I've used dress nuts without an additional retaining nut. The trick is getting them tight without scratching the dress nut. I used a small piece of bicycle inner tube and a large piece of caution.
I might buy one of those LED rings and test it out.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
The Sushi Box FX Secret Society
- Thread starter kranahan
- Start date
I've used dress nuts without an additional retaining nut. The trick is getting them tight without scratching the dress nut. I used a small piece of bicycle inner tube and a large piece of caution.
I might buy one of those LED rings and test it out.
Yes, so have I. The problem I ran into with trying to use a Dress Nut on top of an LED ring on my Sushi Box pedals was that there wasn't enough thread left above the LED ring for a Dress Nut to grab, even without the retaining nut... the problem is that the Dress Nut only has threading at its top-half, and none on its lower-half, because that's where a retaining nut usually goes.
I get what you're saying now... yeah... that would be problematic.
Unless I spend a little time with Mr. Belt Sander.
edited to add... or I use a longer 3pdt switch... or one of my momentary with an Uber relay switch. I have a few of those that are pretty long.
Glad you enjoyed it. Unfortunately there still seems to be something wrong with this board, so you'll have to wait a little more. It's killing me, it's just about the simplest preamp you can make, and I can't get the damn DIY board to work on the third try. Yet for some reason the DIY Black Eye boards came out perfect on the first try.
I've had a few people offer to do video demos, I finally decided to let someone do it as I agree that's something that's been missing for a while now. More on that to come.
Yup, @gtirard really knocked that one out of the park, very thorough and helpful.
Haha, great minds think alike!
I've wished that I could machine away the bottom half of a few Dress Nuts for situations like this, but don't have the tools/equipment to do so... c'est la vie.
A couple on loan from my buddy @bonin in the boneyard
So far, only tried the DW.
It sounds freakin' huge.
Way bigger tone than the UA I borrowed.
Yeah, I've already got a cart saved on Tayda and the parts count is pretty low. I think some of the simplest valve designs are the best. Probably why I keep making Valvecasters. I whipped up a few PCB's for them... but it's such a simple circuit that I just do point to point now.
Well I'll keep obsessively watching and waiting. I've got two projects that could really benefit from the Space Heater and one of them will be a panel mount... so DIY is the way to go for that one.
Aha I'm familiar with that video. It does a good job of showing the kinds of tones available.
Interested in your thoughts. These two are the main options that I’m trying to decide between.
In reference to the note in that previous post, I spent most of the evening last night auditioning different tubes in my Finally, trying to find one that I felt sounded best with bass, guitar, and guitar distortion. It was a fun excuse to play for a few hours, and I wanted to share my observations in case they end up helping someone else.
The Finally is being used last in the chain as a tube-flavored "sweetener", here are my anecdotal observations with different tube types:
12AU7 - In pursuit of maximum clan "headroom" this is what I started with, and true to form the Finally with a 12AU7 could only be pushed into saturation with Gain cranked and a clean boost slamming its input. It sounded good on bass with accurate reproduction and just enough tube "roundness" to be present. However, with a distorted guitar in front of it, the 12AU7 was really rounding off the jagged sizzle of distortion pedals; I did find the rounding effect could be somewhat reduced by turning the Gain way up and the Level down on the Finally.
12AV7 - It had more output than the AU, so Level had to be turned down a bit; and it could just be pushed into saturation if the Gain was maxed and an unboosted bass or guitar was played into it hard. On bass it was virtually transparent sounding, very accurate sound reproduction, adding only the slightest bit of tube roundness. With distorted guitar it was still rounding off the sizzle, though probably only half as much as the AU did; again the distortion-rounding effect could be somewhat reduced by turning the Gain way up and the Level down on the Finally.
12AY7 - Generally I feel AYs are a better choice than AVs when used in the same bass/guitar amp circuits. In this instance it sounded and responded virtually identical to AV in every way, except that it had a lower noise-floor (almost dead silent even at max Gain), but since noise varies from tube to tube and isn't usually a feature of a specific tube type, I'd chalk it up to random luck.
5751 - More output than the AV and AY, so again Level had to be turned down a bit. I only own one 5751 and unfortunately it's one of those supposed "holy grail" tubes (RCA black plate). I wish I had a GE or Sylvania to compare to because as much as I hate to admit it, this old RCA 5751 really does just sound excellent in everything I put it in; but I don't know if it's because it's an old RCA, or if all 5751 are really good, or if this one tube just happens to be a good one... Anyways, sound reproduction is excellent with a slight extra something that's hard to explain (and wouldn't be audible as soon as one other instrument is in the mix), saturation begins with Gain at 2:00, bass sounds great, distorted guitar retains its character and sounds great. If you're gonna use your Finally with both bass and guitar, give a 5751 a try.
Pic of the Finally with the 5751 included for reading such a long and silly post:
5 of my 6 basses are passive (and I don't even put batteries in the 6th). After trying 12au7, 12at7 and 12ax7s in my UA and SH it was very evident only the 12ax7s provided any useful/enjoyable "range of adjustability" for my taste. I could have placed my comp before the tube stage in order to get some boost and more shine out of the 12au and 12at glass but right now I prefer the comp at end of chain. I'm not expecting anything different from the Slampegg, but I'm sure an active bass with a hot output would yield different results with all of these circuits. On a parallel note, the Fender tone stack which I don't like on its' own turns out to sound fantastic to my ears with my basses/rig and the benefit of an HPF. I start at as close to flat as it gets (mids @ 10, bass & treble @ 0) set the HPF to cut below about 50-60 Hz and nudge up the bass to about 3........sounds reeaaaaally good with the tube softly purring. IMHO the future "big(ger) preamp with HPF and either Bax or Fender stack (Bax for simplicity?) would be great......although I'm not sure I'd be in the market unless it also featured compression, since I now have 2 boards with Sushi tubes and separate HPFs.
Last edited:
I'm borrowing a hand wired Space Heater.
Is it supposed to have THAT MUCH output?
In order to get a bit of distortion, the gain control needs to be nearly full up and with the volume knob nearly off, it is still a much hotter signal than normal. No way to get unity gain to use it on different songs. Or maybe I'm doing something wrong??
Bass is a Stingray and last night was a SWR SM400 into a GB 2x12.
Is it supposed to have THAT MUCH output?
In order to get a bit of distortion, the gain control needs to be nearly full up and with the volume knob nearly off, it is still a much hotter signal than normal. No way to get unity gain to use it on different songs. Or maybe I'm doing something wrong??
Bass is a Stingray and last night was a SWR SM400 into a GB 2x12.
My SH is SMD, and with a 12ax7 it purs easily with gain around 1:00 using a passive bass with average output. Is the tube in the one you've got an ax7 or perhaps an au??
I'm wondering the same thing as lomo, from my recent experimentation with a Finally (same circuit as the Space Heater) the tube I was using is what determined where on the Gain knob it started to distort with passive pickups.
IIRC the SH and Finally were intended as simple tube drives to add warmth to really to get into crunch or overdrive territory there is a lot of signal in the circuit that is what the master or output volume is there for. I personally have the best result using the SH as a final stage being pushed by various different drives rather than as a stand alone.
Also the current versions do have an internal trim for the output in the instance that the signal is too hot for your needs.
Filter selects two variations of an analog speaker emulation that only affects the Rec Out. Level affects both outputs. Softer or louder.
FWIW, I adore the Smoke Signal, especially after the mod to the Blue channel, but I ignore the record out. Rec Out mutes when the pedal is bypassed, and I dislike the filter immensely. Out behaves normally, without the filter, and sounds spectacular.
Last edited:
This.
I have mine set up with the gain maxed out and the level at 12 o’clock. I set the internal trim pot to unity.
Thanks, I didn't realize there was an internal trim pot.
Since it's not mine I'll leave it alone.
Since it's not mine I'll leave it alone.
Latest posts
-
-
-
Questions about added costs on selling used goods to Canada- Latest: beaglesandbass
-
-
