The microphone preamplifier section of this unit is based on fully differential topology with its known propensity for cancelling out even-order harmonic distortion components. Manley have combined this superb full-featured microphone preamp with the famous EQ 500 passive EQ circuitry coupled to a second differential line-amp to make a stunning combination for field recording or direct-to-tape tracking. There's also built-in illuminated VU metering and an insert point for flexible operation with other outboard effect units. And yes, the Mic Pre and the Equalizer sections can be used independently.

Up to 55dB of total gain is available through the unit, structured as 46dB from the Mic Pre section plus up to 9dB more from the EQ/Line amplifier. All inputs and outputs are balanced transformer coupled. The EQ section is a lovely revival of one of the most musical passive EQ's from the past, this section having been designed by a guy named Art Davis. He's designed for some of the most respected companies in the business; Altec Lansing, Cinema Products, Universal Recording, and Langevin, always taking his seminal designs along with him.

The complexity of the 2dB stepped switching (using gold-contact custom built Grayhill switches in this reincarnation) is solely for the purpose of having no more than 3 components, (1 R, 1 L, 1 C) in the signal path at any moment, thus ensuring maximum signal purity. Manley have cleverly added to this historic passive EQ circuitry the choice of either PEAK or SHELF modes for each band to offer sufficient flexibility.

Borrowing from their Variable MU design, Manley's MIC/EQ 500 uses exclusive differential circuitry, renowned for preserving delicate imaging detail. The output attenuator allows the overall gain to be kept constant while boosting or cutting and, more importantly, provides for optimization of noise levels especially when used in conjunction with the Mic Input Level control, which functions as a variable input pad. If you want, you can push the tubes into distortion by turning up the Mic Input Level while turning down the Line Output Level control in order to flavour the sound with a bit of overdrive.