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Heads-up: SpaceStation keyboard amp is apparently back


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Aspen, thank you so much for your wonderful work and your presence on this forum!!

Actually, it is I who should be thanking you guys...You ALL "get it"...and care deeply about your sound. I feel like I'm at my favorite pub talking "tone" with old friends, and still on my first beer...heaven.

Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright.
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... but nothing works as well as two transducers at 90 degrees and as close as you can get them...It's physics, and Gods laws are absolute!

 

Hi Aspen!

 

Just only by technical interest I wonder why you selected a 6.5" side speaker and not exactly the same coax speaker and HF tweeter triple amp combo in 90° arrangement.

Is it because drivers/tweeters, in opposite to a cone speaker, are closed at the back and the side effect only works w/ cone speakers ?

 

Isn´t it the side frequency spectrum is much different compared to the front ?

 

How does the cab behave in a "dead" room?

Just curious because some of my buddies have carpet covering the walls of the small rehearsal room completely.

I don´t say I like it but it is.

Does the cab need reflective walls ?

 

What´s up on a outdoor festival stage ?

 

A.C.

Wow, OK, in order:

1 & 2) Much like the MS stereo miking technique, and UNLIKE typical stereo speaker systems OR X/Y or spaced Omni stereo recording techniques, with M/S it is not necessary to "match" transducers. Just the opposite in fact; M/S invites "strange bedfellows!"

The side speaker in my MS speaker technology actually enhances the dispersion of the more directional Front system's mid driver and highly directional tweeter. And remember, both the front and side are technically "full range", albeit a one way vs. a 3 way system. The crazy "acoustical vortex" interaction pushes everything around, so in practice these totally different signals are like oil and water...that CAN NOT mix, so thy repel each other...and that creates that Front to Back 3D feel, unlike traditional sweet spots, and so defy traditional rules of conventional speaker systems!

So, the usually directional mid horn and tweeter systems get "pushed around" by what I affectionately call my "gag" side speaker.

Would I rather have used a 8" side? of course, but would that buy me that much more bang for the associated buck...no. A larger andor 2 or 3 way side speaker would have have been "better" BUT also would have increased BOTH the footprint and price....significantly. One thing I am hearing from the new V.3 owners is "love the size, and wow, it cranks!

As a designer, and in most og life pursuits, I am a big fan of the "80/20 rule"; you get 80% of the result with 20% of the investment (and getting the last 20% usually costs you 80% more!).

So it was with my choice to go with the 6.5" side speaker, which BTW is an exceptional HP full range USA made Eminence showcase speaker. Also, and this is one BIG difference from my past systems, I had Dr. Marshall Buck create an incredible computer modeling circuit to "optimize" all these components to their rather challenged small enclosures, and in the case of my side speaker...NO enclosure at all!

3) Regarding the various rooms you will encounter, dead or live, this of course changes the interactive "vortex" dynamics. This is EXACTLY why there I provided a "Width" control. If a dead room offers less reflections (and hence less interaction of the MS Vortex "magic") then you use MORE width. Or, in a live room the MS "sweet spot balance" with happen with less "width" level. Just use your ears, this is easy to hear. And, you will notice the "Width" level will change from room to room.

Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright.
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1) How do the pianos sound when you're listening in an off-axis position?

 

2) since I have the original spacestation (mk I) I am sure it will fill the room with a nice stereo feel, but again - how will the upper end of the spectrum, which is so important for ac pianos, sound in different positions in the room?

 

3) I don't think I'll buy another powered speaker without trying first." "... judging from the reviews so far, most of the issues with previous versions seems to have been fixed by now! Keep up the good work! :)

Again, in order:

1) Like an acoustic piano sounds; big and wide...as Michael Boddicker describes so well in his video segment;...it's like you are playing a real grand piano in your living room, it surrounds you. This assumes your EP HAS a great stereo AP patch...so judge that with headphones on, if it sounds real like that, so it will with the V.3.

2) I must now apologize for the MK1. The "fill the room with a nice stereo feel" was acomplished, BUT we were rushed and I had to forego the "computer modeling" phase...this would have corrected so much. The results were an overly abundant midrange response which frankly crippled it for some patches, especially AP.

This was an "exclusive", special ordered product for Guitar Center chain. Their large quantity PO allowed us to begin production and keep cost low...but the tender trap caught me, and I was not able to "refine" the concept. You see, we were under great pressure to deliver it (and the SFX 100) before Christmas. I wanted to do the "acoustical math" and create the filters that would "level" the peaks and "enhance" the valleys...but we ran out of time, I had no choice; assimilate or perish!

This was corrected in the MK2, we got our first shot at "modeling" like is common in near field studio monitors...and the MK2 had a much flatter response.

We took that process to an even higher level with the V.3. We also went for the tri amp system which greatly reduced intermodulation distortion as you'd find in modern PA system. Now it sounds like a good studio monitor. I credit much of this improvement to the considerable talents of Dr. Marshall Buck (past VP Engineering at JBL, president of the AES, past president of Cerwin Vega, and now the force behind Psychoacoustics). His work brought us up to a new level of sound quality.

3) I agree hearing is believing, and don't blame you for your position. But because you bought a MK1 I feel a bit indebted to you...I feel I owe you. So if you would ever reconsider, I will give you a $100 credit and pay your shipping cost to Sweden. Just my way of saying I am sorry for the shortcomings of the MK1...which IMHO delivered the "Gag", but not the "Goods". That was then, this is now.

Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright.
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$50 is not enough to pay for the required trebuchet accessory.

This boils down to a Stereo vs. Mono discussion.

IMHO Keyboard amps are "broke". Because 99% of keyboards are stereo, yet 99% of Keyboard amps (including the Rolands) are mono.

So while loud and clear...and work horses...they are still mono! Even if you buy 2 and patch them in stereo as they promote w/ the 350 (now @ 100lbs), you still have the age old "deal killer" problem of that very small "sweet spot" (and the resulting very large sour spot).

Other similar discussions: Apples vs. Potatos

 

 

Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright.
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What´s up on a outdoor festival stage ?

 

A.C.

 

I have used these outdoors, with very positive results. However my little V.3 is hardly a "festival" level amp!

Best I can recall was a backyard BBQ & Jam ...which sounded amazing...and the neighbors didn't even complain! The SS V.3 SPL is so smooth and broad it is non-offensive. See Jonathan Wilson's CPS video and comments when he used a MK2 for his NAMM floor demo. The MAMM show sound police could not believe their meters...the sound was everywhere yet below the 85dB limit. They were speechless!

Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright.
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Aspen, this is taking product support to a whole new level - a big thanks for giving so much inside info about the technology and how the Spacestation series was conceived! :)

 

Unfortunately, I will not be able to take you up on your offer anytime soon - I have too keep my new gear aquisition too a minimum for now and some time to come. I'm still paying for the Leslie I bought last winter, and I soon have to buy a new car and so on... And also, my EV ZXa-system os more than adequate for my needs, but I must admit I am tempted. :)

 

Again - thanks for the offer and all the insight into this amp technology!

Too much stuff, too little time, too few gigs, should spend more time practicing...!  🙄

main instruments: Nord Stage 3 compact, Yamaha CP88, Kurzweil PC4, Viscount KeyB Legend Live

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... with M/S it is not necessary to "match" transducers. Just the opposite in fact; M/S invites "strange bedfellows!"

The side speaker in my MS speaker technology actually enhances the dispersion of the more directional Front system's mid driver and highly directional tweeter. And remember, both the front and side are technically "full range", albeit a one way vs. a 3 way system. The crazy "acoustical vortex" interaction pushes everything around, so in practice these totally different signals are like oil and water...that CAN NOT mix, so thy repel each other...and that creates that Front to Back 3D feel, unlike traditional sweet spots, and so defy traditional rules of conventional speaker systems!

So, the usually directional mid horn and tweeter systems get "pushed around" by what I affectionately call my "gag" side speaker.

 

Thank you for you´re in depth info which is quite interesting to read !

 

I am a big fan of the "80/20 rule"; you get 80% of the result with 20% of the investment (and getting the last 20% usually costs you 80% more!).

So it was with my choice to go with the 6.5" side speaker ... I had Dr. Marshall Buck create an incredible computer modeling circuit to "optimize" all these components to their rather challenged small enclosures, and in the case of my side speaker...NO enclosure at all!

 

I understand the production rules and yes, I also appreciate the form factor of the CPS SSV3.

But I also know under the GT brand you already designed larger cabinet solutions p.ex. w/ 2 side speakers facing each other, especially for PA an keys, these solutions requireing usage of the external encoder/decoder electronic box,- so I wondered IF costs, size and weight doesn´t matter, which design would be the most ideal one,- same speaker array in 90° angle arrangement, or because benefits won´t be significant enough, the now existing design in the small-size solution would be still the best ?

 

3) Regarding the various rooms you will encounter, dead or live, this of course changes the interactive "vortex" dynamics. This is EXACTLY why there I provided a "Width" control. If a dead room offers less reflections (and hence less interaction of the MS Vortex "magic") then you use MORE width. Or, in a live room the MS "sweet spot balance" with happen with less "width" level. Just use your ears, this is easy to hear. And, you will notice the "Width" level will change from room to room.

 

Thank you, that´s great !

I really hope you´ll get Musicstore (Cologne/germany) in the boat distributing/selling the CPS SSV3 and doing the service.

I´m very interested !

 

A.C.

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I have used these outdoors, with very positive results. However my little V.3 is hardly a "festival" level amp!

 

Well, I didn´t ask because of loudness, just only because there are no walls on (festival-) outdoor stages.

I don´t play extremely loud, nowhere.

What I bring myself gear wise, is just only for me, so I´d place the SSV3 as closed as possible somewhere in my keyboardrig, possibly together w/ a small subwoofer and in a max. distance of 3-5 feet.

 

I only wondered, if there are no walls anymore, whether I´d lose the stereo image or not.

 

The MAMM show sound police could not believe their meters...the sound was everywhere yet below the 85dB limit. They were speechless!

 

O.k., now you´ve created the most ideal music instruments fair amplification solution,- at least ...

 

:2thu:

 

:D

 

A.C.

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Yes, there is

 

 

 

http://thesaltcollective.org/wp-content/uploads/2014/06/welcome_to_hell_by_tyger_graphics-d6009k0.jpg

SpaceStation V3,

MoxF6,PX5S,Hammond-SK2,Artis7,Stage2-73,

KronosX-73,MS Pro145,Ventilator,OB DB1,Lester K

Toys: RIP died in the flood of 8/16 1930 Hammond AV, 1970s Leslie 145, 1974 Rhodes Stage

 

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Sweetwater called me today like they do once in a while, and said a new shipment is expected around the 15th... I'm hoping some of the early purchasers can write up some live gig reviews. Not that I doubt any of those who have shared their experiences so far, but more is always better in this regard!

Live: Korg Kronos 2 88, Nord Electro 5d Nord Lead A1

Toys: Roland FA08, Novation Ultranova, Moog LP, Roland SP-404SX, Roland JX10,Emu MK6

www.bksband.com

www.echoesrocks.com

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Interesting that at Sweetwater the listing says 280w TriAmped, but in the specs further down I can only see 140w?

http://www.sweetwater.com/store/detail/Spacestation3/

 

As the maker is participating, I thought I would repost this question...I am aware of the makers spec sheet, I am just curious as to why Sweetwater have such a divergent set of figures

 

edit for PS: Can you advise who will be the Australian distributors?

There is no luck - luck is simply the confluence of circumstance and co-incidence...

 

Time is the final arbiter for all things

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I have been seriously contemplating buying the motion sound 500sn. Now that this puppy is out there maybe I should wait.. Has anyone played the SS V3 who has also played the MS 500sn and if so how do they compare?
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As the poster who started this entire thread back in early June, and as the owner of (and believer in the better stereo keyboard sound of) a SpaceStation MKII, it's neat reading these early reviews of the V.3!

 

It's also terrific to have maker Aspen aboard! Best of luck to you on this product, Aspen!

KB: Hammond SK1

Bass KB: Yamaha MX49

KB Amps: CPS SS3, linked to TurboSound IP300

Bass KB amp: Fender Rumble 500 combo

 

 

www.mikemickxer.com

www.reverbnation.com/mikemickxer

 

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Funny you should ask.

 

I own a GrooveTubes Spacemaster MKII and am happy enough with it that I won't be upgrading to a V.3 anytime soon.

 

But I do have a Motion Sound 500sn on order right now, to use when I (a) don't want to haul around two separate amps (the MKII plus a linked sub amp = 39lbs + at least 30lbs), and (b) play a bigger outdoor venue, where I don't believe the MKII+ has the same discernable stereo effect nor the volume needed.

 

My belief is that the angle-facing of the 500sn's two speakers, plus its 3D Expander function, will give me what I want/need (which is mostly organ rotary tone and effect).

KB: Hammond SK1

Bass KB: Yamaha MX49

KB Amps: CPS SS3, linked to TurboSound IP300

Bass KB amp: Fender Rumble 500 combo

 

 

www.mikemickxer.com

www.reverbnation.com/mikemickxer

 

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Funny you should ask.

 

I own a GrooveTubes Spacemaster MKII and am happy enough with it that I won't be upgrading to a V.3 anytime soon.

 

But I do have a Motion Sound 500sn on order right now, to use when I (a) don't want to haul around two separate amps (the MKII plus a linked sub amp = 39lbs + at least 30lbs), and (b) play a bigger outdoor venue, where I don't believe the MKII+ has the same discernable stereo effect nor the volume needed.

 

My belief is that the angle-facing of the 500sn's two speakers, plus its 3D Expander function, will give me what I want/need (which is mostly organ rotary tone and effect).

well looking at the specs on the SS V3 i see it has only a single stereo input( at least thats how i see it) and also only a 1/4' out for sub... so when using a couple of different keyboards you would need a mixer... in that case if you were to use the ex-pander effect it would effect both keyboards sounds.. this may not be what you want on any given occasion...MS would alow me to use the expander effect individually. this and not having the convenience of stereo XLR out direct from amp to FOH may make the motion sound the better choice for me.. although i would not mind having both amps... to use for different scenarios as you have mentioned.. just think i would go w/ the MS first
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Well, when connecting two or more keyboards via mixer through the Spacestation you can use the mixer to control the stereo image as well - either you connect only one channel of the keyboard you don't want to have to have in stereo, or if you connect it to two mono channels, you can of course pan the channels as much left/right as you want. The theory of M/S stereo is quite simple really - so applied to the Spacestation technology it will mean that the narrower the stereo image you have from your sound source, the less sound you will get from the 90° bottom speaker, and if the input is pure mono there will be no sound at all from the bottom speaker, since it outputs the difference between L and R channels.

Too much stuff, too little time, too few gigs, should spend more time practicing...!  🙄

main instruments: Nord Stage 3 compact, Yamaha CP88, Kurzweil PC4, Viscount KeyB Legend Live

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r. in that case if you were to use the ex-pander effect it would effect both keyboards sounds.. this may not be what you want on any given occasion...M

 

 

I cannot speak for everyone, but I think once you hear the M/S field you would use it on all patches, not just rotary organ.

 

I was playing with my MOXF piano last night and turning the width from 0 to 12 o'clock , believe me there is a pleasing difference.

SpaceStation V3,

MoxF6,PX5S,Hammond-SK2,Artis7,Stage2-73,

KronosX-73,MS Pro145,Ventilator,OB DB1,Lester K

Toys: RIP died in the flood of 8/16 1930 Hammond AV, 1970s Leslie 145, 1974 Rhodes Stage

 

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well looking at the specs on the SS V3 i see it has only a single stereo input( at least thats how i see it) and also only a 1/4' out for sub... so when using a couple of different keyboards you would need a mixer... in that case if you were to use the ex-pander effect it would effect both keyboards sounds..

 

I guess you mean the stereo image produced by SSV3 when you say "expander effect",- right ?

 

IMO it isn´t an "effect" at all, it´s just only how the amps and speakers in that cab create a Mid/Side stereo image from a single cabinet and once you´ve found your desired "stereo-width" w/ help of the adjustable electronics and depending on the environment, you leave it as it is for the performance, just like you have set up stereo speakers.

 

I´m pretty sure the Motion Sound works totally different.

 

Yes, you need a mixer when using more than one stereo keyboards, except you own one of these keyboards offering stereo line ins like Kawai MP7 p.ex. or the Roland Integra-7 module which both offer 1/4" inputs,- others come w/ 1/8" TRS stereo input.

That way you cascade 2 pieces of gear and go straight into the stereo input of the amp/cab (which is exactly what I have in mind for a small rig).

 

A.C.

 

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So for those of you running stereo into the Space Station (or stereo in general), are you also running stereo to FOH? Every single house sound system I've ever played through has been mono.

 

And a question for Aspen: is there anything "magic" with your encoding of the signal for the mid-side speaker arrangement that could yield a mono signal for FOH that would be better than a summed signal? Usually the issue is phasing issues with summing stereo samples to mono. Just curious of your thoughts on this.

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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well looking at the specs on the SS V3 i see it has only a single stereo input( at least thats how i see it) and also only a 1/4' out for sub... so when using a couple of different keyboards you would need a mixer... in that case if you were to use the ex-pander effect it would effect both keyboards sounds..

 

I guess you mean the stereo image produced by SSV3 when you say "expander effect",- right ?

 

IMO it isn´t an "effect" at all, it´s just only how the amps and speakers in that cab create a Mid/Side stereo image from a single cabinet and once you´ve found your desired "stereo-width" w/ help of the adjustable electronics and depending on the environment, you leave it as it is for the performance, just like you have set up stereo speakers.

 

I´m pretty sure the Motion Sound works totally different.

 

Yes, you need a mixer when using more than one stereo keyboards, except you own one of these keyboards offering stereo line ins like Kawai MP7 p.ex. or the Roland Integra-7 module which both offer 1/4" inputs,- others come w/ 1/8" TRS stereo input.

That way you cascade 2 pieces of gear and go straight into the stereo input of the amp/cab (which is exactly what I have in mind for a small rig).

 

A.C.

thanks for the good info... amp will be on my radar for sure..
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So for those of you running stereo into the Space Station (or stereo in general), are you also running stereo to FOH? Every single house sound system I've ever played through has been mono.

 

I run stereo to FOH since early 80s when I started using mixer, stereo amp and stereo cab setups.

In every location and on every tour I performed I ran stereo to FOH and the keys were also stereo in the MIX which doesn´t mean they urgently were panned hard left/right in the FOH mixer.

 

When working w/ 2 keyboard players which I did very often, both rigs were panned differently,- hard left to about 01:00h right and the other the opposite hard right an 11:00h left.

That way it filled the overall stereo field and had some overlap between both rigs which then were not too loud in the center where lead voice territory was.

 

The other option is narrowing the stereo image already at the output of your keyboard mixer´s bus running to FOH, p.ex., L= 10:00h and R= 02:00h.

That way, using a stereo-line-in on the FOH console allows "balancing" (because there´s the balance pot only) your rig how the FOH engineer likes and it will never be extreme stereo but also not mono w/ mono incompatible samples and/or FX causing phase canceletions,- and you yourself have the luxury listening to your rig full stereo in your speakers.

 

It may be different in the US where I never performed, but in europe I´ve never seen any PA in mono since the 70s.

 

In fact I´d don´t care if it is mono or stereo,- we prefered stereo because most FX (built in or external) weren´t mono compatible and the sound in mono became more worst than a narrowed stereo image which comes more close to mono and didn´t introduce unwanted phase cancelations.

 

Let´s summarize:

In the FOH console, you go stereo as far as you need not to get phase cancelations from internal or outboard FX used for the keys and in your own speakers you do what you like most,- full stereo maybe.

 

A.C.

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Well, I didn´t ask because of loudness, just only because there are no walls on (festival-) outdoor stages.

I don´t play extremely loud, nowhere.

What I bring myself gear wise, is just only for me, so I´d place the SSV3 as closed as possible somewhere in my keyboardrig, possibly together w/ a small subwoofer and in a max. distance of 3-5 feet.

 

I only wondered, if there are no walls anymore, whether I´d lose the stereo image or not.

 

Legitimate questions all. So here goes:

You will still hear stereo very well out doors w/o walls, for two reasons; 1) the side speaker is not enclosed, on purpose, so to keep it as "omni" as possible...and remember, with out an "enclosure" to direct the energy, you will get nearly the same acoustical energy and FR from BOTH sides of the speaker, and 2) Don't forget these signals are "out of phase", so they act like walls toward each other...I affectionately call them "soft walls" as they push each other around. So trust me, the Leslie still spin, even out doors!

 

Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright.
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So for those of you running stereo into the Space Station (or stereo in general), are you also running stereo to FOH? Every single house sound system I've ever played through has been mono.

 

And a question for Aspen: is there anything "magic" with your encoding of the signal for the mid-side speaker arrangement that could yield a mono signal for FOH that would be better than a summed signal? Usually the issue is phasing issues with summing stereo samples to mono. Just curious of your thoughts on this.

 

Great questions, 1) mono vs stereo for FOH PA. you are right; FOH systems, while stereo capable, are rarely used in stereo...and for good reason. With stereo PA you lose clarity and intelligibility. That's because whenever two "in phase" signals that contain "different" information (IE a stereo Left and Right signal) meet, they will "mix", and not in a good way. As they combine, the result will cancel some frequencies, while doubling others. Think of this as the opposite of the "sweet spot", I call it the "sour" spot. And, the room will be 95% "sour", and certainly sound different everywhere where you stand. Only a small spot in the center of the room, roughly 30 degrees from the speakers will hear the stereo effect without this adverse cancellation effect. So everywhere else in the room will sound "muddy", and to various extents!

However if the PA is run in mono, then each speaker contains EXACTLY the same signals, So then when they mix, no harm done...you get uniformity, and clarity and no adverse frequency cancellations. But it is also still, just mono :> (so it never "sounds as good as the CD)

This is simple audio physics folks, there was no way around this...until CPS....using our speaker as a small venue PA creates a 3D stereo effect that sounds the same everywhere in the room and not only produces a credible Left and Right image, but even a Front to Rear effect as well...which is why it sounds as good as a Leslie rotating speaker in the room, but even out performs a Leslie because the 3D imaging does not collapse in adjacent rooms. Again, this is NOT magic, but rather simple physics; the CPS out of phase sound waves CAN NOT mix, even as they pass thru doors and around corners!

CPS changes the rules so now live stereo sound re enforcement is finnaly possible, even practical, because 1) all signals come from the same point (so not time alignment problems), 2) they are NOT in phase (and so can not mix), and 3) are TOTALLY different in content!

RE: "magic" processing for deriving a mono foor FOH: No magic (sorry to say, just good audio science). As it turns out, the L+R (or Front) signals which are derive from our reverse MS matrix ARE mono compatible and sound pretty good (the matrix filters out any "different signals, and so leaves only those that are the "same"). This matrix is often called "sum & difference", so the "sum" is a great send for the FOH. This is why we did not place a low pass filter on our SUB output but left it full range! Of course if you use it for a sub, most subs have an adjustable frequency limit filter (40HZ up to 300 HZ) so we recommend somewhere b/w 100Hz and 150Hz "ceiling", then adjust level to "taste". But you could also split this off and run one to the FOH.

Is this better than a simple passive summing of L+R for FOH? Usually I'd say "yes", just because in our encoding circuit these are actively "buffered". But this would depend on how you are currently summing now, it may be "better", but it could be no worse. Of course, you could compare for yourself and let us know!

Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright.
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Well, when connecting two or more keyboards via mixer through the Spacestation you can use the mixer to control the stereo image as well - either you connect only one channel of the keyboard you don't want to have to have in stereo, or if you connect it to two mono channels, you can of course pan the channels as much left/right as you want. The theory of M/S stereo is quite simple really - so applied to the Spacestation technology it will mean that the narrower the stereo image you have from your sound source, the less sound you will get from the 90° bottom speaker, and if the input is pure mono there will be no sound at all from the bottom speaker, since it outputs the difference between L and R channels.

 

EXACTLY, you are correct!

 

But, why would you ever want to limit the stereo image of any keyboard, much less run it in mono?

 

I say, if you got it...flaunt it!

Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright.
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But I also know under the GT brand you already designed larger cabinet solutions p.ex. w/ 2 side speakers facing each other, especially for PA an keys, these solutions requireing usage of the external encoder/decoder electronic box,- so I wondered IF costs, size and weight doesn´t matter, which design would be the most ideal one,- same speaker array in 90° angle arrangement, or because benefits won´t be significant enough, the now existing design in the small-size solution would be still the best?

 

Well in my world and experience; size, weight, and cost DO matter!

 

Best is usually an answer derived by balancing those issues, not ignoring them.

So do I prefer the sound of my former Groove Tubes SFX K5 speaker w/ a 15" McCauley coax Front speaker plus it's 2x12 Celestion G85K side speakers powered by the top of the line US made QSC 1200watt stereo PA amp like we made for Ray Manzerak for his last DOORS tour, over my compact 280 watt Spacestation V.3. Well, sure. But it weights 3x more, costs 4x more, and is 6x larger. BTW, we still make some custom systems on special order...but frankly spoken every one I know is "downsizing".

In my APR studios I have my all tube CPS K3 (3x12"), driven by my old GT Trio preamp into my old Dual 75 power amp and use an old Marshall JFX1 for my effects...it's all tube w/ special Celestion G85K 12" speakers and it sounds just amazing (for a guitar amp anyway). But again, bigger, heavier, and WAY more expensive than a SS V.3 if you're running a Fractal AXE FX (which I understand from some users of this site sounds great together)

So to "sum" up the "differences"; size matters!

 

Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright.
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