I had a Manley Massive Passive. But the tracking guys 'borrowed it' for a session. That was over a year ago. I don't think I getting it back. So, I was excited when I heard Manley released the Mini Massive. Offered under the Langevin brand, the Mini Massive is not simply a solid-state version of the tube-based Massivo. While it is based on some of the same EQ sections, there has been a redesign of the four lowest shelf settings, the four highest frequency shelf settings, plus added new higher Q bell shapes for the four highest frequencies. Additionally, bell/shelf switch, which now has an extra position for higher Q bell curves on the four highest frequencies.

In appearance, the Mini Massive is smaller (hence the name), taking up a 1U rack space. Gone are the beloved blue channel lights and the standard flat black Manley knobs. The Mini has fire engine red gum drop knobs and a single light that indicates the unit has power.

Underneath the hood, the Mini Massive uses four of the new Manley Rapture® Amplifiers for gain. The Raptures were originally designed for a cost-is-no-object DAC (Manley does a solid business in the audiophile world, for those of you who don't get out much). And the build quality is apparent. After inspecting the innards, Dom Misja, our chief technician here at Treelady had the following comments, "Of all the gear we look at, Manley clearly has a right to charge a premium for what they give you. For example, look at the capacitors. Many people would use caps that cost a few cents, but the ones in the Mini Massive cost a few bucks a piece. And there are dozens of them. And that thing (pointing at a Rapture Amplifier), I don't even know what the $#% that is! And the soldering and layout quality is first-rate."

Finally, there is an added twist. On the output users are given three choices: transformerless, transformers (the same transformers used in the Massive Passive), or Iron, a vintage option voiced for an even more pronounced coloration of the signal. The downside? The toggle switch used to select the output flavor is on the back of the unit. Trust me, I gave the Manley team serious crap about this at the Potluck Conference. In their defense, the front panel has almost nowhere to add another control. And from a fidelity standpoint, having the toggle so close to the output transformers reduces possible signal degradation from running the control wiring up to the front. Turns out, I found one setting I liked the most, and ended up keeping it there.

I used the Mini Massive for mastering applications and found it was a better fit for me than it's bigger brother. The added bell shapes were very useful for taming hi-hats, sibilance, and trashy cymbals. The low end was tight without being overboard or tubby. The Pultec-like overshoot shelves let you do things that can't be done with many other units. (I strongly urge readers to download the Mini Massive manual from Manley's website. Not only does it provide specific curve plots, but its an informative piece on equalization, as well). But the big winner for me was the 27k 'air' band. I would describe as providing the silkiest top end I've heard in a long time. Of course, restraint is in order, as it can easily turn smooth and open to harsh and chirpy. In mastering situations ten out of ten times I opted for the transformerless output. I found it was the most open, hi-fi sounding option, which is what I wanted.

I was able to try the Mini out for remixing certain mix elements. I could see this as being a bread and butter unit for keyboard and synth players. The unit can subtly enhance or mangle, as needed. If you're working with a mono source and need more bands, simply patch the out of channel 1 into the in of channel 2 and you have more filters at your disposal. For sound sculpting I found the standard transformer setting to give sources a slightly thicker sound. Moving to the Iron setting definitely added a warmer/vintage sound, especially for guitar leads that had a touch too much single-coil bite. However, both transformer options seemed to round off the high end in addition to enhancing the lower end of the spectrum. For individual channels or flavoring, this should be no problem. But it explains why mastering-types might choose the transformerless option and leave the setting alone. Most engineers will probably pick the transformer or iron setting and be pleased.

I think Manley has us coming or going. If you have and love a Massive Passive, you should stay put. But if you could never quite gel with it, either because of the sonic fingerprint of the unit or the high and low band limitations, you should really consider the Mini Massive. Other than the space it takes up, there is nothing diminutive about the sound of this unit. Add the transformer options and the lower price, and you have a very smart option for those seeking some unique voicings out of their equalizers.

Retail Price: $2800

-GH