Manley laboratories reference preamplifier reviews
Around , studio-tube-gear expert Manley Laboratories created an integrated tube amp with an iPod dock for the consumer market that had a triangular shape, and subsequently called it the Stingray iTube, keeping in line with naming the majority of its hi-fi consumer components after sea creatures. And Manley keeps the fun going today—in terms of both its product nomenclature and the quality of audio that those products reproduce. As I have gotten older, I have grown less tolerant of components that are tricky to install or exhibit quirky operation. Thankfully, the Chinook phono preamp lacks these shortcomings.
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Robot or human?
To most audio engineers, Manley Labs is best known for its rack gear. But Manley also makes mics. The Reference Cardioid and Reference Gold are hand-built tube mics suitable for critical recording applications.
The Reference Gold is available in Mono and Stereo variants, with the only meaningful difference being channel configuration.
Interestingly, the second capsule of the stereo version can be rotated to adjust its angle relative to the first capsule. Note that the Reference Cardioid is not a stripped- down version of the multi-pattern Reference Gold ; it's a different design with different qualities.
Consequently, I'll limit this review to the Gold versions of the Reference line. The Reference Mono Gold was Manley's first mic design. The first Reference Gold mics used a thinner capsule film than current models. The thinner material was more difficult to tension consistently, leading Josephson to switch to a thicker option. Owner EveAnna Manley commented, "I can't say that anyone noticed — except for us noticing increased longevity and reliability!
A big factor is having a pro do the tensioning. Steve Haselton of The Mastering Lab fame did the majority of the circuit design. Steve wanted to build a pair of tube mics so natural and neutral that they would be suitable for classical, orchestral, and scoring applications. Additionally, he wanted to impress Academy Award-winning recordist Shawn Murphy. Haselton was successful, and Murphy purchased the first pair of Reference Gold mics.
Odds are good that you've heard orchestral and film scores that have been captured by that original set. Speaking of tubes, Manley Labs is very picky. Buying in large quantities, Manley subjects every tube to a series of inspections and tests. Each specimen must meet stringent requirements in order to deliver the fidelity and consistency demanded by Manley. However, anyone using tubes knows a valve can last from one week to years, so Manley keeps plenty of stock to support future repairs.
As of this writing, the Tung Sol 12AT7 tubes from Russia have been winning the shootouts for this mic. Fully tested replacements are available from Manley should owners need them.
One last physical component worth mentioning is the shockmount. The apparatus is custom machined for this microphone.
It provides support while affording access to any controls you need to reach. Sturdy red bands in a spoke-like arrangement suspend the mic within an outer frame, and extra bands are included. Seriously, there is no point having a mic of this caliber without an appropriate shockmount. By way of comparison, there is another respected American manufacturer of tube mics who pairs his mic with something a five-year-old would design.
If you're going to shell out this kind of money, you want a mount that will give you precise placement and protect your investment. I applaud Manley for this detail. So how does the Reference Mono Gold sound? As expected, the CKstyle capsule has an extended high-frequency response. But unlike entry-level condenser mics, it is not harsh or spitty — unless your source is harsh or spitty.
For a muted acoustic guitar or a darker-toned vocalist, the Manley can bring the sound into balance. On vocals, it performed okay in shootouts against the typical German mics.
But a few weeks into having this mic, it dawned on me while I was aligning the tape. Using the Reference Gold with analog tape became a revelation. The slight self-erasure of high frequencies common with analog tape combined with the gentle high-frequency lift of the Reference Mono Gold were the chocolate and peanut butter of vocal chains.
You want to record a s-style crooner? Forget the compressors. Get a singer who works the mic, fire up the tape machine, and sit back. Your work is done here. However, if you're like the majority who track to digital, you'll have to audition this mic to see if it's appropriate.
It takes equalization well, so a broad British EQ will make a sensible partner. If you are recording vocalists who are unsure of their performance, hanging the Reference Mono Gold in the room will let them know that they're "worth it" enough to bring out the big guns.
Seriously, audio engineers are pretty numb to mics, but many artists are inspired when you set up a first-class mic like this.
Any producer will tell you that a good headphone mix and a comfortable artist are the keys for getting good takes. Do not underestimate the wow factor of this mic. We had several people say it made them feel special. Part of our job is interpersonal, and this mic can really help in the confidence department. After using the Reference Mono Gold as a room and distant mic, I can see why it could be a first-call mic for orchestral and scoring projects.
It is difficult to explain, especially for a mono room mic, but the Reference Gold seems to reach into the distant sound field and bring out details that might be less evident with other mics. If you're doing background vocals, choirs, drums, horns, or strings, having this mic as a distant room mic can help you forgo artificial reverbs. And while recent advances in digital reverb implementations have been significant, using a mic of this caliber in your live room approaches a new level of convincing soundstage.
Of course, if you insist on stereo room mics, the Reference Stereo Gold features dual capsules in the same housing, ensuring phase coherence for stereo work.
The polar-pattern control is located on the mic body, meaning it is difficult, if not impossible, to change patterns without moving the mic, especially if the mic is placed high.
The pattern control is completely variable, which is nice, but small movements result in large changes. Fortunately, its pot is rather tight, so it's not likely to move if you inadvertently bump it.
I suggest using a grease pencil to mark your favorite cardioid setting so you can return to it. The gold finish, while impressive in person, is highly susceptible to fingerprints, so avoid handling the mic by its body. But it competes with other handmade microphones that start at even higher prices. And unlike a vintage mic, the Manley is still in production, is made with modern components, and has the service guarantee of an ongoing company.
If you record to tape or want natural ambience for instrumental tracks, the Reference Gold mics could be unparalleled. If you are limited to recording all-digital in a small space, I still suggest you demo one of these mics, especially if you've never heard what a real silky top end sounds like. A shotgun shell — an actual shotgun shell, from a 12 gauge shotgun — turned into a microphone.
I liked the idea immediately. There are legends in microphone technology, and there are legends in microphone technology. Everyone has surely heard about the legendary U 47 microphone, but have you heard about the U 47 Church While Great Britain's legacy of recording gear manufacturing is rich, it's mostly been devoid of condenser microphones.
Although many historic capacitor mics have roots in Germany or Austria, they've The first ribbon microphone was co-invented by Walter H. Schottky and Erwin Gerlach in the s, but the first "broadcast quality" ribbon mics were designed by Dr.
Harry F. Olson for RCA. The Neumann U 67 is one of my favorite mics of all time; I use it on nearly every tracking date that I do, on a variety of instruments, including electric and acoustic guitars, as well as vocals. I don't think I've ever started a mic review by introducing the accessories first. But given the innovative design of the shockmount included with the sEa, I can't help but get that out of the way Over the past several months, I've been using a pair of Peluso P12 microphones.
I can't say enough good things about them. They sound great no matter what the instrument. I love them as drum The buzz on this box was unlike any I have encountered, and it was a challenge to get a review unit from Chandler due to demand. But it was well worth the wait. Chandler and its main man Wade Goeke This multi-pattern, large-diaphragm condenser mic is hefty and appears to be very solidly made.
It does not ping at all when flicking any part of the mic with your finger. The all-metal shockmount Jim Williams has spent much of his 56 years working with some of the biggest names in the music business, including Frank Zappa, John McLaughlin and Stevie Wonder. He's the owner of Audio Upgrades, Vintage King co-founder Michael Nehra shares some of his love, knowledge, and practical advice for diving into the world of vintage audio gear, and then takes us behind the scenes for a walk through Bill Cheney and Jim Romney are the men responsible for keeping the amazing legacy of Spectra Sonics, a legendary, if criminally unheralded, pro-audio company alive.
Their mic preamps, summing amps, and control room But a few weeks into having this mic, it dawned on me while I was aligning the tape machine: The CK 12 capsule was the king of the jungle when recordings were done on tape. Tape Op is a bi-monthly magazine devoted to the art of record making. Subscribe for free here. More Gear Reviews.
Manley Laboratories Reference Preamplifiers
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Manley Core
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Manley Labs CORE Reference Channel Strip
Seven-way LED metering for each channel provides instant visible feedback for audio levels which are enhanced with a double-inlay CNC-milled accent. A feast for the eyes, yeah, we know. This is investment grade audio equipment that you will be as proud to showcase in your studio as we are to handcraft it here in Southern California. Phase Reverse and Hz High Pass filters can be invoked here in the circuit and then we're into the 12AX7 dual triode amplifying stage operating in pure Class A, of course. An additional 10dB of gain is available via internal jumpers. The output stage "can drive a truck" as we like to brag.
Manley Labs Reference Cardioid Tube Condenser Microphone
My roommate asked that as he bent over the Manley Labs Snapper Monoblock Amplifiers with his camera in hand. The downtown Los Angeles skyline tinted the sky charcoal grey and I had to admit, even in the depths of my current obsession with the Naked and the Bauhas architectures, this scenery made a romantic backdrop for the Snappers. Who says that Paris gets the je ne sais quoi all to itself? Je ne sais quoi, however, is far from the name of the game when it comes to the Manley Labs Snapper Monoblock Amplifiers—these puppies are strong and fun. EveAnna Manley interview HERE , someone I count as a friend, mentor and hi-fi hero, told me the Snappers were extensively tuned and tweaked in some very cool Los Angeles mastering studios. That aforementioned fun and the absence of extra sonic romance are two of the things that make these amps completely transparent, and my personal reference amps. While other amplifier choices proved to be more synergistic matches with some speakers, the Snappers were never anything other than an exceptional choice for all speakers. Occasionally , warmer or very large power hungry speakers seemed to favor the dimensionally flatter but more forward presentation of high-current solid state amps.
Manley Labs Core Reference Channel Strip MINT Original Pkg 1 Year
The cost of designing and manufacturing in—house in the US is one reason Manley have previously aimed their music production gear at the professional end of the market. The stylish 2U purplish—blue, brushed—metal front panel carries five laser—engraved, recessed sections: Input, Compressor, EQ and Limiter. A large, blue—lit VU is switchable to indicate output level or gain reduction. Despite the name, the transformer laminations are primarily nickel, with the whole encased in a mu—metal can to eliminate hum pickup.
This is my personal review of the Manley Ref C tube microphone. The microphone comes package with a power supply, microphone cable multi pin for use with microphone , and a aluminum flight case. The microphone itself is well constructed, it comes in a black and metallic red paint coating with Manley engraved on the front and Manley's info printed on the back. It also has a db pad switch on it and custom shockmount made onto the microphone.
In the transistor realm this would be maybe something in line with the classic Krell- or perhaps McIntosh sound and when talking about tubes, in general, a warm, rich and juicy-liquid and relaxed sound. But the Manley products that I have on visit for review do not really fit in this category. Or, at least, not all of them. So, what do these components sound like? Read on to find out! There are tube amps with an almost transistor-like sound. For instance the Audio Research Ref75 and, to a lesser extent, certain Ayon amplifiers.
T he Steelhead ver. Manley, head of the company, together with her engineers succeeded to make the product widely accepted by other manufacturers of phono preamps, turntables and cartridges, as well as by the mastering studios. How did the Steelhead earn such esteem? Definitely with its sound quality.
Yeah, now it's clear ... Otherwise I didn't immediately understand where the connection with the name is ...
as they say, Without the use of living - an untimely death.
The competent point of view
In my opinion. You were wrong.