Neptunium is, as its name implies, based on the Nobelium preamp, which is in turn based on the incredible Noble preamp. The key feature of Nobelium is the XLR D.I. output, which only uses one tube, so I was asked if it would be possible to squeeze just that part into a much smaller enclosure. The result is Neptunium.

Neptunium is a great-sounding, simple to use tube preamp with a D.I. output for going straight to front of house or a recording interface. It features a two-band tonestack based on the classic Fender/Marshall/Vox tonestack. Both controls are boost-only, so a “flat” response is achieved with both controls all the way off.

One way in which Neptunium differs from the Noble preamp is in volume controls; the volume control on the face affects the 1/4″ output, but rather than make the XLR output a fixed level, a separate volume control affecting the XLR output was added to the side of the pedal next to the XLR jack above the ground lift switch.

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Neptunium

Greenhouse ist ein cleveres Pedal, das ich entwickelt habe, um eine einfache Aufgabe zu erfüllen – nämlich eine röhrengepufferte FX-Loop bereitzustellen –, aber ich habe festgestellt, dass es noch viel mehr kann. Ohne ein Effektgerät in der Schleife wirkt Greenhouse allein bereits als eine Art „Tone Sweetener“ oder Clean Boost mit Röhrensound. Ausgestattet mit einer 12AT7-Röhre, die mit hoher Spannung betrieben wird, kannst du deutlich über Unity Gain hinausgehen, um deinen Verstärker anzutreiben oder Greenhouse mit einem anderen Pedal zu kombinieren und ordentlich Dreck ins Signal zu bringen.

Ich wollte dieses Pedal ursprünglich hauptsächlich für Modulationseffekte verwenden – Geräte, deren Bedienung ich liebte, denen aber oft etwas Wärme fehlte. Greenhouse liefert diese Wärme im Überfluss. Eine weitere schöne Anwendung, die ich entdeckt habe, ist der Einsatz mit Overdrive- oder Distortion-Pedalen. Mit einem Zerrpedal im FX-Loop von Greenhouse kannst du die Lautstärke aufdrehen und die Greenhouse-Röhre in die Sättigung treiben, um das Maximum aus deinem Zerrsound herauszuholen. Anschließend kannst du die Lautstärke über den Greenhouse-Volume-Regler wieder auf ein praxisgerechtes Level herunterdrehen – ohne den Charakter des übersteuerten Sounds zu verlieren.

Greenhouse is a neat pedal that I designed to do a simple task, namely a tube-buffered FX loop, but I’ve found it can do a lot more than that. With nothing in the loop, Greenhouse by itself acts as a rich tube “tone sweetener” or clean boost. Equipped with a 12AT7 running at high voltage, you’re able to get well above unity gain to push your amplifier or stack with another pedal to push some dirt around.

I personally wanted this pedal mostly to use with modulation pedals, things that I loved the operation of but wanted more warmth from. And while Greenhouse delivers that in spades, another beautiful use I’ve found for it is with drive/distortion pedals. With a dirt pedal in Greenhouse’s FX loop you’re able to crank the volume and push Greenhouse’s tube into overdrive, getting the most out of your dirt pedal, then use Greenhouse’s volume control to dial the volume back to a usable level without losing any tone from your overdriven sound.

Greenhouse

The Underground Accelerator is the successor to both Particle Accelerator and London Underground.

Neither were perfect, but both had strengths that the other didn’t so, Underground Accelerator takes the best of both into one glorious preamp. It follows the same general structure of the London Underground, letting it get a little more grit than Particle Accelerator, but still keeping the deep low end that London Underground lacked.

It sounds great as a clean boost or mild overdrive on guitar, but bass is where it really sings, providing the rich bottom end missing in so many bass pedals.

*The newest version of the Underground Accelerator has an EQ bypass switch. Note that the main purpose of the EQ Bypass is to boost the gain of the pedal, and bypassing the EQ will produce approximately +30dB more gain. Passive EQs like the one used in Underground Accelerator are inherently lossy, so the bypass was added for those that want more gain and don’t need the use of the EQ. If you simply want a flat response without the gain boost, you can set Treble and Bass to minimum and Mids to maximum.

Undeground Accelerator

Sushi Box FX is thrilled to release the “With Bass In Mind” special edition Finally v2 in cooperation with award-winning music educator, journalist, author and session musician Philip Mann. Described as “one of my top five instructors on the planet” by Jeff Berlin, Philip’s performance credits include Grammy Award winners, Grammy nominees, and Rock & Roll Hall of Fame Inductees, as well as a formidable list of other award-winning and notable artists. Philip is a seasoned columnist for Bass Player Magazine with over one-hundred publications, contributor to scottsbasslessons.com and recognized scholar of The Players School of Music.

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Finally V.2 WBIM Edition

The Slampegg Bee Pre is based on the preamp of the legendary Ampeg B-15N. In order to keep it compact, a 12AX7 was used like in the modern B-15, rather than the bulky 6SL7 of the older units. This allows Slampegg to get a little bit more drive than it’s 6SL7 counterparts, but the main circuit is the same, so you’re not missing any of the gritty warmth and luscious low-end that bassists have come to expect from the B-15. Aside from the standard Baxandall/James wo-band tonestack, Slampegg Bee Pre also has Ultra-Lo and Ultra-Hi switches, which act as a high-cut and hi-boost respectively. The Ultra-lo is much more prominent and results in a strong rolloff of high content to emphasize the fat lows and low-mids