For years, smaller studios faced a frustrating dilemma. Either overspend on a massive console or settle for a budget mixer that compromised sound quality. Neither option was ideal. Manley Labs responded with a solution that met modern needs head-on. The Manley 16×2 Mic Line Mixer offered a compact footprint, serious audio performance, and the signature Manley tone many had hoped for.
The Manley 16×2 comes in three core configurations: LINE, MIC, and 8+8. The LINE version provides sixteen line-level inputs, each with a mono aux send. It is designed for DAW users looking to avoid the limitations of in-the-box summing and has proven particularly popular among producers with large synthesiser or sampler setups who found other mixers lacking in fidelity and headroom.
The Manley 16×2 MIC version adds premium microphone preamps with up to 60 dB of selectable gain via rotary switches. Each channel includes combo XLR and ¼-inch inputs with appropriate impedance, 2400 Ohms on the XLR, 82 kOhms on the ¼-inch jack, making the mixer suitable for both mic and line level signals. It also features balanced direct outs, phase reverse, and insert points on every channel, all switchable via high-quality toggles with LED indicators.
The 8+8 version combines eight mic preamp channels and eight line-level channels, making it ideal for portable rigs, hybrid tracking, or flexible studio layouts. Mic channels 1 to 8 include direct outs, inserts, and phantom power in grouped sets of four. Line channels 9 to 16 provide direct outs but no inserts.
All versions are built with the same uncompromising Manley engineering. Signal paths use just three polystyrene capacitors from input to output, with no carbon resistors and only precision metal film components. Inside are Burr-Brown INA103 and OPA2604 op amps, Linear Technology LT1010 buffers, and carefully laid-out circuits by Hutch Hutchison. The result is huge headroom, minimal crosstalk, and a noise floor well below industry norms.
Mute and solo functions use relay switching rather than noisy FETs or CMOS, and employ rugged, illuminated EAO buttons. The solo operates as a “mute all others” function. Monitoring is equally robust, with a five-position rotary selector to check the main mix, mono mix, two-track return, external inputs, or the aux mix (in the LINE version). Main and mini monitor outputs are provided, along with mute, dim, and level controls.
Mixdown is handled by a stereo tube summing stage using the same dual triodes found in the Massive Passive, two each of NOS 12AT7 and 6414 tubes. The final output delivers rich, powerful sound with up to +36 dBu output, far exceeding the headroom of many high-end consoles. Both balanced transformer-coupled and unbalanced +4 dBm outputs are included.
External inputs allow multiple units to be linked for expanded channel counts, with a rear-panel binding post for solo bus linking. Each unit is powered by an external regulated PSU, reducing heat and ensuring long-term reliability. Optional rackmounting is available across all models.
The Manley 16×2 Mic Line Mixer brought true high-end analogue mixing within reach of small and mid-sized studios, delivering no-compromise audio in a flexible, studio-friendly format.
