![]() When this switch is selected to O/P and illuminated, the meter measures the output in decibels.Ħ. It shows the amount of gain reduction in dB from the 0 dB mark, when the switch (7) is set to REDUCTION. The Large custom VU meters allow easy tracking of both channels with the Nu Mu. Use this switch to verify that the limiting or compressing is not messing up the original sound but enhancing it or at least leveling the volume.ĥ. If the switch is engaged and illuminated to the “IN” position the audio will pass through either the Limiter or Compressor, so all the front panel controls will function. The BYPASS switch in the Nu Mu is a ‘Hardwire’ bypass for maximum performance. This switch allows the Nu Mu to use two different compression ratios, offering either Compression at approximately 3:1 when the switch is engaged and illuminated, or Limiting at approximately a 10:1 ratio.Ĥ. IN / BYPASS SWITCH. The most extreme effect is when the control knob is set to MIN or fully counter-clockwise.ģ. COMPRESS / LIMIT SWITCH. THRESHOLD or gain reduction sets the necessary amplitude for compression or limiting to take effect. The THRESHOLD control is available on both the L and R channels. Unity gain is about the ninth marking, or 11 o'clock.Ģ. THRESHOLD CONTROL. It adjusts the output level of that audio channel. The OUTPUT control is available on both the L and R channels. And here is what we have with the Manley Nu Mu – and for all of our individual musician and home recording customers, it is very well-priced for them."ġ. Thus a clean, fast and punchy solid state limiter compressor is what the world needs now. We don’t want to add more vibe or slow down the sound. So we don’t need this big masking sound for everything we are doing today, especially for electronic music / EDM where we want to retain super crisp and punchy sounds. Skipping forward to today, we have really excellent digital converters, and of course it is our de facto standard now. A big round heavy-handed vibey sound like The Variable Mu was exactly what was needed then. And then digital was not really excellent yet. There was still plenty of recording to tape occurring in the big studios. ![]() "Let’s think back to the early 1990’s when the Variable Mu first came out. No chips! So this is, yes, less expensive than the all-tube Variable Mu and also being transformerless on the outputs, very much the clean version of the Variable Mu. From there we then go into high voltage discrete transistor and FET amplification and drive circuitry. "So: taking the smoothest & best version of the Variable Mu - the T-BAR mod where we use two 6BA6 Pentodes strapped as triodes to achieve characteristics just about identical to the revered 6386 tubes of the original version (or the Fairchild) - we have the same front end as the Variable Mu. ![]()
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