Description

Manley Massive Passive Stereo Tube EQ

Description:

Manley’s tube stages handle huge HF boosts without sibilance and unbelievable fatness without mud. “It’s like a Pultec on steroids.”

Manufacturer Description:

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?

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 Massive Passive Stereo EQ available too.

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
  • Passive HP and LP Filters plus gain trims
  • 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".

The Filters

There are 5 High Pass Passive Filters and bypass, plus 5 Low Pass Passive Filters with bypass. We made them extra steep. Why? So you can remove the garbage and not mess up your music. The way these filters interface with the parametric EQ bands simply sound beautiful. The highest Low Pass filters get even steeper. Attack drums, guitar stacks, and other tough jobs. Make "telephone" voice sounds for special effects.

High Pass Filters = 22, 39, 68, 120, 220 Hz, OFF

Low Pass Filters = 6 kHz, 7K5, 9 kHz, 12 kHz, 18 kHz, OFF

Parametric Frequencies

LOW - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1K

LM - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9

HM - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10K

HI - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 16K, 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. Low Pass Filters get progressively steeper as the frequency point rises. All of the High Pass Filters, and the Low Pass 6K, 7K5, and 9KHz Filter slopes are 18 dB/octave, the Low Pass 12kHz filter has a 24dB/octave slope and the 18kHz filter has a 60 dB per octave slope.

 

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Durham, NC
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