Recording - May 2015 - 59

setting/width of the slope and offers a massive 20 dB boost with a 12
dB/octave slope, or a subtler 6 dB boost at a 4 dB/octave slope.
Further internal specs include a -90 dB noise floor, 100 kHz Frequency
Response flat from 10 Hz to 22 kHz, and 0.05% THD when output volume
is matched to source volume and passing a 1 kHz test signal at +4 dBu.
The last two knobs are the only independent Left/Right controls on the
box. Each one offers 8 dB of output boost to compensate for extreme cuts.
I will note that this is not as extreme as you may expect 8 dB to be in a
traditional volume sense. The signal, when turned all the way up, was
subtly fuller vs. merely louder, although turning the controls fully counterclockwise does cut the signal completely.

The one area that got me into trouble was the low
end. It's impressive! If you love a big bottom, and especially if your room is equipped with a quality subwoofer,
this is one of those boxes where the low frequencies just
sound massive and awesome. Be warned, though, that
the lows can get out of control; they will need to be
checked for translation on other systems.
Outside of stereo bus work, the Flux Bender sounds
great on the drum bus. I even got great results sacrificing one channel and using in mono on kick drum and
bass guitar.

Bending the flux out of it!
I started with the Flux Bender on my studio's master bus, where the unit
pretty much lived for most of my time with it. Overall I would describe it
as a nicely flavorful box balanced with wonderfully clean fidelity. While
it is capable of adding extreme thick gobs of low end or even glassshattering highs, the general tone of the box is direct and honest rather
than overbaked.
If you have read any of my past reviews of boxes like this, you will
know that I am not a fan of processors or even microphones that try too
hard to sound "vintage." Instead, I prefer devices that are built with
vintage-style components and specs that simply sound classy and good,
like a vintage piece probably sounded new back in the 1950s and
1960s. This box is definitely the latter!
As with most program EQ boxes, in regular use subtlety wins the day;
I found that sculpting the tone gently yielded the best results. The power
of a passive EQ is all about how you choose both the boost and cut frequencies at the same time, where they intersect, and how they interact.
In my workflow, I would adjust tones just to the point where I could hear
the boost or cut become obvious, and then pull it back a hair and gently
tweak to taste.

Conclusion
This is one impressively fine-sounding box. It adds a nice
analog blend of thickness, punch and clarity to any mix or
master. Moving back to the boutique/artisanal side, however, quality of this magnitude with this level of construction
detail comes with a price to match. Buy a handcrafted messenger bag, top-shelf low-batch bourbon, or a custom tailored suit, and you will know of what I speak.
The Flux Bender sells direct from Lightning Boy; once
you place your order, Mike will build you one. It's not
cheap by any measure, but its asking price is actually
in line with most boutique boxes of this style and ilk,
and it has a sound that sets it apart from any other
Pultec-style EQ I've heard.
Price: $5000
More from: Lightning Boy Audio, www.lightningboy.com
Product photos courtesy Brian Wray Photography.

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Recording - May 2015

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