PIN 1 = Circuit Ground

CONNECTING YOUR PREAMPLIFIER

Easy - Connect the mic to the Microphone Input XLR, then connect the Line Output to your tape machine or console. Read on, there are some things to consider.

On the back panel are female XLR's labelled MIC INPUT A and MIC INPUT B. The signal from the MICROPHONES get plugged in here. Here are a few warnings and suggestions. These XLR connectors also "send" PHANTOM POWER to the mics. Some mics can be damaged by the 48 volts of phantom power. A few PZMs and a few ribbon mics have been known to "fry" when fed phantom power. The suggestion is to ALWAYS have PHANTOM switched off when switching mics, cables, patches that involve mics etc. You ONLY use phantom power for PRO SOLID STATE "FET' CONDENSOR MICS. Tube mics, dynamic mics, ribbon mics and battery powered mics should have phantom switched "off". This is true for all mic pre's. With this MIC PRE you "PULL THE TOGGLE to SWITCH PHAN- TOM". It is a locking toggle to prevent "accidents". The second great reason for not using phantom if you don't have to is that - if you change a connection (patching) with phantom on, then the pre amp will be fed a quick burst of 48 volts (when it normally is amplifying about a hundredth of a volt), which can then be monitored - usually once. After you have replaced your speakers, you have learned a valuable lesson about turning down the volume of the monitors before changing mics or mic patches. This is a good idea with phantom on or off. Consider a variation of this - any mic connection just a little bit bad,will be extra noisy with phantom turned on. This goes for cables, patchbays, patch cords etc. Suggestion #2 - Avoid running mic signals through patchbays. Some patchbays "ground" all the "sleeves" which can add a ground loop into your delicate mic signal. Suggestion #3 - Set up the Mic Pre in the studio near the mic and use a short mic cable. Why ? Microphones often have "light duty" line drivers and you can lose an audible amount of signal in long cables. You can get the best fidelity by having the Mic Pre close to the mic at the "cost" of having to walk into the studio to adjust a level control. You also avoid almost all of that phantom power / patching problem because now you are patching a regular line level signal only.

TheMIC INPUT XLR PIN OUT is :

PIN 2 = HOT or positive going phase

PIN 3 = LOW or negative going phase

The LINE OUTPUT XLR PIN OUT is:

PIN 1 = CIRCUIT GROUND

PIN 2 = HOT or positive going phase

PIN 3 = LOW or negative going phase

This is a simple balanced output. It will feed balanced inputs but not unbalanced inputs "correctly". When it is plugged into an unbalanced input, expect a 6 dB loss of output level. Use the 1/4" unbalanced output to drive unbalanced inputs. The best way to drive an unbalanced input with the balanced XLR is not to connect to PIN 3 at the output XLR - just use PIN 1 (ground) and PIN 2 (signal). Better to have PIN 3's signal float than short which will distort quietly and you may not notice the 6 dB loss.

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.