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The Sushi Box FX Secret Society
- Thread starter kranahan
- Start date
There are plenty of them out there. I feel like I'm at a place technically where I can handle just about anything in preamp land, but I'm not smart enough for the serious stuff like studio compressors.
I guess you don't need the link to a full set of transformers for the 660 for just over US $ 1700 then.
IvanBassist
Commercial User
- Jun 8, 2008
- 3,749
- 11,139
- Disclosures
- Content Manager at Darkglass Electronics, Dingwall Guitars Artist
Just trying to give back to the community
glad to hear you like it!
My wife informed me I should say no thank you.
Ah there was your mistake, never ask the CFO for approval
She was actually recently hired as a technician as well, she's a lot more involved now
I don't typically go to her for permission on things (ask about my new pedalboard sometime 
), but I do ask for her advice on things, and she's a pretty good sanity check for "that's not a good idea".
I feel like I never shut up about how perfect the Finally is with a 5751 in it
And if you really want a wide berth of "clean Gain", I'm an avid fan of using a 12AY7 in it.
Unpopular opinion:
The fact that the current Finally featuring WBIM branding comes with a 12AU7 is "clean" overkill in my opinion; and I think it's silly that some Sushi Box fans obsess over the Noble/Neptunium when the Finally with a 12AU7 is every bit as "clean" and "tube-y" while being not only a more original pedal, but also a more versatile one if you put a 12AY7 or 5751 in it... but you can't stop people from gooning over the Bass Player's "Klon"
Most (but not all) Sushi Box pedals come with the 12AX7 stock. Some exceptions include:
the Grand Slampegg (6SL7)
the MORE (12AU7 w/ 12AT7 buffer)
the WBIM Finally (12AU7)
and a few others, most of which are discontinued.
Jack
I like you in popular opinion!I feel like I never shut up about how perfect the Finally is with a 5751 in it
And if you really want a wide berth of "clean Gain", I'm an avid fan of using a 12AY7 in it.
Unpopular opinion:
The fact that the current Finally featuring WBIM branding comes with a 12AU7 is "clean" overkill in my opinion; and I think it's silly that some Sushi Box fans obsess over the Noble/Neptunium when the Finally with a 12AU7 is every bit as "clean" and "tube-y" while being not only a more original pedal, but also a more versatile one if you put a 12AY7 or 5751 in it... but you can't stop people from gooning over the Bass Player's "Klon"
Most (but not all) Sushi Box pedals come with the 12AX7 stock. Some exceptions include:
the Grand Slampegg (6SL7)
the MORE (12AU7 w/ 12AT7 buffer)
the WBIM Finally (12AU7)
and a few others, most of which are discontinued.
Jack
I've got a bit of FOMO from not jumping on the Neptunium, an affordable Noble is the drama ticket right? Except I'm not gassing after a Noble in the first place.
When I need another DI the finally. and a bag of 12A?7s will be my first port of call.
I've rolled in an AU on my Space Heater and it does exactly what I need it to.
It was comments on this thread that got me to try some 5751s in the first place. I love what it does in my Finally v1. I also put one in v1 of the Smoke Signal, to delicious results.
I feel like I never shut up about how perfect the Finally is with a 5751 in it
And if you really want a wide berth of "clean Gain", I'm an avid fan of using a 12AY7 in it.
I've been rolling through tubes in my Finally, and while I haven't tried a 5751, the 12AY7 has been my favorite so far!
I have quite the assortment of tubes I could roll in there. I've been into tube gear since the days of "tubes are cheap and plentiful, I'll retube my [whatever] just because" so there are a lot of pulls that are perfectly functional, plus a lot of other "where did this come from" that I inherited from my father (along with his interest in electronics).
My understanding is the UA ships with a JJ ECC83S, which I've found to be a perfectly acceptable tube in a lot of gear. I haven't actually opened mine up to see what's in there. I intend to explore the possibilities with the original tube before introducing a new variable!
For me the worst is trying to find a random tube you know you pulled years ago but have not seen since.I have quite the assortment of tubes I could roll in there. I've been into tube gear since the days of "tubes are cheap and plentiful, I'll retube my [whatever] just because" so there are a lot of pulls that are perfectly functional, plus a lot of other "where did this come from" that I inherited from my father (along with his interest in electronics).
My understanding is the UA ships with a JJ ECC83S, which I've found to be a perfectly acceptable tube in a lot of gear. I haven't actually opened mine up to see what's in there. I intend to explore the possibilities with the original tube before introducing a new variable!
Such are the fate of countless Groove Tubes and Mesa tubes back when I thought I had to change tubes like my strings.
I agree with her. not only are the original transformers quite large, but I think the bulk of the sound happens with a single Push Pull circuit, and the compressor circuit (automatic limiting amplifier and controls) is important. whatever transformers one really needs could hopefully be found in a smaller form factor, sans "mo" (or designed and ordered), and we have much smaller power supplies these days.
it may be interesting to mock up the simplest parts of the device and see what thats like. if the R&D were to amount to something interesting, it could reach farther than merely us bassists (I routinely use my pedals as mix bus effects). I mean, pen and paper, maybe a modeler.
if it were only a C2C release I'd definitely go in on it.
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I suffered from that too! I have zero actual need for the Noble/Neptunium, but I kept getting FOMO for the Neptunium just because it's essentially a more sensible Noble; and the Noble hype is itself a black hole-like FOMO force that's difficult to escape.
I'm happy that I finally realized that the Finally I already own is not only much more the DI that I actually need and want, but that I can always just slap a 12AU7 in it if I ever did need a Noble-esque DI in a pinch.
I guarantee, if and when you get a Finally, it will not disappoint.
Finally does not disappoint. I have both a V2 (pre WBIM) and a V3.
I have been off and on in the Sushi Society thread since first learning about Nathan's work. I've been on here more in the last year or so, and did not catch earlier posts talking about the use of the 5751 tube in the Finally. I got a JJ 12AY7 last year that I put in my V2. After reading about of Sushi'ers using the 5751, especially some of Jack's posts, I am thinking about trying one. Although, the AY sounded good in both the V2 and the V3.
Everything else being equal, the 5751 essentially sits right between the 12AX7 and 12AY7.
Compared to the 12AY7, the 5751 will mostly just bring the distortion a little sooner on your Gain knob.
12AX7 - distortion comes in way early on the Gain knob, overall gives the pedal a slightly edgy/aggressive response with lots of definition/texture
5751 - Gain knob has a more useable range but still hits distortion a bit earlier than needed on some signal chains, lots of definition/texture while feeling more "relaxed" than the 12AX7
12AY7 - distortion comes in late on the Gain knob giving a wide range of "clean" unless you have a really hot signal chain, has the slightly "spongy" or "blooming" character that many people like from tubes while maintaining a nice balance of definition and compression-like "roundness"
12AT7 - very similar to the 12AY7, but response feels a little "stiffer" to me and has a little less overall character (almost slightly FET/OpAmp-like to me)
12AU7 - signal remains "clean" throughout the entire range of the Gain knob (unless you're really slamming it with a way-too-hot signal chain), the stereotypical tube "sponginess", "bloom", "roundness" are all abundant (though I personally feel that detail suffers slightly)
5751 - Gain knob has a more useable range but still hits distortion a bit earlier than needed on some signal chains, lots of definition/texture while feeling more "relaxed" than the 12AX7
12AY7 - distortion comes in late on the Gain knob giving a wide range of "clean" unless you have a really hot signal chain, has the slightly "spongy" or "blooming" character that many people like from tubes while maintaining a nice balance of definition and compression-like "roundness"
12AT7 - very similar to the 12AY7, but response feels a little "stiffer" to me and has a little less overall character (almost slightly FET/OpAmp-like to me)
12AU7 - signal remains "clean" throughout the entire range of the Gain knob (unless you're really slamming it with a way-too-hot signal chain), the stereotypical tube "sponginess", "bloom", "roundness" are all abundant (though I personally feel that detail suffers slightly)
Jack
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I like your thoughts and agree on both the X and the Y, which are the two I'm familiar with. I believe reading what you wrote about 5751, that the choice between the Y and the 5751 is how much clean range is desired. Y gives more clean range, 5 gives more harmonic/overdriven range. That's a good perspective. I agree the Y starts getting more noticeable late in the gain range. So I would guess that with the 5, the noticeability begins at noon on the Gain knob.
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Ladies and gentlemen, I'm happy to announce that as of March 25, 2025, I officially own the legally registered trademark to the Sushi Box name and logo.
Yes, the name and logo that I have been using since 2014.
Yes, the name and logo that I have been using since 2014.
Please share the framed certificate as able. Feel free to redact as much of the certificate as you wish. Mostly curious about which frame you’ve chosen.
