I was just about to say the same thing. Glad to know it's just the tube. Mine was very noisy, picking up interference, and cutting in and out. I'll order a new one.
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The Sushi Box FX Secret Society
- Thread starter kranahan
- Start date
Part of me hopes so… part of me says see my last post
There will always be something better coming with Sushi. Best bet, if you want it, jump.
I’ve noticed this… now that I’m 2 DI’s , it only seems to be picking up speed.
More, UA, Slampegg, Grand Slampegg, Bass Dude, Venus Z, Nobellium, JC Emerald. . .
AAAND counting. . .
There are worse addictions I suppose.
AAAND counting. . .
There are worse addictions I suppose.
Sushi addiction is real.
I'm still on the gateway pedals More & Space Heater (+an SBVT that has come and gone!)
Hopefully graduating to the hard stuff in 2025
Isn't it a TB rule that if we cant see it or hear it it never happened?
Soundclip
Soundclip
Soundclip
for the visual thinkers out there, I'd like to discuss something. visually.
my primary job is as a sound recordist/mixer, and I do this sort of analysis from time to time; "what is needed, what is not, and how does this clean up nicely in a mix with minimal ongoing effort."
I also play professional music. a lot.
heres my double bass E string, plucked + ringing average for 4 seconds.
direct from bass and into ua apollo with no filters or effects.
www.filemail.com
first screenshot is an E played on double bass (red) vs 63 P (green). christmas colors.
from the bottom (left) there is a gentle shoulder rising to the first peak at 42hz, then there is a trough at about 50hz (49 for db and 51 for electrric), then there is another peak at 83hz. the next trough is at 97hz, and above that the peak is at 125hz.
2nd screenshot:
yellow = flat
purple = 6db/oct@90hz
blue = 24db/oct@60hz
green = brickwall @60hz
this is a visual representation of what the filters look like.
3rd screenshot:
red = clean signal
yelllow = 6db/oct@90hz
blue = 24db/oct@60hz
dark green = brickwall@50hz
lighter green = brickwall@53hz
purple = brickwall@60hz
this is what the signal from my bass looks like without (red) and with these three filters applied (different filter colors, sorry).
the brickwall filter at 53hz takes the 50hz trough clean out, and is the cleanest place for a HPF for this recording.
human speech can be cut at 80hz (hpf, usually applied in film/tv editing) without notice, which could be why a typical soundboard high pass is about 75hz. but that is too high for bass guitar/double bass.
sound reinforcement systems (especially when subs are involved), are criticized for reproducing delicate double bass subharmonic frequencies unnaturally and they often create feedback (or simply sound unnatural) and not every engineer is able to do something useful for this.
the kick drum should push the subs harder than the bass.
in the studio I often use a schoeps CMC with a CUT60 (inline HPF, 24db/oct@60hz) which significantly reduces that low 42hz peak, and is very effective for "rumble" (everything even lower which doesn't belong there anyways), and I think of this as a minimum for the signal chain (I usually edit each take with a brickwall hpf, set at 60hz).
this translates to a good starting point for which a track is able to be put directly into a mix, and blends well with a kick drum without having to do something more tone-wise, just to blend to taste with volume.
as a bassist and sound nerd, I've found that 60hz is a real nice common cleanup frequency, and it has worked well on many recordings over the years, not to mention reducing the AC mains problem in north america....
the point of this is that 6db@90hz is a subjective tone shaper, whereas a hard HPF at about 60hz is a tool for clarity.
YMMV
my primary job is as a sound recordist/mixer, and I do this sort of analysis from time to time; "what is needed, what is not, and how does this clean up nicely in a mix with minimal ongoing effort."
I also play professional music. a lot.
heres my double bass E string, plucked + ringing average for 4 seconds.
direct from bass and into ua apollo with no filters or effects.
Oslo Production Sound - Download files
Click here to view and download these shared files from Filemail.com
www.filemail.com
first screenshot is an E played on double bass (red) vs 63 P (green). christmas colors.
from the bottom (left) there is a gentle shoulder rising to the first peak at 42hz, then there is a trough at about 50hz (49 for db and 51 for electrric), then there is another peak at 83hz. the next trough is at 97hz, and above that the peak is at 125hz.
2nd screenshot:
yellow = flat
purple = 6db/oct@90hz
blue = 24db/oct@60hz
green = brickwall @60hz
this is a visual representation of what the filters look like.
3rd screenshot:
red = clean signal
yelllow = 6db/oct@90hz
blue = 24db/oct@60hz
dark green = brickwall@50hz
lighter green = brickwall@53hz
purple = brickwall@60hz
this is what the signal from my bass looks like without (red) and with these three filters applied (different filter colors, sorry).
the brickwall filter at 53hz takes the 50hz trough clean out, and is the cleanest place for a HPF for this recording.
human speech can be cut at 80hz (hpf, usually applied in film/tv editing) without notice, which could be why a typical soundboard high pass is about 75hz. but that is too high for bass guitar/double bass.
sound reinforcement systems (especially when subs are involved), are criticized for reproducing delicate double bass subharmonic frequencies unnaturally and they often create feedback (or simply sound unnatural) and not every engineer is able to do something useful for this.
the kick drum should push the subs harder than the bass.
in the studio I often use a schoeps CMC with a CUT60 (inline HPF, 24db/oct@60hz) which significantly reduces that low 42hz peak, and is very effective for "rumble" (everything even lower which doesn't belong there anyways), and I think of this as a minimum for the signal chain (I usually edit each take with a brickwall hpf, set at 60hz).
this translates to a good starting point for which a track is able to be put directly into a mix, and blends well with a kick drum without having to do something more tone-wise, just to blend to taste with volume.
as a bassist and sound nerd, I've found that 60hz is a real nice common cleanup frequency, and it has worked well on many recordings over the years, not to mention reducing the AC mains problem in north america....
the point of this is that 6db@90hz is a subjective tone shaper, whereas a hard HPF at about 60hz is a tool for clarity.
YMMV
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@havnjero love the screen shots - I think it goes a long way with understanding what you’re hearing - I’ve learned to start with my ears by cutting WAY too much and dialing things back in until it “feels” good to my ears, and I often end up at way different settings compared to what I’d get doing it “visually”, often with less low end.
I don’t have a -24db/octave or brick wall HPF, but I’ve found the shallower/gentler filters I set higher up vs the steeper cuts, and I think that’s probably reflected in your 2nd screenshot. I’d love to see that one with a 12db/octave in the mix since that’s the most common alternative people have with Broughton/Empress filters and eqs floating around.
I think we’re all working in a surprisingly close window with pretty dramatic effect for these HPF settings.
I don’t have a -24db/octave or brick wall HPF, but I’ve found the shallower/gentler filters I set higher up vs the steeper cuts, and I think that’s probably reflected in your 2nd screenshot. I’d love to see that one with a 12db/octave in the mix since that’s the most common alternative people have with Broughton/Empress filters and eqs floating around.
I think we’re all working in a surprisingly close window with pretty dramatic effect for these HPF settings.
ears are the important part, unless you want to be specific.
I don't have any pedal which does any of this, but I sure would like to. I'm using fabfilter pro-q3 for visuals.
orange = 12db/oct@60hz
blue = 12db/oct@90hz
here is a little zoomier:
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The only hack recordings I have made thus far (for my own learning/ self-critical purposes) are via a focusrite scarlet>>>garage band. It seems these are not directly uploadable to TB ;(
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They are not. They can be easily posted to, and shared, via SoundCloud, if one were so inclined to share with the class
And hey, it's free!
It sound like you need your new GS modded to change the HPF down to 60Hz or lower, perhaps Nathan can suggest what component needs changing for this to happen.
From the picture of the back of the GS I would guess the HPF is the orange capacitor and black resistor just above the HPF switch, if this is a typical 6dB RC filter then just increasing the capacitor value should do it.
If Nathan could tell you what capacitor you need it should be an easy job, I would cheat and piggyback another capacitor on top of the original one because it would be easier.
With a Double Bass it might even be beneficial to increase the input impedance to 10 Meg.
I would guess the resistor for the input should be up near the input jack / ribbon cable, look for one with 5604 written on it.
Nathan-could you please help to locate the right components please? (I marked the ones I think is the HPF)
Thanks
Mick
Attachments
I know this is a little old news in the thread, but just wanted to add... Putting the Finally after the speaker sim in the Iridium might act more like running a miced cabinet into a nice tube studio preamp
Unfortunately no. I put together the first full prototype of Furthermore a bit ago, and unsurprisingly with all the pieces put together in one box it doesn't work. Due to my workflow of "if it doesn't work first try, move it down the list and come back later" (aka "the low hanging fruit approach") I haven't spent any time on it since the first testing. SBVT II unfortunately suffered a similar fate, but it at least made it through a couple iterations before getting pushed back.
There is a very important piece of Furthermore that successfully worked its way into another unit (that we haven't talked about) that has been just about finalized and will be released in January, probably right around NAMM time because that's what companies do.
If it helps (or doesn't?) I think I have some pics of the Furthermore prototype that will at least give you an idea of what I plan for it to look like, I can throw those up for people to chew on.
Your picture is correct, those are the bits. Grand Slampegg is unfortunately difficult to work on because I insisted on cramming a bunch of features in and refusing to grow the enclosure, but if you're experienced and stubborn you could probably find a way to do it.
You can just barely see the 5M6 grid leak resistor peeking at you in between the input jack and the white ribbon cable. That will be a tricky mod as the only way to get to it is to remove the jack PCB, but the only way to remove the jack PCB is to remove the D.I. transformer. The only way to remove that is to desolder the pins, and you'll need to do it carefully so you can get it back on later.
Needless to say, I do not recommend this modification. But as with any of my pedals, if someone wants a non-stock input impedance, just shoot me an email and/or drop a note on your order and I can do it. I've put 10MΩ into a few dozen pedals by now.
I am sorry if this has already been addressed in this big ol' thread, but @Sushi Box FX , does the actual preamp on the GS differ from the standard Slampegg?
I am using the Slampegg on the HPF side of my KMA Devices Tyler Deluxe as an always on "amp sim," leaving the LPF side of the Tyler clean. I don't need the DI or extra features of the GS, but would be interested in checking it out if it is a different circuit.
I am using the Slampegg on the HPF side of my KMA Devices Tyler Deluxe as an always on "amp sim," leaving the LPF side of the Tyler clean. I don't need the DI or extra features of the GS, but would be interested in checking it out if it is a different circuit.
I'm so ready for the Single Slice! I do like the graphics also. I look forward to pairing it up with the More and with one or more Lightning Boy transformers. Ooo-ee. I hope I've been nice enough for Santaclops to bring me one!
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