Manley СORE REFERENCE CHANNEL STRIP - MCORE001-025 4/2014 - 5/2014 - Manual (Page 10)

10. Rear Panel Connections
From Right to Left:
Mic Input: This is a transformer-balanced, microphone preamp input.
The pinout is PIN 1:Ground, PIN 2: HOT (+), PIN 3:COLD(-).
All pins must be driven. DO NOT “float” PIN 2 or PIN 3.
Line Input: An electronically-balanced, line-level input.
The pinout is PIN 1:Ground, PIN 2: HOT (+), PIN 3:COLD(-). An unbalanced source can be connected, PIN2 or
3 can float but NOT ground.
® Direct Out (1): Gives an impedance balanced output directly after the tube preamp and ELOP compressor
stage. The pinout is PIN 1:Ground, PIN 2: HOT (+), PIN 3:COLD(-). An unbalanced source can be connected,
PIN2 or 3 can float but NOT ground.
Insert Jack: This TRS 1/4” jack interrupts the connection between the Preamp/Compressor and EQ/FET
Limiter sections, allowing external gear to be inserted in the signal path. Alternately, it provides an input
to the CORE that is after the tube preamp, to the input of the EQ stage. The interface in unbalanced in and
out. The pinout is TIP:SEND, RING:RETURN, SLEEVE:GROUND.
Output (2): This is the main output from the CORE, which is an electronically-balanced output. It is after
the EQ/Limiter section. The pinout is PIN 1:Ground, PIN 2: HOT (+), PIN 3:COLD(-). An unbalanced source
can be connected, PIN2 or 3 can float but NOT ground.
c o r e
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11. Operational Notes
Unbalanced Operation
All of the XLR inputs of the CORE can be used with either balanced or unbalanced sources. However, the Main
(2) XLR output should only be connected to balanced inputs. If it's necessary to connect to a unbalanced
input, a cable must be used that has NO connection on XLR pin 3. This is important in order to prevent
damage to the CORE, as well as distortion to the signal. DO NOT GROUND PINS 2 OR 3.
Getting the most from your CORE
Earlier, in the Introduction we mentioned one of the three design principles was “Forgiving”, to allow our
equipment to be easy to use, and difficult to to make a bad sound! An example of this is the placement of the
compressor before the amplifier stages. This allows the signal to be reduced by the compressor first, which
prevents the preamp from being overloaded. Setting the COMPRESSION level just at the start of gain-
reduction will allow you to get the full dynamic range of the source, but if the musician suddenly plays louder
the compressor will gracefully ride the level down.
Another forgiving element is the FET output limiter, which can be set to reduce just under the overload level
of the following piece of gear. This can be especially useful in protecting an A/D converter from overload.
There is no rule that says you can't put a line-level signal in the Mic input. Try it! Many different
transformer/tube saturation effects can be made this way.
Just be careful not to engage the PHANTOM power 48V if you have anything other than a phantom-powered
microphone plugged in.
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