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Manley SLAM! 2-channel Tube Microphone Preamp & Limiter

Dual-channel Tube Microphone Preamplifier with Electro-optical and FET Limiters, Stereo Link, and VU Metering
$9,399.00

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Manley SLAM! 2-channel Tube Microphone Preamp & Limiter
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SLAM! Gets it Loud — Up to 80dB Total Gain Available!

The Manley SLAM! stands for "stereo limiter and microphone preamplifier" — and it gets loud fast. Starting with the two tube microphone preamplifiers, the Manley SLAM! gives you 48V phantom power, phase reverse, and up to 60dB of gain and 20dB more gain in the limiter - plenty to accommodate virtually any microphone and singer. On the limiter side, Manley combined the electro-optical circuit from the ELOP with a fast FET-based brick-wall limiter and added a handy sidechain. From clean to crunchy to punchy, you can have it with the Manley SLAM! from Sweetwater.

Dual-channel tube microphone preamplifier

On both channels of the Manley SLAM! you have tube microphone preamplifiers with switchable phantom power and phase reverse. Plus, the new tube circuit features up to 60dB of gain — and there's 20dB more gain available in the limiter, so you've got plenty of juice to handle low output ribbon microphones and soft singers. The input attenuator is on the front and there's also a variable pad. Apart from XLR microphones, you can give your line-level instruments a warm-up using the DI inputs.

Electro-optical and FET-based brickwall limiter

The Manley SLAM! boasts two different and distinct limiters — available simultaneously or separately on each channel. Manley's famous electro-optical circuit, found on their ELOP, is onboard — plus it features a convenient sidechain highpass filter. Offering two knobs, the ELOP is easy to use and "just works." There's also a fast FET-based "brickwall" limiter onboard as well that delivers everything from ultra-clean to gravelly — just as you'd expected from an FET limiter. The Release control lets you dial in a host of colors, and a Clip setting allows for an extremely round shape. Use both limiters at the same time to get as much of each effect as you like.

Excellent VU metering

With Manley's SLAM! you can meter raw input levels, the final output levels, and ELOP Limiter gain reduction, so you can keep an eye on what's going on. Plus, there's a switchable pad on the VUs at 0, -3dB and -6dB so you can keep the needles from going in the red when you're mastering. In addition, there are fast and accurate multicolor LED ladder peak meters that let you know the input and output levels as well as the FET gain reduction. The LED meters do Peak, Peak Hold timed, and Peak Hold until reset. You can also manually set where the bars change colors, to match up the SLAM! with your other gear.

Flexible I/O

On the back panel of the Manley SLAM! you have plenty of I/O to work with. Transformer-balanced I/O and 1/4-inch phone jacks are onboard. In addition, four TRS jacks allow you to insert external equalizers into the sidechains. Another input allows linking multiple units for surround purposes.

Manley SLAM! Features:

  • Input Tubes: 2 x 12AT7A NOS GE specially selected by Manley Labs for low noise and stable bias
  • Output Tubes: 2 x 6414W NOS USA dual triodes
  • I/O: Manley transformer-coupled, Balanced Inputs and Outputs
  • Microphon epreamplifier: Selectable 48V phantom power and phase reverse
  • Gain: 60dB max Microphone preamplifier, 43dB max DI, 20dB max Limiter Gain
  • Input Impedance: 2000 ohms Micpre, 1Meg ohms DI
  • FET Limiter: Attack: approx. 100S; 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 1Kohm load)
  • THD+N: <.05% @ 1KHz
  • Dynamic Range: 115dB typical
  • Output Impedance: 200 ohms
  • Power Consumption Slam!: 0.480 Amps (480 milliamps = 480mA) @ 120V = 57.6 Watts, 0.240 Amps (240 milliamps = 240mA) @ 240V = 57.6 Watts
  • Mains Voltage Frequency: 50~ 60Hz
  • Size: 19 inches X 12 inches X 3.5 inches (occupies 2 RU)
  • Shipping Weight: 25 lbs.

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Tech Specs

  • Preamp Type: Tube
  • Number of Channels: 2
  • Frequency Response: 5Hz-60kHz
  • Phantom Power: Yes
  • Compressor Ratio: FET Limiter: Better Than 20:1; ELOP Limiter: 10:1
  • Analog Inputs: 2 x Combo (XLR/TRS), 1 x 1/4" (Hi-Z)
  • Analog Outputs: 1 x XLR, 1 x 1/4", 1 x 1/4" (DAC Out)
  • Other I/O: 2 x Bantam (Opto Send/Return), 2 x Bantam (FET Send/Return), 2 x Bantam (Ext Link)
  • Rackmount Spaces: 2U
  • Height: 3.5"
  • Depth: 12"
  • Width: 19"
  • Weight: 25 lbs.
  • Manufacturer Part Number: SLAMA

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Customer Reviews

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Rated 5/5

A Truly Sublime Stereo Rig

I may never use my Millennia for a simple stereo capture of a concert hall again. Okay, maybe if I ever get to record in a famous European hall that already sounds perfect. But for most locations, the Manley is nigh unbeatable. It sounds so deep and smooth. My SM81s sound like different mics. Neumann KM-184s sound round. The pres are perfect for recording ensembles at a distance, and the limiters handle peaks beautifully. I patch it in for live streams, too. The tonality is head and shoulders above anything else I've tried for my application.
Music background: Classical
Rated 5/5

Everything Goes Through the Slam!

I've had the Slam! for about five years now, and it's become the last stop before the converters for everything I record in my home studio. Now, I would probably never have such an expensive piece, but my friend had one and needed a used car, so we made a trade.

Pros:
- Very clean sound, suitable for almost any source
- Two very different limiters - a slow optical limiter and a fast FET limiter
- A variety of input options, including DI, line in, and high pass filtered mic input
- Good external power supply

Con:
- Not enough gain for quiet sources through a passive ribbon mic
- Priced for pros, those with deep pockets or someone like me that stumbled into a good deal

Although it's a tube preamp, it doesn't noticeably colour the sound of sources, which makes it suitable for any source. I've recorded keyboards, acoustic guitar direct, and an assortment of microphones, all of which sounded great in the Slam!. I've also used it as a line driver by plugging a bass into an LA-610, then into the line level input of the Slam!. It handled all of these sources flawlessly.

Note that it doesn't have enough gain for quiet instruments into a passive ribbon mic, so I've used a two-stage approach starting with a very clean Grace 101 preamp then into the line input on the Slam!, though recently I got an SE Dynamite phantom-powered inline preamp to solve the gain problem properly.

As far as value goes, I can't really say that I would buy this unit if I didn't get it on a trade, even though it's become the centerpiece of my home setup. I think it's top quality in every way. If I were looking to buy some handmade studio gear now, I'd be looking seriously at some of the new Manley gear, such as the Core channel strip.
Music background: home recording
Rated 5/5

tasty af

The Manley SLAM is my absolute number 1 go-to preamp for tracking. It works especially well with ribbon mics and is a dream for tracking drums since you can dial in both compression and limiting.

It is also an essential part of my analog mastering bus because it is clean and dreamy.
Music background: Producer
Rated 5/5

The Real Thing!!!

The Manley SLAM is one of our most used tools. It is the Swiss Army Knife of our studio. When running our SF-12 stereo ribbon with the limiter wide open there is plenty of gain to capture the quietest string instruments on one day and with a SM7B and BOTH the electro-optical and FET brick-wall limiters grabbing a screaming rock vocal the next. We also use it for synths and drum machines to make them sound HUGE and sit right in the mix. It also works great with almost all program material on a stereo mix together with the Manley Vari Mu. For me there are no plug-ins that can capture the sound of great rack gear. We all use our favorite plug-ins and yes they come close and do sound great but there is nothing like finishing off your mix with the real thing. I can’t say enough about Manley products!!! They stand by their gear with a 5 year warranty. Now that’s something in this day and age.
Music background: Theatre Sound Designer, Pro Musician, Studio Owner
Rated 4.5/5

Manley SLAM

I had this unit for 6 years used in all different kinds of situations. From jazz recording to slamming punk it always gave me the color and character I always wanted. The preamp is sweet and it has a huge bottom. The ELOP, when used correctly, remains unnoticeable, great also on vocals. When recording drums, the FET limiter is a great tool. I also use it on ROOM mics for drums with a touch of limiting........ it rocks!
When mixing, I ran my 2 bus to the SLAM with no compression or limiting and it certainly adds a lot of colors. It's one of my favorite boxes in my studio. It really does a lot for me. Thanks to the Manley Family for this great product.
Music background: professional recording engineer/musician/producer.

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What Do Our In-house Gear Experts Think?

Kenny Bergle

Believe it or not, the SLAM is an unbeatable value at this kind of price point. Not only do you get two of the best sounding Class-A, tube preamps available, but you also get BOTH electro-optical and FET brick-wall limiting on both channels. Nothing has been compromised in this package that WILL give you THE sound you have been looking for.
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