Any direct box (also called DI for “direct input”), converts what goes in to a balanced, mic-level signal that goes out, which should be fed to mic-capable inputs on your recording device. One general advantage here is that everything “looking” like a mic to the recording process levels the playing field between diverse sources: high-impedance guitars and basses, actual mics, and hot line-level signals such as keyboards.
On keyboards, the most specific advantage to the Manley is tone. It doesn’t so much color the sound as turn up the intensity of the colors that are already there. I’ve lived with this box for two years, have repeatedly A/B’ed tracks recorded with and without it to make sure I’m really hearing what I think I’m hearing, and I’m convinced: Especially in the context of a mix, everything from my synths and workstations sounds more like . . . what it is. Piano patches sound more like pianos, synth pads are more lush and gluey, creamy leads have higher milkfat content. I’m not saying it’ll make a piano patch from ten years ago sound like a Steinway. Nor does it slather exaggerated “tube warmth” on the signal, though it does roll off the highest frequencies ever so gently. Warmth is a word that could describe it, but a different cliché is truer here: When I record through the Manley, there’s just more “there” there.
I have a few keyboards that put out a relatively weak signal, including my Rhodes Stage Mk. II and an old Kurzweil K2000 that has some sounds I still love. Normally, I’d turn up their volumes all the way and increase the gains on my audio interface to the point of recording more hiss than I’d like. The Manley’s Console Boost switches kick in an extra 17dB of gain that’s far cleaner, which lets me set my gains lower. Trust me, if you’re gonna drive something hard, better the tubes and iron in the Manley than the silicon in your audio interface. It also makes a killer front end for playing guitar or bass into amp simulation software, and Manley makes a single-channel model if you don’t need stereo.
Especially in today’s economy, the price seems steep for something that does such a specific task. However, the Manley Tube Direct is one of those rare luxuries that proves its practical worth more and more with each use. If your musicmaking has hit a point where your studio needs a no-compromise, totally bitchin’ keyboard recording chain, this box should be in it.
PROS
Subtly but definitely makes recorded keyboards sound better. Console boost, ground lift, and EQ make life easier in the studio. Construction just oozes quality.
CONS
Unbalanced 1/4" inputs only. Expensive given that it does one thing.
INFO
$875 list,
manleylabs.comNEED TO KNOW
What is it? A two-channel active direct box with 1/4" instrument ins, balanced mic-level XLR outs, and 1/4" outs for monitoring.
Does “interface” mean it connects to a computer? Not in this case. It’s analog in, analog out, and goes upstream of your computer audio interface.
Why call it dual mono and not stereo? Because the two channels have independent circuit paths.
What do the EQ knobs do? Simple bass rolloff. The “full” position lets the most lows through.
Do the tubes make a difference? They don’t add grunge — just a subtle warmth and density that’s pleasant and musical on just about anything.