 George
Shilling reviews:
Manley Massive Passive Stereo Tube EQ
Manley
have established a mighty reputation for their no-compromise
outboard equipment. The attention to detail is astonishing, the
manuals informative and entertaining, and the sound quality
undeniably superb. So why the Massive Passive? Surely, the Pultec
copy has been done-to-death? Well, the MP goes much further, with
Pultec-derived technology pushed into new realms, as you will
discover. Like a Pultec, the EQ is achieved passively, i.e. with no
amplification of frequencies as such, only subtractions, with an
overall gain make-up circuit. Here, the four EQ bands are wired
parallel, (unlike most EQs, which are series). This avoids extreme
signal loss, so less gain (50dB) is required. Manley claim other
benefits to this approach. In essence, it makes it difficult to
overdo things, by virtue of the way the bands interact. Three bands
boosting a similar frequency by 20dB will give a 20dB boost, not a
60dB one. (Who needs that?) Transformer-balanced outputs are claimed
to also bring a sonic benefit. Components have been carefully
selected, and designed to interact musically, rather than achieving
any artificial numerical goals in terms of bandwidths or dBs of
boost. Rather than using a large bunch of transistors (like most EQs),
the MP uses metal film resistors, film capacitors and hand-wound
inductors to sculpt the sound. The restorative gain circuits use
tube gain stages. There are two tube amplifiers per channel, and
valves are run at over 300VDC. The output is capable of (cleanly)
driving up to 37dBu!
The
‘Massivo’ lives up to its nickname. This 3U monster is extremely
heavy. The thick metal front implies that this is not a box to be
sniffed at. On the back, a big mains transformer is oddly mounted
outside the case, no doubt for sonic reasons. XLR and TRS jack
connections are all at +4dB, but the jacks can be made to work at
–10dB by flipping internal DIP-switches. These are about the most
modern thing inside, and looking through the mesh top is like
peering into the back an ancient TV set.
The
front panel has a smart, simple approach with the two channels'
controls laid out side-by side with most of the controls mounted in
black panels. The rest of the surface area is attractively etched
metal. The larger panels are bolted-in modules which feature the
controls and electronics of a single band, enabling possible future
upgrades such as active bands, stepped-gain mastering EQ etc.
In
the centre are main controls: Power is switched with a rotary knob.
The illuminating ‘In’ button for each channel stays off for the
first 20 seconds while the voltages build up to a relay click. The
little Gain knobs for each channel are really just fine-trims, with
a usefully high-resolution range of -5 to +4dB. High- and Low- Pass
Filters are also positioned here in the middle. These each offer 5
frequencies (and Off) which are a sensible range of 22, 39, 68, 120
and 220Hz for High-Pass, and 6, 7.5, 9, 12 and 18kHz for Low-Pass.
These are approximately 18dB per octave for the High Pass Filters,
but somewhat steeper Low Pass Filters, with an especially steep
18kHz filter which is a remarkable 60dB per octave (theoretical) for
"warming up digital". The lowest three Low-Pass filters
have a little boost just below the cut-off frequency, which adds
some colour, instead of just dullness.
Each
band on each channel includes two panels of controls. The first,
permanently fixed into the front panel, features a toggle switch for
Boost, Cut (with LED indicators behind the legending) or Out, and a
Shelf/Bell toggle. The former relates to the gain control in the
other panel, and with only one direction to turn the knob, this
gives double the range normally available on a rotary control.
Therefore, 20dB of gain or cut is not unwieldy. These are stiffer
and have a better feel than knobs on other Manley gear. There is
little by way of calibrated legending, but this is deliberate, as
with different settings there is between 6dB and 20dB maximum gain.
Switched frequencies are well-chosen, roughly º-octave spaced.
These settings overlap and interleave, with the low band ranging
from 22Hz to 1kHz , low-mid from 82Hz to 3.9kHz, high-mid from 220Hz
to 10kHz , and high from 560Hz to 27kHz. As well as its conventional
function in bell mode, the bandwidth knob also controls the
steepness of the shelf. When in Shelf mode, setting a narrow
bandwidth introduces what is referred to as a ‘Pultec Shelf’,
i.e. the effect you get on a Pultec when you Boost and Cut a low
frequency simultaneously. This gives a little dip in the low-mids
above the main LF boost. With the Massivo you can also do this
‘upside-down’ using Cut, and the effect is pleasing with a
High-Frequency shelf too. And all four bands have shelving
capability. Marvellous! By the way, the two highest and lowest
shelves behave differently from other frequencies, so as not to
cause problems with extreme settings.
In
use, one is sometimes surprised by the subtlety of extreme settings,
and I found myself gratuitously EQing everything in sight as I
recorded, often when I might not normally have EQ'd at all. Despite
this perceived subtlety, the results were always far more satisfying
than the 'flat' sound, and nothing like you would get from the
conventional EQ on any console.
The
manual is really quite remarkable in the depth of its approach, with
an incredible detail of explanation into why the unit is the way it
is. For example, the Power On switch warrants well over 200 words.
Almost every design feature is justified, and any thoughts of
criticism are headed-off with explanations. There is even a highly
enjoyable section on studio engineering, which I suspect is more
useful than certain audio engineering courses. The only pathetic
'moan' I can come up with is that the Bandwidth and Gain knobs feel
a bit too loose. Either I am losing my touch, or this is the best
outboard EQ I have encountered. The latter, I hope...
Buy the Joe Meek TwinQ Studio Channel Strip and other recording equipment in our shop.
Reproduced
with kind permission from www.George.Shilling.Com. Copyright ©1997
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