Manley СORE REFERENCE CHANNEL STRIP - MCORE026 and up 7/2014 - Manual (Page 10)

10. Rear Panel Connections
From Right to Left:
MIC INPUT: This is a transformer balanced, microphone input to the preamplifier.
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 with
PIN2 or 3 grounded. Unused pins can be grounded.
® 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
with PIN2 grounded.
INSERT: This TRS 1/4” jack interrupts the connection between the PREAMP/COMPRESSOR and EQ/FET
LIMITER sections, allowing external gear to be inserted into 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 is 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 with PIN2 or 3 floated but DO NOT ground pin 2 or 3.
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 on the MAIN O/P 2.
Getting the most from your CORE
Earlier, in the Introduction we mentioned one of the three design principles was “Forgiving”. We want the
CORE to be easy to use and difficult 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 of the CORE 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 to protect 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
or tube saturation effects can be made this way.
Just be careful not to engage the PHANTOM power 48V switch if you have anything other than a phantom-
powered microphone plugged into the MIC INPUT.
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