• Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for lo-noise and stable bias
• Output Tubes: 2 x 12BH7 (or 6414W NOS USA) dual triodes
• Balanced XLR Line I/O: MANLEY IRON® transformer-coupled Balanced Inputs and Outputs
• MIC XLR Input: via  Lundahl input transformer
• MICPRE: Selectable 48V phantom power and PHASE REVERSE
• Gain: 60dB max Micpreamplifier, 43dB max DI, 20dB max Limiter Gain
• Mic Input Impedance: 2000Ω
• 1/4” unbalanced DI Input Impedance: 100 kOhms or 10 megOhms (1/4” jack out halfway)
• FET Limiter: Attack: approx. 100μS; Release: 10mS to 2Sec; Ratio: better than 20:1
• ELOP Limiter: Attack: approx. 10mS for 6dB GR; Release: 2.5 Sec; Ratio: 10:1
• Frequency Response: 5Hz to 60KHz
• Maximum Output: +32dBm, +30dBm (into 1KΩ load)
• THD+N: <.05% @ 1KHz

• Dynamic Range: 115dB typical
• Output Impedance: 200Ω
• Power Consumption Slam! Analog:
  • 0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6 Watts
  • 0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts
• Outboard Power Supply: factory set for 100V, 120V or 220-240VAC operation for original destination country's mains voltage.
• Operating Mains Voltage: changeable with power transformer re-wiring via switch and fuse value change.
• Mains Fuse Value for 100~120VAC operation: replace with 2A
• Mains Fuse Value for 220~240VAC operation: replace with 1A
• Mains Fuse Type: MDA or MDL SLO-BLO Time delay 1 1/4" x 1/4"
• Mains Voltage Frequency: 50~ 60Hz
• Size: 19” X 12” X 3.5” (occupies 2u)
• Shipping Weight: 25 lbs.

The Manley SLAM! is a multi-functional powerhouse designed to be the ultimate front-end for any studio. Its primary function is to provide a comprehensive signal path, combining a high-fidelity, all-tube microphone preamplifier with two distinct and simultaneous limiters. It is engineered to control dynamics, increase loudness, and add a signature analog richness and punch to any audio signal before it hits the digital domain.

The SLAM! features two distinct limiter circuits that can be used independently or in series. The ELOP® (Electro-Optical) limiter is based on a passive optical cell and is known for its smooth, transparent, and musical gain reduction, ideal for gentle leveling and adding a polished "glue." The FET (Field-Effect Transistor) limiter, in contrast, is an aggressive, brick-wall limiter designed to catch fast, transient peaks and prevent digital clipping. Using them in tandem allows you to first gently compress a signal with the ELOP® and then precisely catch the remaining peaks with the FET, providing maximum loudness and impact with musicality.

Yes, the SLAM! is a highly versatile and powerful tool for mastering. Its transparent sound and the ability to combine two different types of limiting make it ideal for adding loudness and density to a final mix without introducing unwanted artifacts. The unit's flexible I/O, including balanced inputs and outputs, and its high headroom ensure it can handle the full dynamic range of a stereo mix with pristine clarity. The unique combination of the musical ELOP® and the powerful FET limiter gives mastering engineers precise control over the overall dynamics and loudness of a track.

The SLAM! features a heavy-duty, external power supply unit. This design choice serves a critical purpose: it keeps the high-voltage transformers and power conditioning circuitry separate from the sensitive, low-level audio signal path. By isolating these components, the design prevents magnetic fields and heat from interfering with the delicate audio circuits, resulting in a cleaner, quieter signal with a lower noise floor and improved sonic purity.

The Manley SLAM! utilizes a total of four vacuum tubes in its audio path. These include a 12AT7A tube for the input microphone preamplifier and a 6414W dual triode tube for the output stage. These tubes are hand-selected, tested, and burned-in at the Manley factory to ensure consistent performance, reliability, and that signature warm, high-fidelity sound.

Two SLAM! units can be linked for true stereo operation using the mini-phone jack on the back of the unit. Connecting a standard 1/8" TRS cable between the two units allows their compression and limiting functions to be triggered simultaneously and equally on both channels. This ensures that the stereo image remains stable and centered, preventing any shifts in the soundstage that might occur if the left and right channels were to be processed independently.