You may have bought a great system but there is a good chance that you are only getting a fraction of it's potential. Very frequently we have experienced top quality electronics sounding unimpressive simply because acoustics were ignored. Even amongst studio engineers, few can really tell the difference between good speakers in a bad room and bad speakers in a good room - but they all know good speakers in a good room and very likely so do you. Acoustic techniques are better explained in books on recording studio construction. You can buy good ready-made acoustical materials and/or build them yourself for a fraction of the cost. Dollar for dollar, you can expect far greater improvement with acoustic treatment than expensive interconnects.

Most people think acoustics is about sound-proofing but there is a lot of info available for improving the reproduction of music. Sound-proofing is usually expensive. Luckily just improving the acoustics in a room can be pretty painless. You may be able to change or move what is on the floors and walls (without getting expensive or ugly). The improvements may be dramatic.

Number One on the bad list is parallel surfaces. That pretty much includes most rooms. Parallel surfaces can support a very short echo that is known as a standing wave. It boosts some frequencies and cuts others. This effect is often called comb filtering because of the multitude of peaks and dips. One cure is breaking up the big surfaces with a variety of smaller ones. The good news is that book shelves, curtains, wall hangings or macrame, plants, furniture and lamps all help. Not only does this balance live surfaces with dead ones but "checker-boarded" areas also act as a sort of diffuser. You can probably build low cost effective and attractive diffusers or have them made if you want something better (and more efficient).

Number Two is very unbalanced room treatment. Both too "live" and too "dead" is generally bad. One might think that wall to wall carpets & curtains is going to be fine but watch out. All that stuff only eats highs and a little mids, but doesn't do anything to the lows. The lows end up very live in contrast to very dead highs. One way to balance this is get some thick absorbsion into the corners. Thick absorbsion in the corners is most effective to lows. The idea is to balance high and low absorbsion. Even normal speech sounds wierd in near empty rooms with plain painted gypsum walls and hardwood floors. The simpler the decor the more intense the acoustic problems. The only hints we can offer is that the wall behind the speakers and behind you are often the most important. You can build some simple absorbers. Simply cut two 4'X8' pieces of 2" rigid fiberglass or open cell foam rubber into 16"X8' strips and wrap some white cloth around them. Easy, clean looking and cheap. Experiment, lean them against the wall at various places. Even very experienced acoustic designers experiment, listen then decide rather than attempting to predict every result. A variation is to use "perf-board" as a backing if you intend to stretch the fabric reasonably tight. It may also help with hanging the strips to the walls. Perfboard with a one or two inch space behind it is an alternative front surface to increase diffusion or can do double duty as a simple helmholtz absorber (for the low mids) and can be effective on the ceiling. You can hang a few up there either flush or dropped a few feet if you have the height to absorb lower frequencies. The wall behind the listening position is usually responsible for too much or too little lows compared with the rest of the room. Read up on slat and membrane absorbers for problems there - the panels described above won't help much for that.

Number Three is lack of left/right symetry. In order to get the left and right similar sounding and getting a rock-solid center you should have identical left and right walls and distances. The ideal is a perfectly symetrical room but this may not be practical. Again, try to achieve this with positioning.

Some of the "test" CDs have a variety of low frequency tones or sweeps. Use them to find rattles and buzzes in the room. Lamps and fixtures, some cabinets and components can do this. A little tape or glue can often fix these types of things. If you are getting serious about this kind of thing you can get a variety of test gear from measurement mics to real time analysers or computer software. These are useful tools but do not depend on the readings unless you are very experienced using them. Best to use your ears and use the test gear to verify what you hear and to document the changes. Remember that test gear neither makes records nor listens to music. Frequency measurement often ignores "time" and exagerates some factors and glosses over others. Steady tones are virtually useless in real rooms. The more comprehensive tests give complex data that needs to be correctly interpreted to be useful. Use 'em but don't jump to confusions. Always use ears too.

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Manley Labs INTEGRATED AMPLIFIER owner manual

INTEGRATED AMPLIFIER specifications

Manley Labs has a long-standing reputation for producing high-fidelity audio equipment, and their integrated amplifier is a shining example of this legacy. Catering to audiophiles who appreciate both performance and finesse, the Manley Labs Integrated Amplifier combines powerful technology with artistic design.

One of the most notable features of the Manley Labs Integrated Amplifier is its renowned vacuum tube design. Utilizing high-quality 12AX7 and 12AT7 tubes, the amplifier delivers warm, rich sound that is characteristic of tube amplification. This vintage-inspired technology creates a unique listening experience, offering dynamic range and harmonic richness that solid-state amplifiers often struggle to replicate. Additionally, the product’s advanced circuitry ensures low distortion and excellent frequency response.

An elegant chassis houses this sophisticated amplifier, enhancing both aesthetics and acoustic performance. The front panel is designed with simplicity in mind, featuring easily accessible volume controls and inputs for a variety of sources, including vinyl turntables, digital sources, and streaming devices. The dual-mono topology, where each channel has its dedicated power supply and amplification, further enhances stereo imaging and separation, resulting in a more immersive soundstage.

The Integrated Amplifier is equipped with Manley’s proprietary features, including a passive volume control and selectable equalization options. This helps users customize their listening experiences according to personal preferences or their specific audio setups. With a high output power rating, the amplifier is capable of driving a wide range of loudspeakers, making it versatile for various audio configurations.

Another key characteristic is the incorporation of modern connectivity options while maintaining a classic sound. With balanced and unbalanced inputs, as well as headphone outputs, the Manley Labs Integrated Amplifier combines traditional tube warmth with contemporary flexibility. This adaptability allows it to remain relevant in a rapidly evolving audio landscape.

Overall, the Manley Labs Integrated Amplifier is a harmonious blend of cutting-edge technology and classical appeal. Its meticulous craftsmanship, attention to detail, and performance capabilities make it a preferred choice for connoisseurs of exquisite sound quality, ensuring that music is delivered with authenticity and elegance. Whether for home listening or professional applications, this integrated amplifier stands as a testament to Manley Labs' commitment to audio excellence.