstation. Even a -6 level from their system pegs the meters. Some of you know already what 's going on. That -6 level  
is referenced to "digital full scale" and the computer might have 18 or 18.5 or 20 dB of headroom built in. That -6 level on the  
oscillator is actually a real world analog +12 or +14 and those VU meters don't really go much further than +3. There are a few  
standardsandplentyofexceptions. Onestandardisthatpromusic(non-broadcast)VUmetersarecalibratedfor0VU=+4dBm  
=1.228 volts into 600 ohms. Another standard is that CDs have a zero analog reference that is -14 dB from digital full scale  
or maximum. This allows sufficient peak headroom for mixed material but would be a bad standard for individual tracks  
because they would likely distort frequently. This is why digital workstations use higher references like 18 and 20 - to allow  
for peaks on individual sounds. It may be too much in some cases and too little in others. Add two other sources of confusion.  
Peak meters and VU meters will almost never agree - they are not supposed to. A peak meter is intended to show the maximum  
level that can be recorded to a given medium. VU meters were designed to show how loud we will likely hear a sound and help  
set record levels to analog tape. By help, I mean that they can be only used as a guide combined with experience. They are  
kinda slow. Bright percussion may want to be recorded at - 10 on a VU for analog tape to be clean but a digital recording using  
a good peak meter should make the meter read as high as possible without an "over". Here is the second confusion: There aren't  
many good peak meters. Almost all DATs have poor peak meters that do not agree with each other. One cannot trust them to  
trulyindicatepeaksorovers.Outboarddigitalpeakmeters(withswitchablepeakhold)thatindicateoversas3(or4)consecutive  
samplesateitherFullScaleDigital(FSD)arethebest.Theywon'tagreewithVUmetersorAveragemetersorBBCPeakmeters  
either. Each is a different animal for different uses. The Limiter should help digital and analog achieve consistent levels but  
use each meter for it's own strength. The Reduction mode is useful with everything.  
We hear the phrase "brick wall limiter" bantered about these days. Theoretically this kind of limiter would be ideal just before  
an analog to digital converter or broadcast transmitter. Unfortunately, we don't know of one that sounds OK for most mixes  
or general purpose applications. This limiter is better than most for this application but it is not a perfect ultra-fast brick wall.  
It is fast enough to significantly reduce transients in a mix (kills drums) and has a steep ratio (better than 10:1) after a few dB  
oflimiting(softknee). ItwillallowforseveraldBloudermixesand/ornopercievableAtoDdistortion. Ifusedforthispurpose,  
wesuggestthatoneonlyusesafewdBofgainreductionorelseyourmixmaychange. Thealternativeisto"mixintothelimiter"  
so that mix decisions are based on hearing how the limiter is reacting. This can be a little dangerous with material that has  
changes in dynamics. It works best with automated mixes and awareness that drums may be a moving target.  
14  
 
INTERNALADJUSTMENTS  
1
5
4
8
9
2
3
7
10  
6
11  
11  
12  
12  
1)  
+36 Volt DC adjust with meter from ground to resistor marked by arrow. Check this first and adjust if  
needed. It is the power supply regulator adjustment. Now for the audio ....  
You will have to start out by setting front panel controls to these settings. BYPASS mode, SEP (  
LINK OFF ), REDUCTION controls counter clockwise (MIN), GAIN to 1:00 or unity, Balance  
at 12:00. The top will need to be open. There are two screws on the top that hold the top perforated  
panel to the back. Remove these and the perforated top will slide back. Be careful! THERE ARE  
HIGH VOLTAGES INSIDE THE LIMITER. DO NOT HOLD THE METAL PART OF THE  
SCREWDRIVER. DO NOT PROBE AROUND WITH THE SCREWDRIVER OR FINGERS. The  
unit should be on for about 15 minutes to allow for "warming up".  
2 & 3) This adjusts thelimiter amplifier gain in all modes. 1 KHz sine at 1.23 volts RMS (+4 dBm, 0 VU) to  
both inputs. BYPASS mode. Adjust 2 & 3 for unity gain at outputs.  
4 & 5) This adjusts VU meter calibration for OUTPUT. Same input, Meter switches to OUTPUT. Adjust for  
0 VU on the Meters.  
6 & 7) This adjusts the meter zero for Reduction mode. Meter switches to REDUCTION. Adjust for 0 VU on  
the Meters.  
8 & 9) This adjusts the meter in Reduction mode to reflect the actual gain reduction accurately. You will  
probably need to increase the oscillator 10 dB to get Limiting. Switch from BYPASS to IN. Meter  
switches to OUTPUT. Adjust GAIN controls to get 0 VU on the METERS again, then adjust  
REDUCTION controls to reduce the signal to -4dB. Switch METERS to REDUCTION. Adjust 8 &  
9 to get -4 dB on the METERS.  
10) This adjusts the gain of the right side chain and adjusts the side chain balance in Link. Switch the  
LINK ON. There should be 1 to 2 dB change in the Meters. Adjust 10 so that the meter is the  
same for both sides. You may have to re-adjust 8 and 9. Check that both in LINK and  
SEPARATE that both channels show the same reduction.  
11) Sets the gain for each channel's Mic Pre. Use a low level input in the mic XLRs and adjust each  
channel for 45 dB of gain with the Input Attenuator wide open fully CW.  
12) Sets the Direct (Instrument) Input gain. Use a low level input in the 1/4" front panel jacks and adjust  
each channel for 25 dB of gain with the Input Attenuator wide open fully CW.  
15  
 
REPLACING FUSES & METER LAMPS  
1
2
A
B
Changing the fuse is easy and can be done without any tools and while the DVC is still in a rack.  
1) Disconnect the IEC AC mains for safety  
2) Rotate the fuse cap anti-clockwise 1/4 turn  
3) Remove the fuse and replace it with a new 1 AMP, 250 VOLT, AGC1 type fuse  
4) Reconnect the IEC AC mains, turn on the power and meter lamps should once again glow.  
If the new fuse also blows, it means there is probably a problem in the Dual Vocal Combo that needs fixing.  
Fuses are meant to blow in those situations to protect against further damage including fire and the unpleasant  
smell of transformer meltdown. The DVC will need to be sent to the dealer or factory for service.  
Changing the meter lamps is pretty easy. These are simple incandescent bulbs chosen for long life but  
eventually they will fail. They are always available from Manley Labs but most electronic stores will also have  
them (Radio Shack part number 272-1143) and are described as "Midget Screw-Base Lamps", 12 Volts @ 75  
mA.  
1) Disconnect the IEC AC mains for safety  
2) Remove the two small Phillips head screws located at the back which hold the perforated top cover in place.  
Slide the cover towards the back to remove it.  
A) Locate the meters at the front panel and the two brass nuts on the back which holds a small printed circuit  
board to the back of the meters. These are 3/32 nuts which must be loosened and removed to gain access to the  
bulbs. The small board should slide back and will present the bulb in its socket.  
B) Unscrew the light bulbs anti-clockwise (how many ________ does it take to unscrew a light bulb?) and  
screw in the new ones clockwise.  
C) Replace the small printed circuit board to the back of the meters and re-attach the small brass nuts. These  
should be reasonably tight for good electrical contact but not forced to the point that the meter is damaged or  
the small screws on the meter become stripped.  
D) Replace the top cover and the two screws that hold it in place, then re-connect the IEC AC mains plug and  
turn on the power to check out the new bulbs.  
There are no other parts expected to age that are user servicable. Electrolytic Capacitors should probably be  
replaced after 10 years in audio gear and some say ICs, transistors and pots should be replaced in 20 years to  
keep the unit in optimum condition. This is a general guide for audio gear that is intended to be used for  
decades. On the other hand, you can expect to throw away most digital gear after 5 years because in 3 years  
new stuff does 10 times more and costs 10 times less. Funny how that stuff ages and fine analog keeps being  
used for decades. In 1999 64 megs of memory costs about $100 and is 8 chips on 1 module. In 1974 it took  
150,000 chips and cost $3 million bucks and now its worth is nothing. Good Analog is a long term thing.  
16  
 
MAINS CONNECTIONS  
Your unit has been factory set to the correct mains voltage for your country. The voltage setting  
is marked on the serial badge, located on the rear panel. Check that this complies with your local  
supply. The voltage changeover switch is located inside the unit in the middle of the PCB near the  
power transformer. To change the voltage from 120 to 240 volts, simply remove the top cover by  
unscrewing the center fixing screw and sliding the top out towards the rear of the chassis. Turn the  
top of the voltage changeover switch with a firm positive action using a small flat screwdriver.  
Export units for certain markets have a moulded mains plug fitted to comply with local  
requirements. If your unit does not have a plug fitted the coloured wires should be connected to  
the appropriate plug terminals in accordance with the following code.  
GREEN/YELLOW  
BLUE  
EARTH terminal  
NEUTRALterminal  
BROWN  
LIVE  
terminal  
As the colours of the wires in the mains lead may not correspond with the coloured marking  
identifying the terminals in your plug proceed as follows;  
ThewirewhichiscolouredGREEN/YELLOWmustbeconnectedtotheterminalintheplugwhich  
is marked by the letter E or by the safety earth symbol or coloured GREEN or GREEN and  
YELLOW.  
The wire which is coloured BLUE must be connected to the terminal in the plug which is marked  
by the letter N or coloured BLACK.  
ThewirewhichiscolouredBROWNmustbeconnectedtotheterminalintheplugwhichismarked  
by the letter L or coloured RED.  
DO NOT CONNECT/SWITCH ON THE MAINS SUPPLY UNTIL ALL OTHER CON-  
NECTIONS HAVE BEEN MADE.  
17  
 
WARRANTY  
All Manley Laboratories equipment is covered by a limited warranty against defects in  
materials and workmanship for a period of 90 days from date of purchase to the original  
purchaser only. A further optional limited 5 year warranty is available to the original purchaser  
upon proper registration of ownership within 30 days of date of first purchase.  
Proper registration is made by filling out and returning to the factory the warranty card  
attached to this general warranty statement, along with a copy of the original sales receipt as  
proof of the original date of purchase. Only 1 card is issued with each unit, and the serial  
number is already recorded on it.  
If the warranty registration card has already been removed then this is not a new unit, and is  
therefore not warranted by the factory. If you believe this to be a new unit then please contact  
the factory with the details of purchase.  
This warranty is provided by the dealer where the unit was purchased, and by Manley  
Laboratories, Inc. Under the terms of the warranty defective parts will be repaired or replaced  
without charge, excepting the cost of tubes. No warranty is offered on tubes, unless:  
1. a Manley Laboratories preamplifier is used with a Manley Laboratories amplifier, and  
2. the warranty registration card is filled out.  
In such a case a 6 month warranty on tubes is available with the correct recording of the serial  
number of the preamplifier on your warranty registration card.  
If a Manley Laboratories product fails to meet the above warranty, then the purchaser's sole  
remedy shall be to return the product to Manley Laboratories, where the defect will be repaired  
without charge for parts and labour. The product will then be returned via prepaid, insured  
freight, method and carrier to be determined solely by Manley Laboratories. All returns to the  
factory must be in the original packing, (new packing will be supplied for no charge if needed),  
accompanied by a written description of the defect, and must be shipped to Manley  
Laboratories via insured freight at the customer's own expense. Charges for unauthorized  
service and transportation costs are not reimbursable under this warranty, and all warrantees,  
express or implied, become null and void where the product has been damaged by misuse,  
accident, neglect, modification, tampering or unauthorized alteration by anyone other than  
Manley Laboratories.  
The warrantor assumes no liability for property damage or any other incidental or  
consequental damage whatsoever which may result from failure of this product. Any and all  
warrantees of merchantability and fitness implied by law are limited to the duration of the  
expressed warranty. All warrantees apply only to Manley Laboratories products purchased and  
used in the USA.  
Some states do not allow limitations on how long an implied warranty lasts, so the above  
limitations may not apply to you. Some states do not allow the exclusion or limitation of  
incidental or consequential damges, so the above exclusion may not apply to you.  
This warranty gives you specific legal rights and you may also have other rights which vary  
from state to state.  
 
WARRANTY REGISTRATION  
We ask that you please fill out this registration form and mail the bottom half to:  
MANLEY LABORATORIES  
REGISTRATION DEPARTMENT  
13880 MAGNOLIA AVE.  
CHINO CA, 91710  
or FAX to:  
(909) 628-2482  
or email  
[email protected] with the info from below and a note that this is  
Registration entitles you to product support, full warranty benefits, and notice of product  
enhancements and upgrades. You MUST complete and return the following to validate your  
warranty and registration. Thank you again for choosing to use Manley Laboratories.  
MODEL ____________________ SERIAL No. ______________________  
PURCHASE DATE ______________ SUPPLIER ______________________  
----------------------------------------------------------------------------------------------------  
PLEASE DETACH THIS PORTION AND SEND IT TO MANLEY LABORATORIES  
MODEL ____________________ SERIAL No. ______________________  
PURCHASE DATE ______________ SUPPLIER _______________________  
NAME OF OWNER _______________________________________________  
ADDRESS ______________________________________________________  
CITY, STATE, ZIP ________________________________________________  
TELEPHONE NUMBER ___________________________________________  
COMMENTS ? _______________________________ ___________________  
________________________________________________________________  
 
TEMPLATE -photocopy this page and use it to store settings  
POWER  
INPUT  
80 Hz  
L.F.  
EQ IN  
H.F.  
12 KHz  
80 Hz  
L.F.  
EQ IN  
H.F.  
12 KHz  
INPUT  
OFF  
ON  
PHANTOM  
(PULLON)  
PHANTOM  
(PULLON)  
ATTENUATE  
40 Hz  
IN  
-10  
+10  
EQ OUT  
-10  
+10  
8 KHz  
40 Hz  
-10  
+10  
EQ OUT  
-10  
+10  
8 KHz  
IN  
ATTENUATE  
DUAL VOCAL COMBO  
DIRECT  
INPUT  
DIRECT  
INPUT  
GAIN  
REDUCTION  
METER  
OUTPUT  
METER  
OUTPUT  
REDUCTION  
GAIN  
SEP  
LINK  
LIMITER  
BYPASS  
REDUCTION  
REDUCTION  
BYPASS  
PRODUCER:  
STUDIO:  
ARTIST:  
ENGINEER:  
DATE:  
SONG:  
MIC:  
TRACK:  
NOTES:  
POWER  
INPUT  
80 Hz  
L.F.  
EQ IN  
H.F.  
12 KHz  
80 Hz  
40 Hz  
L.F.  
EQ IN  
H.F.  
12 KHz  
INPUT  
OFF  
ON  
PHANTOM  
(PULLON)  
PHANTOM  
(PULLON)  
ATTENUATE  
40 Hz  
IN  
-10  
+10  
EQ OUT  
-10  
+10  
8 KHz  
-10  
+10  
EQ OUT  
-10  
+10  
8 KHz  
IN  
ATTENUATE  
DUAL VOCAL COMBO  
DIRECT  
INPUT  
DIRECT  
INPUT  
GAIN  
REDUCTION  
METER  
OUTPUT  
METER  
OUTPUT  
REDUCTION  
GAIN  
SEP  
LINK  
LIMITER  
BYPASS  
REDUCTION  
REDUCTION  
BYPASS  
PRODUCER:  
STUDIO:  
ARTIST:  
ENGINEER:  
DATE:  
SONG:  
MIC:  
TRACK:  
NOTES:  
POWER  
INPUT  
80 Hz  
L.F.  
EQ IN  
H.F.  
12 KHz  
80 Hz  
40 Hz  
L.F.  
EQ IN  
H.F.  
12 KHz  
INPUT  
OFF  
ON  
PHANTOM  
(PULLON)  
PHANTOM  
(PULLON)  
ATTENUATE  
40 Hz  
IN  
-10  
+10  
EQ OUT  
-10  
+10  
8 KHz  
-10  
+10  
EQ OUT  
-10  
+10  
8 KHz  
IN  
ATTENUATE  
DUAL VOCAL COMBO  
DIRECT  
INPUT  
DIRECT  
INPUT  
GAIN  
REDUCTION  
METER  
OUTPUT  
METER  
OUTPUT  
REDUCTION  
GAIN  
SEP  
LINK  
LIMITER  
BYPASS  
REDUCTION  
REDUCTION  
BYPASS  
PRODUCER:  
STUDIO:  
ARTIST:  
ENGINEER:  
DATE:  
SONG:  
MIC:  
TRACK:  
NOTES:  
 

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