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All-passive tone sculpting circuitry
Overlapping and interleaved frequency choices
Every band switchable to shelf or bell
Vacuum tube make-up gain and line drivers
Parallel symmetrical topology
Premium components throughout
HP and LP Filters
Stepped gain trims -2.5 to +2.5dB in 11 steps of 1/2dB each
Metal Manley mechanically detented gain and bandwidth control knobs
The Massive Passive is a passive design and not a "true parametric". A
true parametric implies non-interacting controls. In the Massive
Passive, the "gain" and "bandwidth" controls do interact (on purpose).
We cannot create a "gain" switch that is set up for "consistent" 1/2 dB
steps. When you change the "bandwidth" the step size must and will
change. On the regular version, you get a full 20dB boost or cut only
when: the bandwidth is fully clockwise (narrow) in bell mode or fully
counter-clockwise in shelf mode. Here on the Mastering Version, this
maximum boost or cut is 11dB. Conversely at the widest bell, the maximum
boost or cut is 6dB and the narrowest shelf maxes out at 12 dB. A
similar situation is also true for the bandwidth detents. So in this new
Mastering Version, do not expect a certain dB change per step as it
will vary according to where the bandwidth is set. But whatever the step
sizes are, they will be repeatably 16 steps. The frequency select is
already detented as it is and always has been a Grayhill switch. It also
interacts in shelf mode.
On a similar note, the Massive Passive is a "parallel design" and not
the conventional "series design". This means the bands interact with
each other too. It is possible, to set a band to boost 20 dB but if
another band is boosting near or at that frequency, very little will
happen. On a conventional EQ the two bands "add" and you would be
boosting 40 dB into clipping. Because the bands interact, predictable
step sizes are unrealistic, however, with the Mastering Version, you
will be able to repeat settings (if you log them of course). The price
paid for interacting bands, is a better sounding EQ and bizarre looking
settings (on purpose).
Unlike virtually every other EQ, the Massive Passive allows much more EQ
without sounding "processed". Where 5 or 6 dB is about all one could
attempt with other EQs in mastering, the Massivo amazes engineers with
how much EQ they can do and get more "natural" results at the same time.
We could have squeezed 11 position Grayhill switches in the modules if
we had wanted 1/2 dB steps but then the maximum range would have become
only 5.5 dB. Remembering what we stated above, the minimum range would
then become about 1.5 dB with approximately 0.2 dB steps. This approach
would have essentially thrown away most of the useful range the unit is
capable of. Going with these special mechanically detented knobs which
use the same pots underneath that the normal Massivo uses, we get nearly
all the range of the normal version, but with the repeatability of the
detents.
We have also custom tailored the filters in the Mastering Version
specifically for Mastering purposes, moving them lower and higher than
the normal version, with mastering engineers specifically in mind. If
you are looking for drastic effects (like telephone sounds) then get the
normal version. These filters are really geared for mastering
engineers.
Additionally, the Master Gain Trim controls in the Mastering Version are
true 11 position 1/2 dB stepped Grayhill switches set up for a range
between -2.5 to +2.5 dB of master gain trim. This allows more confidence
in left/right matching and calibration. The gain change voltage divider
occurs before the final tube amplifier stag andsU after all of the
passive EQ circuits.
The best advice is, before you decide, or even form an opinion about
whether to go with a normal or mastering version Massivo, is to use a
regular Massive Passive for a session or two in your own room. We have
seen in the past that the only engineers who have asked about a
mastering version had yet to try the Massive. Using your previous
extensive and intensive experience with other EQs may be a mistake,
especially if you expect the Massive Passive to be roughly similar to
them. It isn't. Please, try it first, then decide.
The Filters
There are 5 High Pass Passive Filters and bypass, plus 5 Low Pass Passive Filters with bypass. We made them extra steep. Why? So you can remove the garbage and not mess up your music. The way these filters interface with the parametric EQ bands simply sound beautiful. The mastering version filters go higher and lower compared to the regular Massive Passive filters.
High Pass Filters: OFF, 12, 16, 23, 30, 39 Hz
Low Pass Filters: OFF, 52kHz, 40kHz, 27kHz, 20kHz, 15 kHz
The Mastering Version filters are tuned specifically for mastering where they will be used to fix problems in the low and high extremes rather than to make effects in the mid-band. The slopes are all 18dB per octave on the mastering filters except for the highest 52kHz Low Pass filter which has a 30 dB/octave slope.
For more information on this or any Manley product, visit www.manley.com.
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