OPTO-LIMITER Sections

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.

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.

Langevin Dual Vocal Combo specifications

The Manley Labs Langevin Dual Vocal Combo is a premium vocal processing unit that combines vintage warmth with cutting-edge technology. Designed for both professional recording studios and home setups, this unit stands out with its ability to enhance vocal tracks dramatically while preserving their natural character.

One of the standout features of the Dual Vocal Combo is its dual-channel architecture, which allows engineers to process two vocal signals simultaneously. This is particularly useful when recording duets or layering harmonies. Each channel is equipped with a dedicated mic preamp, providing individual control over gain, EQ, and compression, thus offering flexibility for different vocal styles and recording environments.

The mic preamps in the Langevin Dual Vocal Combo are renowned for their low-noise performance and ability to handle high sound pressures without distortion. With high-quality discrete components, the preamps deliver a warm, rich tone that enhances the clarity and presence of vocals. The unit also incorporates a high-pass filter to eliminate unwanted low-end rumble, which helps to focus the vocal sound in the mix.

Another significant feature is the built-in optical compressors. These compressors are designed to provide smooth, transparent dynamic control, allowing for a more polished final sound. The optical design ensures that the compression is musical and responsive, providing the ability to gently tame peaks without squashing the dynamics of the performance.

The EQ section of the Dual Vocal Combo comprises four bands of equalization, with both boost and cut capabilities. This flexibility enables engineers to sculpt their vocal tracks precisely, enhancing desired frequencies while reducing any harsh elements. The frequency selections cover the full vocal range, making it versatile for various vocal tones.

The Dual Vocal Combo also features an intuitive user interface, making it easy to navigate adjustments. Its robust construction ensures durability, suitable for constant use in a studio environment. With the signature Manley design aesthetics, it adds a touch of professionalism to any recording setup.

In conclusion, the Manley Labs Langevin Dual Vocal Combo is an exceptional choice for vocal processing. With its dual preamps, high-quality compression, extensive EQ options, and user-friendly design, it caters to the needs of both amateur and seasoned professionals looking to elevate their vocal recordings. Whether for tracking, mixing, or live performance, this unit proves to be an invaluable asset in any audio arsenal.