![]() Beneath this are the high‑pass filter and compression in/out switches. One switch, mirrored on the right‑hand side for the other channel, sets the attack time as 'slow' (10ms) or 'fast' (1ms), and another the compression mode (stereo linked L/R, dual mono, or M/S). The maximum output level (the onset of transformer core saturation), is quoted as +28dBu at 1kHz and above, and +24dBu at 50Hz.įour toggle switches on the left are surrounded by their own red, plastic grommets, which is a nice practical touch that aids visibility (it's so easy for small switches to become lost in a crowded Lunchbox!). Beneath these drive controls, two more dials - which are slightly larger this time, and stacked one above the other - govern the make‑up gain (☑5dB, with 15 clicks from 0 to +12 dB), and thus the level running from each channel of the Stereo Toolbox into its output transformer. In other words, increasing the 'drive' setting (which runs clockwise, from 0-20) lowers the threshold. The two adjacent controls, mysteriously labelled 'drive', are actually standard threshold controls, but with the legend values running in reverse. The latter would make it useful for vinyl mastering, amongst other applications. It's potentially a very useful addition, whether to reduce/avoid the pumping effect that can result from kick drums and bass instruments triggering the compressor, or just to roll off congested muddy frequencies on wide-panned instruments. A toggle switch is used to patch this filter in to the mono side‑chain signal or the Sides audio signal, or to switch it off. The ratio controls, for example, use eight 'clicks' from 3:1 to 5:1 (inclusive), and the dial action is lovely and smooth, too.īeneath the width control is a pot to set the frequency of a high‑pass filter, which is sweepable from 17Hz all the way up to 2.1kHz at 12dB per octave. Despite the detents, you're still able to achieve very fine degrees of adjustment. The ratio goes all the way from 1:1 (off) to 30:1 (limiting). At the top, there's a central 'width' control, which is flanked on either side by two ratio controls, one for each of the two channels. The controls are laid out in a neat, logical fashion, and the dials are detented to allow precise matching between channels and accurate recall. The build quality is reassuring, as is the weight, which is due in no small part to the inclusion of two Cinemag output transformers. The extra slot this takes up is a price worth paying, particularly when you consider that this is a stereo device, and that there are plenty of 2U or 3U 19-inch rackmounting units which offer less by way of control. Safe Sound have opted for a 2U Lunchbox module, so despite the presence of 14 controls, there's plenty of space. In my experience, Lunchbox modules can often feel a little awkward, simply because the front‑panel controls are crowded, and this can make it difficult to operate controls and to read the legends. He might have a point, as he's not the only person to have mentioned this trend to me recently! Overview ![]() One reason for this, he says, is that DAW software allows people to use huge numbers of tracks in a mix, and that consequently, there's often a lot of congestion in the low mids, which can be tackled just as easily by a willing mastering engineer working on stems as by a mix engineer working on a full mix. The latter might not traditionally have been the domain of the mastering engineer, but Campbell says that stem mastering is becoming increasingly common. In other words, he's designing processors that are intended for use either on stereo buses during mixdown, or on stereo stems during the mastering stage. Safe Sound's Robert Campbell says that their most recent products bridge the gap between "serious mixdown jobs” and the work of mastering houses. ![]() (If you're in any doubt about what M/S is, Safe Sound's own White Paper on the subject is at Design Aims Safe Sound's latest design is an API 500‑series 'Lunchbox' compressor, the Stereo Toolbox, and the manufacturers proudly state that this is the first Lunchbox module to offer both conventional stereo and mid/sides compression. After initial success with their P1 mic preamp, we reviewed their Dynamics Toolbox back in SOS October 2008. They're a small company, but have quickly developed a reputation for making high-quality outboard gear. ![]() Safe Sound Audio's products are all designed and built in West Yorkshire in the UK. Safe Sound have already impressed us with their Dynamic Toolbox, and now they've brought M/S compression to the Lunchbox format. ![]()
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