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Heads-up: SpaceStation keyboard amp is apparently back


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Still would love to hear which cabling works the best. Dual TS or dual TRS.

I can then order my stuff custom lengths and quality.

 

All of my gear is 48k Digital, even the hardware FX so with the AES/EBU and ADAT being used, XLRs are open and nothing but the best for SSv3.

 

Zaollo cable for this gem of an amp. Nothing less.

Magnus C350 + FMR RNP + Realistic Unisphere Mic
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Still would love to hear which cabling works the best. Dual TS or dual TRS.

This was answered. TS will be fine. (You can use TRS if you have them, it won't hurt anything, but the third connection of the TRS is ignored, so there's no advantage.)

Maybe this is the best place for a shameless plug! Our now not-so-new new video at https://youtu.be/3ZRC3b4p4EI is a 40 minute adaptation of T. S. Eliot's "Prufrock" - check it out! And hopefully I'll have something new here this year. ;-)

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Hi Aspen, if I have a mono source and apply a bit of reverb via the mixer, don't I still wind up with a mono source? Can you explain why the SS would recognize this as stereo and spread the output among the two drivers? Thanks much.

 

Adding a touch of stereo FX will activate the CPS encoder circuitry, and send the "wet" (or wider) parts of the Hall reverb to the side speaker. I mentioned "Hall" reverb as it has a good amount of stereo content.

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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I would have interest to know what a Lexicon effect would think of being in a decent loop with the SS!

 

T.

 

Lexicon stereo FX are among the best out there.

 

And, simply stated, the CPS SS is a stereo transmission. As such, it can only be as good as the stereo engine to which it is connected. And most Lexicon stereo FX are VERY good ones!

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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Using a similar set up to yours (Nord Stage 2 running organs and EPs to an SSv3) I can take people's heads off at full blast -- and do so cleanly.

 

yeahhh, that's right - kinda how it felt, come to think of it!! :cool:

 

tried two more things today -

 

ran couple of mics, an acoustic guitar wit pickup and a ukulele in addition to my sk1 and NS2 - played comfortable garage level contemporary pop rock and americana - sounded great!! finally feeling comfortable with my own sounds in that context playing electric (have been focused on AP with no amplification for vox/guitars with these friends) - feels good to go and play out now and the ss should be good for the size venues we're considering...

 

after my friends left I set the ss on top of my AI ten2 and plugged the sub out into AI in - set the highs and mids as down as possible and the bass up, then dialed in the volume - wow wow again - the pianos were that much richer, fuller, had to tone down the AI a bit to keep it tight - and the sk1 bass lines, and overall that much fuller, richer, smoother... my goodness...

 

got into more of the nord patches I hadn't played or seen in ages - those synth layers are insane - the bass register just thick and solid - the upper registers celestial... hard to believe I'm getting this quality, level, texture of sounds...

gig: hammond sk-1 73, neo vent, nord stage 2 76, ancona 34 accordion, cps space station v3

home: steinway m, 1950 hammond c2

 

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I did a gig with the blues band I play with last night, union hall type of venue, 200 people or so. Fairly loud band, guitar player right next to me. The SS3 was singing! I had to bump the mids and highs up a touch and it really cut after that. Ran my SK1 direct into the SS3, total volume and side speaker both at 12. The drummer said "is that a little Leslie?"- the leslie sound is that good coming out.

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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Funny Dan, I got the same comment from a drummer two weeks ago. The only difference is I run my SK1 through the BURN and it sounds really good.

 

Bob

Hammond SK1, Mojo 61, Kurzweil PC3, Korg Pa3x, Roland FA06, Band in a Box, Real Band, Studio One, too much stuff...
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Doppler simulations are excellent and a great hardware FX unit also really helps.

The TC Fireworx is my choice out of the 7 or 8 ancient FX I have laying around. It has excellent reverbs for when I wish to bathe in glory, but the modulation width and quality is awesome.

My cheezy VB3 with Multiband Saturator and MRotary from Melda sound so big for a plug in based set up I am quite pleased.

The Side speaker really is what makes this set up sing.

SSv3 was punished by my FAT Analog synths.

That's the real test for any amp/powered stage rig.

SSv3 is a champ for big fat bastards from the analog era.

 

 

 

http://s27.postimg.org/xk8236ws3/IMG_0558.jpg

upload pics

Magnus C350 + FMR RNP + Realistic Unisphere Mic
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Funny Dan, I got the same comment from a drummer two weeks ago. The only difference is I run my SK1 through the BURN and it sounds really good.

 

Bob

I run thru a vent a lot, but on this gig like to keep it simple.

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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Here's a question I'm not sure if it's been answered.

 

Going through my Kronos patches, there's a strange anomaly going on.

 

I generally have over time tweaked the volumes, panning and effects to make changing sounds during a set a seamless affair.

 

But now, with the SS, things are a lot different. Some patches are overly soaked in reverb through the SS. Others are terribly soft compared to others.

 

And I haven't changed a thing yet.

 

I realize this may be because I've introduced new processing into the equation (the SS's L+R and L-R thing).

 

But I don't want to have to go through all my set lists and tweak every patch - just for a new amplifier - and then what happens when the sound goes to FOH?

 

Anyone else running into this? Help!

..
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Hi,

 

it seems that some of you are pairing the spacestation with a subwoofer to

get more low end.

I don't want to buy a dedicated sub for my spacestation but I have a EV ZLX12p mostly used as a vocal monitor thinking about using it instead.

 

Did anybody use an aktive fullrange with the Spacestation ?

 

thanks

Markus

 

Studio: Hammond XK5-XLK5,  Roland Fantom 8, Kurzweil PC3A6, Prophet 5, Moog Sub37, Neo Vent, HX3-Expander, LB Organ Grinder

Live: Yamaha CP88, Yamaha Motif Rack ES, Hammond SKX Pro, Hammond XB2-HX3,  Kurzweil PC3-61, Leslie 251, Roland SA1000, Neo Vent2

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Just minutes ago, I hooked up my CP4 and Hammond xk1c to my brand new Yamaha MG06X, and then the SS V3 (which I have had for about a week). Previously, I had tried the CP4 directly to the SS, but not the Hammond.

 

Just doodling around by myself in my basement for a few minutes, I was initially surprised that the volume did not seem that loud, but that may well have more to do with the mixer than anything else. (When plugging the CP4 directly into the SS, the volume seemed fine.) I have never used a mixer myself before so do not know what I should expect when the gain is set, for example, somewhere in the middle.

 

Another surprise was that the Hammond seemed a little distorted. I immediately turned down the overdrive on the Hammond and it sounded fine. Makes me think that I was hearing the effect of the overdrive - for the first time - as it was meant to be heard.

 

And now, let the tweaking begin ......

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Hi,

 

it seems that some of you are pairing the spacestation with a subwoofer to

get more low end.

I don't want to buy a dedicated sub for my spacestation but I have a EV ZLX12p mostly used as a vocal monitor thinking about using it instead.

 

Did anybody use an aktive fullrange with the Spacestation ?

 

thanks

Markus

 

try it! I hooked up my Acoustic Image ten2 which is a full spectrum 600-800w amp I've been using as my keys monitor/amp - I turned down the mids and highs all the way, and cranked the bass - and then dialed in the volume to suit - definitely took it to another level, especially the low and phat synth lines, as well as b3 left hand...

gig: hammond sk-1 73, neo vent, nord stage 2 76, ancona 34 accordion, cps space station v3

home: steinway m, 1950 hammond c2

 

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Here's a question I'm not sure if it's been answered.

 

Going through my Kronos patches, there's a strange anomaly going on.

 

I generally have over time tweaked the volumes, panning and effects to make changing sounds during a set a seamless affair.

 

But now, with the SS, things are a lot different. Some patches are overly soaked in reverb through the SS. Others are terribly soft compared to others.

 

And I haven't changed a thing yet.

 

I realize this may be because I've introduced new processing into the equation (the SS's L+R and L-R thing).

 

But I don't want to have to go through all my set lists and tweak every patch - just for a new amplifier - and then what happens when the sound goes to FOH?

 

Anyone else running into this? Help!

 

Well, I've run into the same thing, if it's any consolation. The SSv3 can definitely overemphasize the stereo component: reverb, chorus, etc. Dialing back on the width decreases the issue, but -- depending on how picky you are -- you'll still want to do some tweaking.

 

But I like the stereo, so I'm tweaking away. Less of an issue for me, as I don't do FOH as often.

Want to make your band better?  Check out "A Guide To Starting (Or Improving!) Your Own Local Band"

 

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Timwat, I also have the issue of re-formulating stereo sounds to sound good in mid + side and I think it is unavoidable. It is more noticeable with my Nord Lead, which may be sending completely different sounds on the left and right channels. The FOH issue may require two sets of sounds, one for stereo FOH and one for the SS3 when used as main sound source. Not sure what to do about monitoring FOH with the SS3 except to accept the difference in stage sound from FOH.

 

M_G, I am using a Hartke bass amp for a sub, with the mods and highs rolled off, and it sounds great. You should be fine with your EV full range 12" speaker if you reduce the mods and highs. In fact, the full-range speaker may sound great reinforcing ALL frequencies that are present at the SS3's 8" mid speaker.

 

Aspen, am I correct in assuming that the sub out is the exact same signal as is passing throught the 8" mid speaker? Thanks.

 

Cedar, your mixer's main output and each channel's output should be as high as possible without clipping or distorting. Make the output LEDs red, then back off volume until no red shows. Tweak to taste, avoiding crackling and distortion in the sound output by the SS3.

 

My wish list for the SS3 (currently) includes:

 

Shorter knobs

Low frequency roll-off when a plug is inserted into the sub out

"Side" speaker line out (or two line outs, one phase-reversed)

 

My thinking on the line outs is that mid and side signals could then be sent to bigger amps or FOH to recreate the SS3's sound without the issue pointed out by Timwat--sounds formulated to sound good on the SS3 are different from the ones formulated to sound good in stereo.

 

Regarding recording and recreating the SS3's sound, I wonder if the best recording may be had by using three mics, one for the mid, one for the front of the 6" speaker and one for the back of that speaker. The mid speaker would be panned center and the other two mics left and right. I'd be very interested in hearing Aspen's opinion of this technique. Thanks again.

Kawai KG-2C, Nord Stage 3 73, Electro 4D, 5D and Lead 2x, Moog Voyager and Little Phatty Stage II, Slim Phatty, Roland Lucina AX-09, Hohner Piano Melodica, Spacestation V3, pair of QSC 8.2s.

 

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Aspen, am I correct in assuming that the sub out is the exact same signal as is passing throught the 8" mid speaker? Thanks.

 

You are correct, it is L+R, or all he mono content which is equal in both channels of the stereo source

 

Regarding recording and recreating the SS3's sound, I wonder if the best recording may be had by using three mics, one for the mid, one for the front of the 6" speaker and one for the back of that speaker. The mid speaker would be panned center and the other two mics left and right. I'd be very interested in hearing Aspen's opinion of this technique. Thanks again.

 

Well, ask 5 engineers how to "stereo" record a Leslie, or anything really, and you may likely get 5 different answers. Stereo recording is soooo subjective.

 

What we've used (so far) for all those CPS website videos is a M/S pair set back in the room quite a distance (20') from the SS v.3...and it works "OK", can't say I am done experimenting. I wanted to have an accurate recording of the "being there" effect. Maybe we could do better, but at least it is consistent approach so we can compare "apples to apples". Also, I didn't want to "over sell" the stereo effect and it have folks be disappointed that the CPS effect was less than these recordings. I would rather exceed expectations in this case...so I kept it kept it simple....and I think we have achieved that goal

 

BTW, many little handy cams have a built in M/S stereo mic system, while some others use the XY technique (2 fixed angled directional mics). I recently listened to some recordings here made in a live venue, a few pages back, that sounded really nice. My bet is these were recorded on a handy cam (that is MY generic name, probably offending somebody, sorry).

 

I chose to use M/S mostly because the CPS technology was born out of my partner Drew Daniel's brilliant idea to reverse the M/S electronics and have a stereo source push a mid/side speaker. So it seemed only "fitting" to record it that way...so then I stayed with it as we made more videos.

 

But now I am having second thoughts. After reading comments hear that the CPS 3D image effect on these videos is "underwhelming" (or not convincing) on our videos (one wonders if these guys are using headphones as we suggest), then saying that CPS is MUCH more impressive in person, I think I am still in the "learning curve". Certainly I'd be the first to say nothing beats hearing it live for the first time. CPS is a totally new and different experience than any other stereo speaker system...and I still get giddy playing it nearly everyday for 15 years!

 

Perhaps our stereo recording approach can be improved, and then again, it may just be that "hearing it live" will always be better than the recording. If so I am OK with that!

 

Funny you mentioned the 3 mic approach. In fact, when we mic a Leslie (APR has a A100 w/a 122), I use 3 mics; one condenser on the floor by the 15", and 2 dynamics on opposite sides of the horn vents at the top most part of the cabinet. I do like the way that sounds. I've tried a M/S pair for the top end, as I am a big fan of M/s stereo recording, but it doesn't seem to give as much "hard Left and Right" impact as the dual spaced Cardioid mics (note. I use the old standby for guitar amps, the Shure SM57s).

 

I think we have a band w/ drummer video we are producing for the CPS website coming up soon. So I am definitely going to try some other stereo micing techniques, including XY and the 3 mic system like we use on a Leslie. We have lots of channels, 32 all tube preamps to be exact. So we can easily record it several ways and then decide what's working best during the editing stage.

 

Still learning after all these years, and I really wouldn't want it any other way!

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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I'm finding too that a lot of my Kurzweil Setups need to be tweaked just a bit, often dialing down the reverb a little. It's like hearing the keyboards in HD stereo where a little effect goes a long way, therefore probably sounding cleaner and less muddled in the FOH. It's really nice hearing the keys they way I always wanted them to be heard in a room with other players.

 

Played my church gig yesterday morning with it for the first time and it felt just right. I could hear my various sounds distinctly in the ambient mix. Afterwards I stayed just a little late after most had left and ran through some of the Kurzweil's built-in demo songs while I walked around the empty church hall listening from all angles and it never lost it's sparkle. In an empty church, it's a pretty "live" room. It was hard to call what I heard true "stereo" in the back of the house in the sense of separate L & R panning info hitting each ear, but there was a definite clarity and aliveness to the sound.

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I played in a big band last night on a tight stage. My SS was to the left of me and with a small tilt. Usually when the horns are playing I would have trouble hearing myself. The SS sounded wonderful. It was if I had carved a space for myself. No one told me to turn down and the blend sounded great.

AvantGrand N2 | ES520 | Gallien-Krueger MK & MP | https://soundcloud.com/pete36251

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I'm going to add a little more gain at the mixer, per rickp's suggestion. I will also check my cabling, per timwat. Excellent suggestions, thank you!

 

The venue I played runs mono FOH. I figured I'd see just how much I could fill the room with sound from the SSv3. I was amazed at how much the little amp could do. As for the distortion issue, given that I was playing loud rock music, slightly distorted Wurli and Hammond aren't necessarily a bad thing!

 

I'll double check everything. I still am amazed by the SSv3 and intend to keep working with it. I'm going to order the B1200 sub - it would be useful to have around anyway. Worse comes to worse, I'll fly mono through my K10 and into FOH for super-loud gigs. (Does stereo really make a difference at that point anyway?) I have enough variety in my gigging that the SSv3 will find use almost all of the time.

 

Daddyg3042, is that Tuki cover the same as this?

 

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

 

Wish they had a pocket for the power cable, but I'll just throw that in the amp cavity.

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Picked up my SS3 from my mail service a few minutes ago (I live in central mexico). It is sitting two feet from me. I have not hooked it up yet. I'm nervous and giddy. I don't have enough time to really get into it now, but...I think I'm going to plug something into it anyway!

Doug Robinson

www.dougrobinson.com

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Daddyg3042, is that Tuki cover the same as this?

 

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

 

Wish they had a pocket for the power cable, but I'll just throw that in the amp cavity.

 

No, not the same cover. Here's the Tuki's site:

Tuki

 

Little hard to see, but really nicely padded covers with tough nylon outer material. I have no interest in Tuki, really..I merely shop there. :cool: I have one for my EV SXA360 that provides a lot of protection, and has held up great for 3+ years now. I think they may be able to do an outer pocket as well. They're good communicators too, which is nice when doing online transactions.

"May you stay...forever young."

 

 

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I've browsed the first dozen pages but 60 pages is a lot to go through, so I ask here:

 

What's the status with back orders and shipping? If I were to want one shipped to the UK who would I be best going through?

Hammond SKX

Mainstage 3

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Aspen, thanks for your comprehensive answer and your great support. Much appreciated and very comforting when trying a new product.

Kawai KG-2C, Nord Stage 3 73, Electro 4D, 5D and Lead 2x, Moog Voyager and Little Phatty Stage II, Slim Phatty, Roland Lucina AX-09, Hohner Piano Melodica, Spacestation V3, pair of QSC 8.2s.

 

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I've browsed the first dozen pages but 60 pages is a lot to go through, so I ask here:

 

What's the status with back orders and shipping? If I were to want one shipped to the UK who would I be best going through?

 

 

If you want to wait a couple of months, Thomann are going to be stocking them.

 

SSM

Occasionally, do something nice for a total stranger. They'll wonder what the hell is going on!
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I've browsed the first dozen pages but 60 pages is a lot to go through, so I ask here:

 

What's the status with back orders and shipping? If I were to want one shipped to the UK who would I be best going through?

 

 

If you want to wait a couple of months, Thomann are going to be stocking them.

 

SSM

 

That's great, just what I wanted to hear! Thanks SSM.

Hammond SKX

Mainstage 3

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Ok, here is a preliminary report:

 

Love it.

 

First off, I play an SK1 as my main axe--funky jazz in a trio, or organ in a blues band. I just did a week of gigs in Puerto Vallarta with my old amplification system (you might laugh, but my little Fender PA150 blew away everything I heard from Roland, Yamaha and Motion Sound about 10 years ago and I've stuck with it ever since).

 

This morning, I unboxed my new SS3 and decided to hold off on the SK1 test until I ran my old warhorse Yamaha S80 through it. I keep the S80 around as my weighted controller in my studio, plus I'm addicted to one or two cool sounds...but the piano sounds pretty much like ass as do some other bread and butter patches.

 

Well, I fell back in love with the S80 this morning--not only did the piano sound wonderful through the SS3, so did everything else.

 

I had it positioned partly in front of a wall, facing me and I wasn't playing at a super loud volume. I turned it to the side and really didn't make that much difference to me. I'm sure in another room with a live band, I'll be moving it around a bit. But my first impression was hugely positive.

 

It looks cool, solid--40 pounds is less than 50 but it's still more than 30 :) A case with wheels is definitely in this old cat's future.

 

I plugged the Sk1 into it and I tweaked the width a bit--need to go back and re-read recommendations for settings, but it sounded wonderful. It is crystal clear--the patches all sound good to great. The weakest sounds on the SK1 for me are the acoustic pianos and they did sound better through the SS3 though the still don't thrill me. The Rhodes, wurly and organs and way clarinet? Terrific. I can't wait to use this in rehearsal this weekend.

 

Plenty of low end for me, though we'll see how I feel after my blues gig next week. I suspect it's going to be just fine.

 

I really didn't like the sound of the MK1 or whatever the original SS was called--I knew nothing about how to tweak it but I played through it in GC a couple of times years ago. Loved the concept though.

 

This sounds excellent. Clear, clean and as someone said--now I think I'm hearing what my patches really sound like--I'm dialing back some overdrive on my fave organ patches. I need to to dig deeper into editing the SK1 sounds now--I had kind of just accepted what I had till now.

 

I am stoked. Thank you Aspen, and everyone on this thread for helping me make my decision.

Doug Robinson

www.dougrobinson.com

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We need a Spacestation Forum...

Got my Sub and Cables and SSv3 w/ the B1200D is the most portable, powerful stage Monitor rig I ever had.

Barbetta's and 41 Sub forever, then QSC-K12s, both rigs had to be driven hard to get a good sound, but this combo is top shelf all the way.

I had no crackling with the SSv3 alone, and the SUb just was the icing on the cake. I play in a loud group but the Guitarist is far side so all I get is Bass and a 30 inch Kick drum.

K12s are the side fills now so I can hear everyone thanks to the X32 rack we use.

Also I send Toslink from my rig to the X32, then the XLR's go the Sub/SSv3.

 

I was just about ready to break out my pair of JH Audio Pro 6 ways, but not now, everything is fine.

Besides the IEMs are really only good when you have a good FOH/Monitor man.

 

Thanks Aspen.

Magnus C350 + FMR RNP + Realistic Unisphere Mic
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