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The Sushi Box FX Secret Society
- Thread starter kranahan
- Start date
I don't know if it is ironic or funny but if you haven't got your red "Make America Great" cap yet you better hurry up and get one (if you want one), they are going to go up in price by a lot. Yep, they are made in China.
Here’s another shout out for just how good the Neptunium is. It was the icing I was looking for! Thank you Mr. Sushi!
Everyone should rewatch idiocracy, seems a good study for the upcoming times.
Thanks, glad to hear it! I've been spending this evening trying to distract myself in the garage, I should probably head downstairs and build more Neptuniums.
This may already be planned. But I think it wouldn’t hurt to be transparent on the charges and list it, as they do, as a separate charge. As a customer, I like to know.
Hi Nathan,
With the Finally V3, are there internal trim pots for the 1/4 and xlr outputs?
I’d just read it on Phil Manns website and it was the first I’d read about it.
With the Finally V3, are there internal trim pots for the 1/4 and xlr outputs?
I’d just read it on Phil Manns website and it was the first I’d read about it.
So after a few weeks of waiting on postage and UK customs, it finally arrived.
First impressions are very good, the eq is amazing, even doing stupid things like maxing all the controls it still stays clear and musical.
I'll try it out properly with the amp when I have enough time, but at the moment I can see a Venus Z in my future
First impressions are very good, the eq is amazing, even doing stupid things like maxing all the controls it still stays clear and musical.
I'll try it out properly with the amp when I have enough time, but at the moment I can see a Venus Z in my future
There are not, that was only on the Finally v2.
I don't know if it has any internal trim pots but I am 99% sure the Level knob is for the 1/4" output and the small trim pot sticking out next to the XLR socket is to set the XLR output.
I think with a pot for each output available on the outside of the box it makes any internal trim pots fairly unnecessary.
But this is just me guessing and speculating since I don't own a Finally 3.
EDIT: I have to learn to type faster cause people are always answering the question that I am trying to answer while I am still typing.
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Can you describe how the DCX Bass and Neptunium overlap or complement each other? I use the DCX for my core tone (into an RNDI), want to get a Neptunium, but wonder if I'm just duplicating EQ devices?
I think the two compliment each other well, if you're using the DCX to push frequencies and get some grit then running the Neptunium relatively flat will give you just a tube flavored version of your sound. You can also use the eq to fatten and add some top end sheen to what I would assume would already be a great bass tone. This is how I'm currently using mine:
Does the Sansamp add grit and some eq; sure, does it sound better with some additive EQ as well as some low end cut from the Neptunium? Yes indeed; sound clips incoming!
So here you'll hear how the Sansamp sounds direct in comparison to it running through the Neptunium with and without eq, as well as what the Neptunium sounds like flat direct
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Thanx to all who responded to my questions !
kept thinking in loop about it and changed opinion 10 times a day (If I was paid minimal wage for the time spent thinking about it all I would have enough cash to buy all sushi boxes I’m attracted to, but I still feel on both sides on the fence -because for me these days any pedal I purchase means I sell another one)
GREENHOUSE:
can’t understand why you sold so few !
for CAPO is indeed why I wondered about it (plus all the good services it could do in studio).
But I wonder if it would bring me something I don’t have with MORE.
I suspect greenhouse could overdrive the signal a bit more than More, no ?
I love More, but as I layer loops over each other, sometimes I feel too much saturation already even at unity gain (I have other saturations on board).
and More is already so wonderful with my fuzz and synth pedals.
My question:
Could you explain me the advantage of having things, such as Capo, in a GREENHOUSE loop, instead of having just MORE before or after ?
SINGLE SLICE:
Could be a solution too: front of chain, to warm and « tube » things + replace my comp. could still add my MORE later in the chain (would the combo darken things too much ?).
I used to like the tube comp and « clean saturation » from the Two Notes Guitar Clean Channel (bassman) with gain cranked up: I was slamming the strings into, hitting the tube like a soft wall but without much overdrive. Didn’t like the rest of this preamp but I would love to approach that feeling again.
FINALLY vs SHIFT LINE OLYMPIC: surprised nobody compared them !
I love my Olympic, but:
- 12v 600ma annoys my organization,
- I have so many tone/EQ control over that pedalboard that it gets confusing, or makes me lazy to push other pedals to their tonal limits.
- It saturates too quickly when increasing gain
- I dont need the XLR, the cab sim, the loop.. I underuse it.
- It then goes into stereo effects then into 2 nobelium for DI. Feels like I should try to be reasonable and not use the Olympic stage at all, but the tube at that stage really brings something more
- Finally is smaller, is loved by Watt and is Nathan flagship and pride, and I love his work and ethic. With what I head with the 12AU7, I’m really getting curious.
I wish money / selling other gems / importation tax fees were not an issue and would just try them all !
kept thinking in loop about it and changed opinion 10 times a day (If I was paid minimal wage for the time spent thinking about it all I would have enough cash to buy all sushi boxes I’m attracted to, but I still feel on both sides on the fence -because for me these days any pedal I purchase means I sell another one)
GREENHOUSE:
can’t understand why you sold so few !
for CAPO is indeed why I wondered about it (plus all the good services it could do in studio).
But I wonder if it would bring me something I don’t have with MORE.
I suspect greenhouse could overdrive the signal a bit more than More, no ?
I love More, but as I layer loops over each other, sometimes I feel too much saturation already even at unity gain (I have other saturations on board).
and More is already so wonderful with my fuzz and synth pedals.
My question:
Could you explain me the advantage of having things, such as Capo, in a GREENHOUSE loop, instead of having just MORE before or after ?
SINGLE SLICE:
Could be a solution too: front of chain, to warm and « tube » things + replace my comp. could still add my MORE later in the chain (would the combo darken things too much ?).
I used to like the tube comp and « clean saturation » from the Two Notes Guitar Clean Channel (bassman) with gain cranked up: I was slamming the strings into, hitting the tube like a soft wall but without much overdrive. Didn’t like the rest of this preamp but I would love to approach that feeling again.
FINALLY vs SHIFT LINE OLYMPIC: surprised nobody compared them !
I love my Olympic, but:
- 12v 600ma annoys my organization,
- I have so many tone/EQ control over that pedalboard that it gets confusing, or makes me lazy to push other pedals to their tonal limits.
- It saturates too quickly when increasing gain
- I dont need the XLR, the cab sim, the loop.. I underuse it.
- It then goes into stereo effects then into 2 nobelium for DI. Feels like I should try to be reasonable and not use the Olympic stage at all, but the tube at that stage really brings something more
- Finally is smaller, is loved by Watt and is Nathan flagship and pride, and I love his work and ethic. With what I head with the 12AU7, I’m really getting curious.
I wish money / selling other gems / importation tax fees were not an issue and would just try them all !
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My Neptunium arrived, and the first thing I did was start playing around was the HPF switch. With the bass/trebel knobs at zero, I immediately hated the sound. Made my bass sound like a damn guitar! Then I turned the bass knob up and at about 10 o'clock all of the bass tone was back but without the excessive boom.
I'm curious how it works in more of a performance setting, but for trying it out at home, the HPF plus some bass boost lets me play a bit louder, keep the bass tone, but not vibrate the nails out of the studs. This is fun.
Yep... discovering high pass filtering was game changer for me as well.
Same here. A lot of hay can be made here that the HPF is set at 90 Hz and not lower. I think that it works better as an effect within the device than as the entire HPF for the bass.
Obviously Nathan designed the HPF pedals with tone controls to sound great with the bass control boosted when the HPF is engaged. It's neat that the Finally has a variable HPF frequency since it doesn't have tone controls.
The Noble does not have a variable HPF and it is set at 90 Hz. Nobelium and Neptunium are clones of the Noble circuit traced by Nathan not designed by him.
I do love that he is introducing variable HPF in his homegrown Sushis. Finally v3 v nice.
I do love that he is introducing variable HPF in his homegrown Sushis. Finally v3 v nice.
