manley laboratories
in 1993, manley laboratories, inc. became a separate entity apart from vtl .
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after only three years with manley laboratories, co - founder david manley abruptly left the company and the country in 1996. with eveanna manley now at the helm, the modern form of manley labs began to take shape .
manley laboratories (langevin) tel. (909) 627 - 4256; e - mail emanley @ manleylabs. com; web urltoken
eveanna manley: behind the gear with manley labs | tape op magazine | longform candid interviews with music producers and audio engineers covering mixing, mastering, recording and music production .
preamp (more than $ 1, 000) langevin dual vocal combo ($ 2, 000) premium mic preamps are key ingredients in superlative recordings, and it & apos; s no secret that manley laboratories makes some of the finest. but until the dual vocal combo (dvc) hit the street, not many people at the personal - studio level could entertain thoughts of owning a voice processor hand - built by the esteemed manley labs. (units bearing the manley laboratories imprint are tube models, whereas manley uses the langevin name - which it has owned since the early 1990s - to designate its line of solid - state products. )
these custom transformers rapidly become a hallmark of the manley sound, and remain so to this day .
manley laboratories continues to produce recording, mixing, mastering, and playback equipment of the very highest caliber, proudly maintaining the great analog traditions upon which the company was built - and always looking forward to the future of the industry. tubes rule .
it was at this time that the first manley professional products were developed, starting with the original 1u reference 60db microphone preamplifier and soon followed by the manley enhanced pultec and mid frequency equalizers. these products, along with the manley reference cardioid and reference gold microphones, all made their debut at the 1990 los angeles aes show .
this modification comes stock on all manley variable mu limiter compressors since 12 / 2009, on both regular and mastering versions .
manley' s first commercially available products were upper echelon high - fidelity vacuum tube amplifiers and preamplifiers constructed at the old vacuum tube logic of america factory .
brandeis dissent on the states as laboratories - new state ice co. v. liebmann, 285 u. s. 262, 52 s. ct. 371, 76 l. ed. 747 (1932 )
under the leadership and vision of eveanna manley, manley labs has created and built some of the finest studio equipment (and high - end home audio components) over the last two decades. studios across the world count on their mostly tube - based eqs, compressors, microphones, preamps, mixers, and more .
manley nr, selleri l, brendolan a, gordon j, cleary ml. abnormalities of caudal pharyngeal pouch development in pbx1 knockout mice mimic loss of hox3 paralogs .
hemex health and diatomix were selected as this year’s winners at the conclusion of an exhaustive due - diligence process, which included weekly meetings since early march to review each of this year’s 46 applicant companies. the other finalists were heritage laboratories ,
from the early 2000s to today, manley has focused on streamlining production processes, becoming more efficient while maintaining the principles of high - end audio quality and integrity in american manufacturing that have always guided the brand .
the new manley labs factory at 13880 magnolia ave. in beautiful and bovine chino, california was outfitted to house the manley hi - fi and pro studio manufacturing as well as the langevin production lines, our newly acquired machine shop, and printed circuit board facilities. the following year, the factory' s capabilities were augmented by the addition of a computer - controlled mechanical engraving machine and, very importantly, a transformer winding department .
my dad gave me three names when i went out to l. a. i called the first guy who worked at crate amplifiers — he didn' t answer the phone. the second guy worked at fender and he knew david manley. i was trying to get a job at fender. he said ,
yeah, call these two crazy south africans in chino building tube gear .
that' s how i met david and [ his son ] luke manley. david and i got married, and i was running the factory. we split up vtl and manley labs. within three years he took off and moved to france, and we got divorced .
my wife, quite taken by the unconventional appearance of this curious new denizen of our audio menagerie, was pleased to learn that its overall design was the vision of a female audiophile .
it looks like a little village ,
she concluded. but while the essential vision was indeed that of manley labs' guiding light, it took a village of dedicated audiophiles, or at least manley labs' dedicated team, to raise such a child .
immunohistochemistry using anti - pbx1b, 16, 23 anti - pbx2 (clone 2. 1), or anti - pbx3a 19 monoclonal antibodies was performed on paraffin sections of embryonic tissues. paraffin sections (7 μ m) from e9. 5 and e12. 5 mouse embryos were prepared and rehydrated. for antigen retrieval, the slides were immersed in citric acid–based antigen unmasking solution (vector laboratories) and boiled in a pressure cooker for 10 minutes, then cooled down at 4°c for 20 minutes. endogenous peroxidase activities were blocked by treating in 3% h 2 o 2 for 10 minutes. the slides were then blocked in 5% normal goat serum for 30 minutes. the primary mouse monoclonal antibodies were used at the following dilutions: anti - pbx1b, 1: 200; anti - pbx2, 1: 400; and anti - pbx3a, 1: 400. the antibodies were then incubated for 2 hours at room temperature. the biotinylated anti - mouse igg secondary antibody (vector laboratories) was used at 1: 250 for 30 minutes at room temperature. the signal was amplified using the vectastain elite abc kit (vector laboratories) for 30 minutes and developed with dab (vector laboratories). finally, the slides were counterstained with hematoxylin for nuclei and mounted with permount (thermofisher) .
there' s an aesthetic dimension to the manley laboratories stingray that transcends high - end audio and borders on modern sculpture—not unlike the e. a. r. v20, which i auditioned in the october issue. still, the stingray is by no means an exercise in gimmickry. form has clearly followed function at every step in the design process, the ultimate goal of which was to fashion a vacuum - tube integrated amplifier with real - world power that defined the outer limits of high - end performance in a functional, affordable, bare - bones package... with a touch of style .
for all non - technical related questions or comments, give us a holler using the general contact form. wondering if the manley unit of your dreams is going to work for you? ask us! we' re here to help make your dreams come true !
beginning with the core ® reference channel strip in 2014 and continuing with the force ®, nu mu ® and elop ® +, the newly designed power supplies in manley’s latest gear provide the ultra - low noise floor, true high voltage brawn, and superior headroom required for serious analog sound .
large illuminated sifam meters (older units before serial number mslc61642 shipped before 12 / 2003 use: 26v 1. 2w festoon lamps; manley' s part number: var016b) order spare bulbs using our parts order form. (newest units after serial number mslc61642 shipped after 12 / 2003 use white led lighting )
follow the directions below to convert your 5670 - powered manley variable mu® to use the 6386 tubes. it' s more work to do this than to install our 6ba6 t - bar mod kits which we charge $ 500 for (complete and installed with four 6ba6 tubes selected for quad - perfect matching, lo - noise, and lo - microphonics) .
proudly from our beginning, we at manley labs have been closely involved with numerous mastering facilities around the world. for these most demanding engineers in our industry, we have created specialized products such as our all - tube tape repro head amps, digital converters, high - powered vacuum tube monitor amplifiers, through to custom monitoring consoles, all the way up to complete facility design and installation .
totally. i was so impressed with him. my whole plan was to take the next semester off from school, go find him in san francisco, and talk myself into some job with bgp [ bill graham presents ]. i drove across the country, but i stayed in l. a. and got a job at vacuum tube logic with the manley' s at the time. i didn' t go to san francisco .
the stingray' s hexagonal shape—essentially a square with the front and back corners cut off—evolved from manley' s desire to keep signal paths and connections as short and direct as possible so as to employ a passive preamp instead of a gain - stage device. which is why a pair of bullet - shaped aluminum pillars serve to conceal and gussy up the left and right corners, and double as the conical feet on which the amplifier rests .
while the manley stingray has only one power transformer, it is essentially a fixed - bias, dual - monoblock configuration on a single stainless - steel chassis. it has sets of separate left and right line inputs (gold - plated brass with teflon dielectric) positioned to either side of the chassis and adjacent to their own output transformers, a four - position silver - contact input selector switch, and screw - down - style binding posts .
of such moments are legends born. in honor of jgh, this souped - up, highly evolved descendant of the venerable manley 50w monoblocks was dubbed the stingray. the fish is illuminated on the 24k - gold front panel in a manner befitting the trailer for a william castle / vincent price mondo sci - fi epic. (
no audiophiles will be seated during the final 15 minutes of this demo! please don' t reveal the surprise ending to your friends !
)
the 6l6 also happens to be a rugged tubeas it has to be for musical - instrument use. guitar amps are designed to withstand being knocked over during bar fights, tripped up by lounge lizards, and dropped off the backs of band vans. in the 1950s and' 60s, the british, bless their hearts, routinely used kt66sclose cousins of the 6l6. in this country, the 6l6 has been snubbed by high - end designersat least until just recently. what a collective blind spot! the manley 175 should change all that .
well, i can' t admit to consciously trying to inflict my personality on the sound of this gear, but i will admit to listening to a lot of rock' n' roll music ,
manley laughs .
music has such a powerful associative property for me—it' s emotional. true enough, i played saxes and clarinets and a little trumpet in high school and college bands and orchestras, and even got a degree in music, so yeah, i know my music theory and i do know what real instruments sound like .
to solve all these problems, paul came up with a really good solution: the t - bar mod. this uses a pair of 6ba6 pentodes wired as single triodes to replace each dual triode 5670 (or 6386). the 6ba6 t - bar mod is the preferred system to use in the manley variable mu® for reasons of ability to perfectly match each phase - halve section and each stereo set, ability to select for lo - noise and lo - microphonic sets for a low cost, and because the action of the 6ba6' s so closely resemble the smooth 6386 limiting curves .
individual bias pots are provided for the output tubes. the trim pots and test points are conveniently and logically laid out on top of the chassis. a multimeter with a dc voltage function is required for the bias adjustments. the trimpot is adjusted so that the dc voltage across each 10 ohm cathode resistor measures 260275mv, which, by ohm' s law, corresponds to a bias current of 2627. 5ma. the corresponding plate dissipation is a conservative 13w. manley labs recommends that the bias be checked every few months. they estimate an output tube life of three to four years with average usage .
the main functions of preamps these days are switching and volume ,
manley explains .
when you have to drive only a few inches of wire, as in the stingray, and all your sources are a couple of volts output, as they mostly all are these days, a passive preamp works great. some guys, thinking less is more, get in trouble with passive preamps trying to use a 50k ohm potentiometer to drive 12' of whatever capacitance in the cable. whoops? where did the balls and high frequencies go? gotta get down to some low impedance to drive cable properly without loss .
the filter is a very gentle 6db per octave 1 pole filter, and will typically be down 1 - 3db at 100 hz, and down 4 - 6db at 50hz. as you decrease the frequency the amount of limiting will decrease also. at the extreme lf (< 20hz) there should be very little gain reduction going on. the whole intent of the filter is to keep very lf stuff (like a heavy kick drum) from activating the compression / limiting so that the overall level doesn' t duck with every drumbeat. we can add the high pass side chain option stock boards for an extra $ 350 net (or $ 200 as a kit) to older manley variable mu limiters .
a targeting vector was created using the cstf2t coding region from chromosome 19 (33) with pgk - neo (fig. 2 a), electroporated into 129svev es cells, g418 - resistant colonies were selected, and colonies in which neo had replaced cstf2t were identified by pcr. es cells were microinjected into c57bl / 6 embryos and reimplanted into pseudopregnant females. mice that displayed a high degree of chimerism were identified and bred to wild - type c57bl / 6 mice to generate f 1 progeny. germ - line transmission was confirmed by pcr analysis of f 1 animals (fig. 2 a and b). subsequent animal studies were performed at texas tech university health sciences center, in accordance with protocols according to national institutes of health guidelines, and approved by the institutional animal care and use committee. cstf2t tm1 (neo) mice used in these studies were of mixed c57bl / 6–129svev background. cd - 1 outbred mice used in the mating analysis were purchased from charles river laboratories .
well, up to about 6db of limiting it' s about the same. after that point, the 5670 version tends to sound more
squashed
than the original 6386 version. some like it better, some don' t - - depends on what you' re trying to do. to solve all these problems, paul came up with a really good solution: the t - bar mod which uses a pair of 6ba6 pentodes wired as single triodes to replace each dual triode 5670 (or 6386). the 6ba6 tbar mod is the preferred system to use in the manley variable mu® for reasons of ability to perfectly match each phase - halve section and each stereo set, ability to select for lo - noise and lo - microphonic sets for a low cost, and because the action of the 6ba6' s so closely resemble the smooth 6386 limiting curves .
as manley describes it ,
' sorry, boys,' i' d tell them.' your numbers are way better with the new designs, but we' re still not there sonically. try again.' so what actually ended up happening was a balance of numbers and ears. the bass sound i was looking for came from the right amount of inductance combined with a slight introduction of saturation.' oh, the horror!' you say. nope, numbers ain' t everything... as you may have heard. the other place we found we were losing a little bass was in the old input stage we' d been using for the past 15 years. so paul fargo developed a new input design that really did the trick. and it suited us well, with the stingray' s passive volume and balance control, to score a little extra gain there anyway. and mr. 12at7 takes care of that job .
it would be strange and unwarranted doctrine to hold that they may do so by enactments which transcend the limitations imposed upon them by the federal constitution. the principle is imbedded in our constitutional system that there are certain essentials of liberty with which the state is not entitled to dispense in the interest of experiments. this principle has been applied by this court in many cases. dorchy v. kansas, 264 u. s. 286; wolff co. v. industrial court, 262 u. s. 522, 267 u. s. 552; pierce v. sisters, 268 u. s. 510; nixon v. herndon, 273 u. s. 536; tumey v. ohio, 273 u. s. 510; manley v. georgia, 279 u. s. 1; washington v. roberge, 278 u. s. 116; chicago, st. p. , m. & o. ry. co. v. holmberg, 282 u. s. 162; stromberg v. california, 283 u. s. 359; near v. minnesota, 283 u. s. 697. in the case last cited the theory of experimentation in censorship was not permitted to interfere with the fundamental doctrine of the freedom of the press. the opportunity to apply one' s labor and skill in an ordinary occupation with proper regard for all reasonable regulations is no less entitled to protection .
he owned the company, probably with some other people. i' m not sure what the financial structure was at the time. he organized a buyout from everett hull. les paul told me ,
your father bought ampeg in my living room !
that' s how i got into the business, through old contacts of my father' s. he married my mom in' 76 after he had sold the company to magnavox in' 72. we heard all the stories: that he knew johnny cash, that the rolling stones used ampeg, and all that. it all sounded very interesting .
sure. the rock and roll business sounded really glamorous to me. through high school i was big into band and art, and i was torn between what i wanted to do. my mother was trying to push me into architecture because i was a very skilled artist. i went to interview at an architect' s for a summer intern ship; everyone was dressed in suits and looked super uptight. i thought ,
no, this is not going to be my world. no way .
when i was going to college at columbia, the great promoter bill graham' s son, david graham, was in my class. he brought bill into one of the classes to give us a lecture. he was sitting there, right in front of us, telling us everything about the music business .
yeah. i was already running the company anyway at that time. i was running the factory, as well as most of the sales, managing the dealers, directing customer service, and answering lots of questions for customers, which i still do. i bought david out. he was a bit of a renegade. he didn' t like dealers, but if you want to be a real company, the traditional way is still the best way .
by the late' 80s, people had basically stopped making pro audio gear with tubes .
yeah, there was summit and tube - tech, basically. there weren' t a lot of boutique audio companies at the time. today, if you' re a person with an idea, you can put something together, start a company, exhibit at a show, start selling stuff, and make a nice little living doing that. maybe it had to do with getting the word out back then. these days with the internet, you can get the word out .
your microphone line might not always get a lot of attention, but i know the reference cardioid microphone is one of your top sellers .
it' s our best - selling product. we started building those mics in 1990 and debuted them at our first aes show, also in 1990. we' d been working with david josephson [ tape op # 48 ] during that time. he builds the capsules for the reference gold mic. the reference cardioid mic, which came later that year, uses a chinese capsule. there' s something very magical about it. it' s basically the same tube stage in both mics, but the capsules and their voltages are different... .
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the variable mu limiter compressor is the glue that holds the mix together while crystallizing it into a professional, final product. all - tube, all transformer, an all - american legend. high pass side chain mod now comes standard .
excellent design and workmanship. highest quality sonics. the ultimate' glue' for a mix .
the compress mode is soft - knee 1. 5 to 1 ratio while the sharper knee limit mode starts at 4 to 1 and moves to a more dramatic ratio of 20 to 1 when limiting over 12db. interestingly, the knee actually softens as more limiting is used. distortion can be creatively used by turning up the input and turning down the output while using very little or no compression. see the gain reduction curves here !
you might notice that the variable mu® limiter compressor has a ganged input control, but do not jump to conclusions that it is mono - unfriendly. track away! there are separate threshold and output controls to make compensations with plus you can always adjust your individual source levels elsewhere, right? the advantage of the stereo input control becomes dramatically clear when you switch to link mode, and that’s what our variable mu® limiter compressor does better than anything else: final mix, 2 - track, or mastering limiting and compression. like one reviewer put it: “it’s like pouring a bowl of sweet cream over the mix. ” mmmmmm. yummy. give your music a big hug .
stepped switch input attenuator as of 10 / 2011. (older units use silent dual - ganged potentiometer )
limit (4: 1 to 20: 1) or compress (1. 5 to 1 )
unit is factory set for 100v, 120v or 220 - 240vac operation for original destination country' s mains voltage .
mains fuse value for 100 ~ 120vac operation: replace with 1. 25a as of 10 / 2011
mains fuse value for 220 ~ 240vac operation: replace with 0. 6a (600ma) as of 10 / 2011
dimensions: 19” x 3 1 / 2” x 10” (chassis occupies 2u) power transformer protrudes 3. 5
out the back of the chassis .
yes, the newer units use the 5670 tube instead of the 6386. by now the availability of the original usa ge 6386 is poor; we don' t have any left at all, and what we do have are not usable due to noise, microphonics, bad side - to - side match, etc .
update 2009: there is a new production 6386 being made by jj factory. they are very expensive, $ 120 each! we have not tested these tubes .
you can read an informative thread about the jj6386 on gearslutz to decide if you want to them instead .
if you want us to convert your unit for you, we can. you' ll be supplying the 6386 tubes and we will all pray to the tube gods that they are quiet and internally matched. maybe buy extras to be sure. check out our service page for rates and then fill in the ra form to book the service and you can work with paul on that .
replace 3k57 resistors connected to pins 4 & 6 of 5670 socket with 6k8 1w .
replace 33k 1w resistor between wiper of
gr cal
trimpot and the junction of the meter with 22k 1w (resistor is located near the rear corner of the pcb next to the gr cal trimpot) .
repeat procedure for the other channel; re - calibrate as outlined in the owner’s manual .
the limiting characteristics shouldn' t change much, but the distortion characteristics will. the input control on these units is located ahead of the tubes, directly
behind
the input transformer. so as you advance the input control, you' re hitting the input tube (which is the gain - varying stage) with more and more signal. gain reduction is done by making the dc bias on this tube more negative (the threshold control determines how much). the tube has a limit as to how far it can be biased negative to reduce gain before it goes non - linear, and since your audio signal is obviously swinging both positive and negative, the big swings of the audio signal plus the negative gain control voltage will eventually push the tube into the red zone. tubes like the 6386 / 6ba6 / 12ba6 can be pushed a lot farther before the thd builds than tubes like a 5670. higher signal level also pushes the rest of the tubes and the output transformer harder, which will change the sound character as well .
the input level is a five position switch with a generic optimum setting of “0” in the 12: 00 position. each step in either direction is 2 db. for reference, unity gain is
0
. the output attenuators are in half db steps. reference unity is - 11. 5 or fully counter - clockwise. you might think of these as
gain makeup
. they are marked technically, in that “0” or fully clockwise has zero attenuation in the circuit. the tube circuit actually has 15. 5 db of gain. the input attenuator at
0
removes 4 db and the output attenuator removes the last 11. 5 producing
unity
. with a little compression the
gain make - up
available with the output attenuator is very handy .
the threshold is in half db steps calibrated to limit mode. in compress the steps are approximately 1 / 4 db. there are 24 steps so limit gets a 12 db range and compress has a 6 db range of adjustment. in some cases it is common to use the input attenuator to find a good starting point. some mastering engineers find using the combination of input, output and threshold to achieve a little different
drive
. another good reason for stepped gains .
the attack time has been slightly extended in both directions compared to a regular variable mu and divided into 11 steps. the recovery 5 position switch is exactly the same as a regular variable mu .
this mod adds two switches to the front panel, one for each channel, so that when engaged, the side chain will not respond to frequencies lower than 100hz. (we standardly use 100hz as the - 3db point. other frequencies can be custom ordered .) this hp sc mod can be used with music with heavy bass lines or bass - heavy mixes where you don' t want the bass driving the whole action of the compressor .
backstory: the newer variable mu units use 5670 tubes instead of the 6386. by now the availability of the original usa ge 6386 is poor; we don' t have any left at all, and what we do have are not usable due to noise, microphonics, bad side - to - side match, etc .
so does the 5670 sound different? well, up to about 6db of limiting it' s about the same. after that point, the 5670 version tends to sound more
squashed
than the original 6386 version. some like it better, some don' t - depends on what you' re trying to do .
we can add the t - bar mod to your variable mu unit for $ 500 net (or $ 300 as a kit) .
mid / side (a. k. a. vertical / lateral, or sum / difference )
this modification opens the door to stereo encoding and decoding as well as exciting image enhancement processing capabilities. for instance, setting to compress only the in - phase information allows the augmentation of the stereo image as the out - of - phase content is left untouched. or, conversely, if you need a
more - mono
mix for broadcast, or vinyl - cutting for instance, you can set it to kill off more of the out - of - phase info which leaves more in - phase material in the final result. read more about the ms mod on page 12 of the owner' s manual .
total mod cost for the m - s option is $ 800 net added to the base cost .
in order to add both m - s and the hp sc mods, we move the power switch to the rear panel and install both channels' hp sc switch to the center hole where the power switch was. the m - s switches then flank this switch .
please use + for your country code. for example: + 33 1 55 55 55 55, or + 1 909 627 - 4256
on january 30, 1989, a 20 year old eveanna on sabbatical from her studies at columbia university met the crew and was hired on to the production team. she quickly learned to solder and assemble vacuum tube amplifiers, and after training a new team of assemblers, eveanna worked her way into the quality control department .
during the late 1990s, several legendary products were introduced. these are our industry' s modern classics .
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, that venerable sage remarked dryly, between sips of his even drier martini ,
it looks like a stingray .
now, because we build all of this pro recording equipment, i find myself in a lot of recording studios and mastering rooms, and, this being the music industry, most of it is pop or rock' n' roll music, so that becomes my reference. but you know what? a lot of the evaluative listening process is a relative thing, whether you' re involved with acoustic purist music or multitrack recordings—once you know anything rather well, relative listening comes into play. can you hear the detail of the beads on the shaker, the tone of the guitar, the decay of that hall, the solidity of the bass attack ?
hey, robert plant' s voice was once an acoustic instrument, just the same as that trombone was. they were both floating through the air until some microphone picked up the sound to convert that air movement into some little volts to be made into some bigger volts to get moved through a bunch of gear onto a storage medium, which we can later buy and do the reverse to .
ideally suited to accept spades or bare wire, these old - fashioned - looking posts are positioned close enough to the back of the output transformers that using a pair of pliers is a tight squeeze. nor was i able to piggyback a second set of speaker cables with wbt expanding bananas for a biwire setup, as i had with the more versatile vertical binding posts of the mesa audio tigris and the e. a. r. v20. my handy - dandy dynaclear postman (with its ½
and 7 / 16
slots) didn' t work here, making it a bit clumsy to change cables. if i' d had an adjustable wrench or a 3 / 8
nut driver, i' d have been cool .
and so, in detail after detail of the stingray, form follows function. thus the decision to employ, for exceptional transparency, a passive preamp and high - quality passive noble volume and balance controls .
another way that the form followed function was having the power switch next to the iec connector. if i had run the power switch up at the front panel, then the mains would have had to flow right under the input circuitry. by keeping the power switch at the back, where it' s easily accessible, wiring—and thus labor—are greatly simplified, and all the ac is kept furthest away from the sensitive input stages .
gives much of a clue as to the 175 monoblock' s special pedigree. where are the bands, the fanfare? ! after all, the rolling - out of a 6l6based high - power audiophile - grade tube amplifier definitely qualifies in my book as a momentous occasion. deplorably, such happenings are rare indeed; the 6l6 has been unjustly neglected in high - end circles .
the 6l6 was the first - ever beam power tube to be designed, and a certifiable american classic. thousands upon thousands of guitar amplifiers, from fenders to mesa boogies, have used the 6l6 family of tubes over the years. this is no accident or fad, but the direct result of the 6l6' s essential musicality. understand that guitar amps are routinely driven hard, much of the time into clippingeven a moderate twang on an electric guitar string is almost sufficient to drive an amp into overload .
) why he thinks the 6l6 is so appealing for musical - instrument use. his answer, not surprisingly, related to the manner in which it clips. unlike an el34, which clips with a blaze of raspy odd - order distortion products, the 6l6 yields a distortion spectrum rich in even - order harmonic productsa benign and musically attractive tinting of tonal color that gives a rounder, more liquid tone. a million guitar players can' t be wrongthey' ve esteemed the 6l6 as a sonic talisman because of its ability to perform passionately under pressure .
i believe that a domestic power amp, too, must be able to perform under pressure; 100 - watters are often called upon to drive loudspeakers that barely scrape a sensitivity spec of 84db. an amp in such an application will red - line more often than you might think .
the input signal of the 175 is direct - coupled to the grids of a 12at7wa dual - triode, both halves of which are connected in parallel. following the input stage, the signal is rc - coupled to a 6350 dual - triode connected as a cathode - coupled phase splitter. note that the 6350 is the american military version of the 12bh7a, but with a different pin - out. be warned: there is no substitute .
the output stage is dominated by an octet of russian (sovtek) 5881 / 6l6wgc beam power tubes operating at a b + voltage of 525v. according to
, the
w
in the tube designation denotes highest mil - spec to russian protocols. these tubes are said to be rated by the factory at a maximum plate voltage of 600vconsiderably higher than the ratings of ordinary 6l6 types .
the power supply is of conventional design, using solid - state rectification and capacitor - based filter networks. the output transformer is factory - wired for a 5 ohm loada reasonable guesstimate for most dynamic speakers. but this prohibits the 175 from being used with loads that dip below 3 ohms in the bass. however, these type of
short - circuit ,
juice - hungry speaker loads aren' t really tube territory anywaythey' d force any tube amp into cardiac arrest .
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over 850 biographies of physicists and histories of institutions with information pertaining to their lives, careers, and research .
general electric company' s research laboratory was founded in 1900 before being renamed the general electric research and development center in august 1965 when the research laboratory and advanced technology laboratory were merged. corporate interests include: broadcasting; electric components; household appliances; lighting equipment; motors; telecommunications; electromedical industry .
general electric company' s advanced technology laboratory and research laboratory were merged to create the research and development center .
physico - chemist; assistant director; associate director; director; vice president and director of research; consultant on x - rays; and emeritus director .
dumond, jesse w. m. (jesse william monroe), 1892 - 1976
research physicist; assistant to the director of research; and vice president and director of research .
selected records, including letters, reports, and notebooks by arthur holly compton, saul dushman, irving langmuir, frederic saunders, and willis r. whitney .
spencer weart research material for his book, nuclear fear: a history of images, 1957 - 1987 .
charles b. duke career highlights [ autobiographical materials ], 1959 - 2006 .
mit office of the president records of karl taylor compton and james rhyne killian, 1930 - 1959 .
oral history interview with frederick seitz, 1981 january 26, 27, march 24 and 1982 march 16 .
oral history interview with h. m. mott - smith, 1977 march 1 and 2 .
oral history interview with h. r. crane, 1973 march 28 and 1974 june 18 .
oral history interview with john p. blewett, 1979 march 22 and may 11 .
oral history interview with john r. woodyard: cyclotron and klystron development: oral history transcript, 1974 october 18 and 1975 december 17 .
oral history interview with morrel h. cohen, 1981 march 31 and june 5 .
oral history interview with ralph alpher and second session is joint interview with robert herman, 1983 august 11 and 12 .
campus box 1061, one brookings drive, st. louis, mo 63130 - 4899, usa
stanford goldman response to early 1930s ph. d. s survey, 1980 .
the princeton years and beyond, 1930 - 1940: invited paper for the march 1992 meeting of the american physical society, 1992 .
thomas o. paine papers, 1931 - 1992 (bulk 1960 - 1982) .
u. s. atomic energy commission records (record group 326), 1923 - 1975 .
university of illinois at urbana - champaign department of physics betatron project records, 1941 - 1945 .
adventures in electricity. no. 4 prepared for general electric by general comics, inc .
adventures in electricity. no. 6 prepared for general electric by general comics, inc .
chart of the nuclides: [ with physical constants, conversion factors and periodic table ] .
nuclides and isotopes / revised 1989 by f. william walker, josef r. parrington, and frank feiner .
adventure into the unknown: the first fifty years of the general electric research laboratory .
from the archives of the hall of history: a catalogue of ge photographs, 1890 - 1940 .
image worlds: corporate identities at general electric, 1890 - 1930 / david e. nye .
innovation as a social process: elihu thomson and the rise of general electric, 1870 - 1900 / w. bernard carlson .
the making of american industrial research: science and business at ge and bell, 1876 - 1926 / leonard s. reich .
willis r. whitney, general electric, and the origins of u. s. industrial research / george wise .
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we are committed to the preservation of physics for future generations, the success of physics students both in the classroom and professionally, and the promotion of a more scientifically literate society .
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kryn stankunas, * ching shang, * karen y. twu, shih - chu kao, nancy a. jenkins, neal g. copeland, mrinmoy sanyal, licia selleri, michael l. cleary, and ching - pin chang
from the division of cardiovascular medicine (k. s. , c. s. , k. y. t. , s. - c. k. , c. - p. c .), department of medicine; and department of pathology (m. s. , m. l. c .), stanford university school of medicine, calif; institute of molecular and cell biology (n. a. j. , n. g. c .), singapore; and department of cell and developmental biology (l. s .), cornell university weill medical school, new york
correspondence to ching - pin chang, division of cardiovascular medicine, department of medicine, stanford university school of medicine, stanford, ca 94305. e - mail ude. drofnats @ nipgnihc
targeted disruption of the pbx and meis1 genes and generation of the respective knockout mice have been described previously. 17 – 19 heterozygous knockout parental lines were backcrossed for at least 8 generations onto a c57bl / 6 genetic background before intercrossing to obtain homozygous or compound mutant embryos. phenotypes were generally analyzed in embryos (embryonic day [ e ] 10. 5 to 15. 5) or neonates. gestational age was determined by the date of observing a vaginal plug (set as e0. 5) and by ultrasonography before harvesting embryos. 20 for embryonic / perinatal lethality determination, 4 to 5 littermate controls were observed per mutant mouse. for cardiac structure analysis, 1 to 2 littermate controls were analyzed per mutant mouse .
the chest wall of mice was opened under microscopic visualization. a 33 - gauge needle (hamilton) mounted on a 1 - ml tuberculin syringe was used to inject an acrylic resin (batson no. 17) containing blue dye (methyl methacrylate casting kit, polyscience inc) into the right ventricle to perfuse the great arteries. mice were then held at 4°c for 2 to 6 hours to allow the resin to polymerize and cast the vasculature .
paraffin sections of mouse embryos were prepared as described previously. 21, 22 consecutive sections through the chest (5 to 7 μ mol / l) were collected, stained with hematoxylin / eosin, and analyzed by light microscopy .
suggesting that they may also be important for heart development. to investigate this hypothesis, we first examined the distribution of pbx proteins in tissues involved in heart development. in the heart, pbx1b, the predominant isoform of pbx1 during mouse embryogenesis ,
was present in both endocardial and myocardial cells of the oft at e9. 5 (
). cnccs migrate to the oft, form the aorticopulmonary septum, and contribute to oft septation .
similarly to pbx1, pbx2 was broadly present at e9. 5 in cells that included premigratory cnccs within the neural tube and branchial mesenchyme (
). pbx3a was widely present at e9. 5, including in premigratory cnccs as well as all cell types of the heart. however, by e12. 5, pbx3a was downregulated in myocardial cells but remained present in endocardial cells and mesenchymal cells of the endocardial cushions (
), distinguishing it from pbx1b and pbx2. the widespread and overlapping presence of pbx proteins in embryonic sites of cardiac development prompted us to investigate heart development in mice lacking individual or multiple
pbx proteins are widely present in tissues relevant to heart development. a through c, immunohistochemical analysis of pbx proteins at e9. 5. pbx1b (a) is present in neural crest cells (arrow), mesenchymal cells of the branchial arch region (asterisk), endocardial cells (arrowhead), and myocardial cells (double arrows) of the cardiac oft. pbx2 (b) and pbx3 (c) display similar expression patterns at e9. 5. d through f, presence of pbx proteins in the cardiac oft at e12. 5. pbx1b (d) is present in endocardial (arrowhead) and mesenchymal cells (asterisk) of the endocardial cushions of the oft. pbx1b is downregulated in myocardial cells (double arrow) at e12. 5. pbx1b is present in the endothelial and vascular smooth muscle cells of the aorta (ao) and main pulmonary artery (mpa). pbx2 (e) is present in endocardial (arrowhead), myocardial (double arrow), and mesenchymal cells (asterisk) of the oft. pbx2 is also present in endothelial and vascular smooth muscle cells of the aorta and main pulmonary artery. pbx3a (f) is present in endocardial (arrowhead) and mesenchymal cells (asterisk) of the cushion but downregulated in myocardial cells (double arrow). pbx3a is present in endothelial but not vascular smooth muscle cells of the great arteries .
). the main pulmonary artery branched into left and right pulmonary arteries as in wild - type embryos. a large ventricular septal defect was present in
hearts (data not shown). furthermore, a single heart valve was present at the base of the truncus (
manley laboratories , inc. is an american manufacturer of pro audio equipment , including microphones , signal processors , dynamic range processors , equalizers , converters , and specialized mastering products . manley is located in chino , california . 
manley laboratories, inc. is an american manufacturer of pro audio equipment, including microphones, signal processors, dynamic range processors, equalizers, converters, and specialized mastering products. manley is located in chino, california.
manley laboratories, inc. is an american manufacturer of pro audio equipment, including microphones, signal processors, dynamic range processors, equalizers, converters, and specialized mastering products. manley is located in chino, california.