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The Sushi Box FX Secret Society
- Thread starter kranahan
- Start date
Enclosure is 4.7" x 3.7" x 1.4" not including the jacks or knobs.
On the SB page I notice the only CS pedals currently listed are More, UA and S-Peg. I know Nathan isn't taking CS orders at this time as Venus-X gets ramped up for release, but does this mean that "until further notice" (ie for a loooong time if VX takes flight as planned) it's only those 3 in the CS? I reckon so, and am durn glad I scored my CS DC and UA earlier.
When I go to the Custom Shop page it says Out of Stock, doesn't let you select what you'd like made, and underneath it has "Related Products" which those three are the ones you listed: More, UA and S-Peg. If you click any of those it just takes you to their respective pages
I power my DC with a single outlet, works just fine. Set it at 9v so it gets a little more current.
I just got my SMD Finally DI yesterday and plugged it in it's awesome! It's also very hot output, especially when the gain knob is turned up.
Any tips on how to manage this balance? Where's "unity"?
Any tips on how to manage this balance? Where's "unity"?
I don't have a Finally but I have a few other S-boxes and one is a Space Heater...essentially the Finally tube circuit.....in that and my UAs and Dreamcatcher, unity is low on the clock...between 6 and 8:30 for all of them. If you want more clean travel in the gain knob or prefer things on the toooob kleeeen side, just switch the tube for a 12at7 or 12au7 and the gain factor will drop.
I put a 2AU7 tube in my finally and it cooled it off, it sounds great. Switch between preamp and bypass to get your unity gain. Preamp level should be the same level as the bypass level.
Yes, A/B'ing the bypass switch is what I've been doing. I'm afraid to fiddle with the knobs too much after sound check.
I think they also have an internal attenuator you can roll back.
I get asked every now and then where "Unity" is, and my answer is always "it depends." There's no solid answer as it can change depending on what type of tube, the brand of tube, manufacturing tolerance of the tube, age of the tube, etc. My best suggestion is to use your ears.
As mentioned above Finally (both SMD and HW) does have an internal trimpot to attenuate the output, which I tend to set at 12:00 before shipping. If you're having trouble taming the output to usable levels, try bringing the trimpot down to 9:00 or so, it will make the volume pot more controllable.
Don’t forget that different basses also have different output levels. This comes into play if you play more than one bass during a set.
I have owned 6 S-Boxes (still have 5) and all of 'em except the G-Butterfly have benefitted (for my purposes) from a swap to a lower gain tube and/or easing the trim pot back 90 degrees. Have you ever considered sending them out this way? I suspect that would have no negative effect (pun intended) for those who want high gain, but would avoid puzzlement on the part of those who don't want to run the volume pot at .5?
The pedal preamp output level should be the same as the bypass level as if it were a parallel thru put. When that happens, this IS your unity gain. Typically, the house engineer wants to see a level as if the DI were a microphone.... if the sound engineer needs more gain they can bump it up it at the mic input on the console. I would still set the finally as if it were a passive level device as console mic level inputs are -40 to -60 dbu while line level is +4 dbu. You don't want to send too hot of a signal to a mic input regardless of what kind of transformer the DI box is using. And, you can bake a DI's transformer with too much input level from the heat generated.. Using the finally input gain to get your tube vibe is fine and you can then match the output level to match bypass, but if you get too much edge or distortion, the sound guy will be all over you.
They want a clean signal and mic line level distortion to them means there is a problem somewhere in the chain. You also want to always make sure that the +48 volt phantom power from the board is OFF.
In the audio world a DI is always thought as an impedance matching device first effects box last.
Okay, on my Finally DI box I adjusted the trim pot back a bit further than 9:00 closer to 8:30... it's sensitive. You'll want to do this with the back open and powered up CAREFULLY!
I trimmed it so that with both the gain and the level knobs at noon, both the dry and pre output levels sounded "the same"...of course the tube effect being the difference.
This is prolly how these boxes should be shipped.
Tomorrow is my first gig with this box and I can't wait!
I trimmed it so that with both the gain and the level knobs at noon, both the dry and pre output levels sounded "the same"...of course the tube effect being the difference.
This is prolly how these boxes should be shipped.
Tomorrow is my first gig with this box and I can't wait!
I've been reading about the Chase Tone Secret preamp lately, it's a clone of the famous Echoplex preamp stage. The way guitarists and bassist talk about it is a clean boost with sweetening. In my mind that sounds like what the MORE does for me, and that's actually keeping me from pulling the trigger. I don't want to stack dozens of clean tone better-makers just because, maybe simpler is better, maybe not? I'm curious if any Sushi heads have experience with this?
- Feb 16, 2008
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- 23,636
- Disclosures
- John K Custom Basses
i'll have to a/b my more with my secret pre to see if they do the same thing (or close to it).
from just my memory, they don't
I'b be really interested in hearing (literally) the results of this.
I'd also love to hear the More and Effectrode LA-1A - A/B'd as well.
I too would really appreciate hearing the difference between the Chase Tone Secret preamp and the More!
There should be literally no difference whatsoever between the More and the LA-1A (without compression) since the More is the same exact parallel gain stage and buffer (just without the compressor side-chain).
In fact that's why the More was created, because a few members here loved what the LA-1A did to their signal without even using the compression side, and wanted a smaller pedal that was just that studio-style gain stage and buffer.
Jack
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