NOTES

1)Do not assume the knob settings "mean" what you expect they should mean. Part of this is due to the interaction of the controls. Part is due to the new shelf slopes and part due to a lack of standards regarding shelf specification.

2)You may find yourself leaning towards shelf frequencies closer to the mids than you are used to and the "action" seems closer to the edges of the spectrum than your other EQs. Same reasons as above.

3)You may also find yourself getting away with what seems like massive amounts of boost. Where the knobs end up, may seem scarey particularly for mastering. Keep in mind that, even at maximum boost, a wide bell might only max out at 6 dB of boost (less for the lowest band) and only reaches 20 dB at the narrowest bandwidth. On the other hand, because of how transparent this EQ is, you might actually be EQing more than you could with a different unit. Taste rules, test benches don't make hit records, believe your ears.

4)Sometimes the shelfs will sound pretty wierd, especially (only) at the narrow bandwidth settings. They might seem to be having a complex effect and not only at the "dialed in" frequency. This is certainly possible. Try wider bandwidths at first.

5)If you seem to be boosting all 4 bands at widely separated frequencies and not hearing much "EQ" as you might expect (except for level) this is a side-effect of a passive EQ and probably a good thing. To get drastic sounding EQ you should try boosting a few bands and cutting a few bands. In fact, it is usually best to start with cutting rather than boosting.

6)A reasonable starting point for the Bandwidth for shelves is straight up or between 11:00 and 1:00. It was designed this way and is roughly where the maximum flatness around the "knee" is, combined with a well defined steep slope.

7)The Massive Passive has some internal dip switches for better optimised -10 applications however it is a slightly flawed implementation - it reverses the phase or polarity so we only recommend using the +4 factory setting. If one must use -10 unbalanced mode, please consider using special cables where the input is wired ring hot or using the phase switch on the console or workstation. On the other hand, if a set- up requires -10 levels and can't deal with +4 pro balanced signals, then maybe, absolute polarity issues are a relatively minor problem.

8)The Massive Passive may sound remarkably different from other high end EQs and completely different from the console EQs. Yes, this is quite deliberate. Hopefully it sounds better, sweeter, more musical and it complements your console EQs. We saw little need for yet another variation of the standard parametric with only subtle sonic differences. We suggest using the Massive Passive before tape, for the bulk of the EQ tasks and then using the console EQs for some fine tweaking and where narrow Q touch-ups like notches are needed. The Massive Passive is equally at home doing big, powerful EQ tasks such as is sometimes required for tracking drums, bass and guitars, or for doing those demanding jobs where subtlety is required like vocals and mastering.

CREDITS

PRODUCED BY EVEANNA MANLEY

EveAnna suggested that we work on a "tube parametric", and had a lot to do with the look of the Massive Passive including the back-lit panels, engraved inserts and the name. She cleverly allowed the designer almost total freedom in the execution.

NAMED BY: RANDY PORTER & JUSTIN WEIS

We were less than thrilled by the working names we were using which included "Furthermore", and "Antiqualizer" so we ran a "name this EQ" contest on our website with a cash or credit prize (good reason to check out www.manleylabs.com once in a while). We got hundreds of names (most featuring the letter Q) but Randy and Justin separately came up with Massive Passive and they both won and they both applied their credit towards the EQ they named. The nickname "Massivo" comes from "Massivo Passivo" which the Manley assemblers prefer to call it.

DESIGNED BY "HUTCH"

Craig Hutchison came up with the concepts, circuits, and boards. Given that the Massivo is quirky, eccentric and over-the-top, you can pretty much guess what the designer is like. He used SPICE3, WAVES plug-ins and several complex looking breadboards and many listening tests in the process. Again, blame him for this long-winded, opinion-filled manual.

OTHER VALUED CONTRIBUTORS

Baltazar helped with circuit boards, mechanical drafting and proto-assembly. Michael Hunter helped develop all the inductors (which was a major task). Dave Hecht (Record Plant), George Peterson (MIX), Seva (WAVES) and Ross Hogarth (Freelance Engineer) were valuable sounding boards in the concept stage and Dave was the first to really evaluate it. Elias Guzman fabricated all the circuit boards including several protos. Pre-production beta-testers include Larry, Rick, Don & Spencer at Precision Mastering, Dave Collins at A&M Mastering, and Eddie Schreyer at Oasis Mastering, all known for their ears and honest opinions. Last but not least, our dealers for their faith in us, especially, Barb and Al at Studio Tech in Texas, Raper Wayman in the UK, Coast in Hollywood, and many more.

8

Page 7 Page 9
Page 8
Image 8
Manley Labs Manley Massive Passive Stereo Tube Equalizer owner manual Credits
Page 7 Page 9

Manley Massive Passive Stereo Tube Equalizer specifications

The Manley Massive Passive Stereo Tube Equalizer stands as a hallmark in the world of high-end audio processing, renowned for its unique design and exceptional sound character. This equalizer embodies the brand's commitment to quality and sonic integrity, making it a coveted piece of equipment for professional audio engineers and enthusiasts alike.

One of the standout features of the Massive Passive is its all-tube signal path. Utilizing vacuum tubes, the equalizer imparts a warm, rich tone that is often described as “musical”. This tube-based design works in conjunction with a passive equalization topology, which means that rather than boosting frequencies through active components, it relies on a network of inductors and capacitors, preserving the audio signal's purity while allowing for versatile tone shaping.

The Massive Passive is equipped with a wide range of frequency bands, allowing engineers to tailor their sound precisely. It features a dual-channel configuration with controls for both left and right channels, enabling stereo adjustments that maintain phase coherence. Each channel includes numerous frequency selections across both low and high ranges, granting access to numerous filtering options that highlight or attenuate specific frequencies as required.

An essential aspect of the Massive Passive is its innovative design, characterized by high-quality components, including Manley’s custom-designed transformers and circuit boards. These components are engineered to minimize noise and distortion, ensuring that the equalization process does not compromise the integrity of the source material. Users can enjoy the convenience of both low-frequency and high-frequency adjustments, as well as the ability to boost or cut with a substantial range, from a subtle touch to significant alterations.

One of the intelligent aspects of the Massive Passive is its 'bypass' feature. This allows users to seamlessly compare the processed sound against the original audio, making it easier to make informed decisions on adjustments. The build quality of the unit is also remarkable, showcasing a robust chassis that is both aesthetically pleasing and incredibly durable, signifying Manley Labs’ attention to detail.

Ultimately, the Manley Massive Passive Stereo Tube Equalizer encapsulates the essence of analog warmth and precision in audio processing. By integrating sophisticated engineering with user-friendly controls, it provides both professional and home studios with the tools necessary to achieve that sought-after sonic richness, making it a top choice among discerning audio professionals.
Top Page Image Contents