Heads-up: SpaceStation keyboard amp is apparently back

[Aspen]

I have played a small club, medium sized club and a large outdoor venue with the SS and could not be happier. The outdoor venue was on a big bandstand on a huge Town Common so the Pro sound company had to use the sub out Jack to FOH for the speakers further back in the park. Their mixing station was about a hundred feet from the SS and even they were impressed with how well it' sound carried to them.

Question, thus far I have not used a mixer. I have just been using the VR-09 outputs to the PX-5S inputs and the PX-5s outs to the SS. I use the Roland mostly for organ. I have had no sound or volume issues as I have been adjusting the volume on the PX with its knob and theVR-09 with its expression pedal and I'm very happy to have one less piece of gear to hook up. In my studio I did try the two boards into my power mixer and out to the SS and don't hear any sound advantage. So what am I missing by not using a mixer during shows?

My thing is, I'm solo -- I've got CP4, drum machine and vocals through a TC Helicon all going through the SS. I know it can handle it volume-wise, but too many sound sources coming out with not enough bottom is not good. For keys alone I'd probably be fine. My next gig is inside in a small-mid-sized restaurant/lounge, and I'm going to try the SS alone there and see how it does.

 

But I just ordered one of these.

 

Wow, I like this Sub, nice size, nice power, nice $189 price, and simple w/ a 1/4" input, a LF range selector (40-150Hz, careful to keep this under 100Hz) and a gain control...all you need. Should sound great, and it's travel friendly (unlike my Best Buy $99 Sony).

 

It's 250 watts is more that enough to match the SS3 280 (total of all 4 amps)...so it should be a dream. Be sure to set the FR rool off control about center (under 100Hz), then set the gain conservative at first, try unpluging it and then repluging it in to find that sweet spot...not over powering. Too much Sub can produce a large sucking sound...and bass player will frown at you.

 

Now waiting for your review.

[Aspen]

I'm still loving my SSv3, but I'd like to note that instead of only 1/4" inputs, I would have preferred a combination jack for 1/4" or XLR. It would save me from using/buying adapters or special cables....I feel certain Aspen has a good reason why he used the jacks he chose, but I don't recall it being discussed before. So I thought I'd stir the pot. lol

 

I prefer shaken, not stirred...and I do recall this was discussed in Season 2, episode 3...but I digress...

 

But seriously folks, it was a simple decision; line level unbalanced signals do not NEED 3 wire "balanced" connections. Keyboards are unbalanced, and most mixers exhale unbalanced line level (low Z) output levels. These types of signals can go 100 feet without loss...so they are not usually "balanced". And if needed, a simple DI box can and will use a transformer to balance these signals for longer runs.

 

So, as it was not needed, I stayed with industry standard for line level mixer or KB instrument output signal protocol; 1/4" TS unbalanced jacks for plugs & jacks of the same type.

 

Three prong plugs & jacks (XLR or TRS) for "balanced" transmission are several magnitudes more expensive than two way 1/4" plug & jacks. That may be just a few dollars more in total, but as a rule of thumb every $1 more I spend on a component translates to $5-6 dollars for you, and that's multiplied by 3 jacks...so this could add another $20+ for ZERO sonic benefit. And also, if I am trying to keep my box compact...the XLR dual connectors take up more space!

 

But thanks for the comment, and your confidence that I DID have a good reason. I hope that covers my reasoning.

 

BTW, I do spend several more magnitudes of $ on our primo USA made 8" CX2008 speaker & coax mid driver APT50 that our pals at Eminence custom build for me, not to mention the extra cost of shipping thes from Kentucky to their Dong Guan assembly factory (near Hong Kong), ....but that extra cost translates to several more magnitudes of better SOUND...and I'll always spend more for better sound!

[Al Coda]

Keyboards are unbalanced,...

 

Sorry no,- many of today´s keyboard instruments come w/ balanced outputs,- 1/4" TRS and/or XLR.

Some come w/ both, balanced and unbalanced outputs, but not all and there are still plenty of unbalanced ones out there too.

Some flagships ...

 

All six analogue outputs of a KORG Kronos (very popular keyboards b.t.w.) are balanced, it´s audio inputs too.

 

All analogue outputs of Kurzweil PC3 series are balanced TRS.

On Kurz Forte & Artis too.

 

Roland RD-800 comes w/ balanced XLR outs. 1/4" jacks in addition. Don´t know if these are TRS though ...

 

NORD Stage 2 EX = unbalanced

Kawai MP7 = unbalanced

 

Yamaha CP4 comes w/ balanced XLR and unbal. TS 1/4".

Kawai MP11 seems to be the same ...

 

At least Kurzweil mentions their keyboard´s sound benefit from being connected balanced to a high quality amplification system.

 

and most mixers exhale unbalanced line level (low Z) output levels.

All my keyboard line mixers I use since decades have balanced outputs,- Rolls RM203, Mackie 1604 VLZ, Ashly MX508. My Roland M160 rackmount mixers come w/ both, balanced & unbalanced outputs.

Both the studio 8bus consoles I used had balanced outs.

Even the relatively cheapo Mackie 1604 VLZ mentioned above is balanced throughout, all inputs line & mic as well as all outputs (groups, mains, auxes, ctrl.-room etc.)

The Ashly MX508 (see above) offers balanced in´s for mic and line too.

 

The very affordable and popular Samson SM10 offers 8 balanced TRS inputs, 2 XLR mic inputs and balanced main outs on XLR and TRS.

 

These types of signals can go 100 feet without loss...so they are not usually "balanced".

 

But pick up several emission like HF, hum, buzz coming from light systems etc..

 

And if needed, a simple DI box can and will use a transformer to balance these signals for longer runs.

 

But a single quality stereo DI cost more than 2 (additional) balanced inputs in an amp.

 

So, as it was not needed, I stayed with industry standard for line level mixer or KB instrument output signal protocol; 1/4" TS unbalanced jacks for plugs & jacks of the same type.

 

I´d call it the industry standard for the small, cheap mixers, most all made by Phonic and labeled for different manufacturers/brands.

Mackie and Yammi possibly the only exceptions.

 

...so this could add another $20+ for ZERO sonic benefit.

 

Sorry, I doubt it´s ZERO sonic benefit because w/ the hotter +4dB of a balanced signal you´ll have at least better S/N ratio.

I´d pay you 20 bucks all day for balanced inputs, probably $50 too.

I don´t get a quality stereo DI for $50.

 

...the XLR dual connectors take up more space!

 

your (hopefully) upcoming design will anyway ...

A 12" speaker and somewhat larger amps needs more space too,- but make a sub obsolete.

 

BTW, I do spend several more magnitudes of $ on our primo USA made 8" CX2008 speaker & coax mid driver APT50 that our pals at Eminence custom build for me, not to mention the extra cost of shipping thes from Kentucky to their Dong Guan assembly factory (near Hong Kong), ....but that extra cost translates to several more magnitudes of better SOUND...and I'll always spend more for better sound!

 

For a larger design you would probably use different ones,- maybe B&C neo 12" coax .

 

 

The Eminence CX2008 might be the best small cone coax speaker they ever made,- but their 12" coax specs fall behind.

 

A.C.

[zaphod betamax]

Has anyone tried mounting a CPS system upside down from the ceiling? This would still give the stereo effect, would it not?

 

Mark Pigott

[Aspen]

Keyboards are unbalanced,...

 

Sorry no,- many of today´s keyboard instruments come w/ balanced outputs,- 1/4" TRS and/or XLR.

Some come w/ both, balanced and unbalanced outputs, but not all and there are still plenty of unbalanced ones out there too.[quote}

 

OK, I get your point Al, please excuse my perhaps too casual remarks about "balanced" signal paths and the benefits of same. I think I need to explain my position on this in more detail so you guys don't think I am being a cheapskate about all this. But I frankly don't like to waste money where no benefit is derived....so let me explain my position on this issue, hopefully a little better than I did last time.

 

And of course you are correct, certainly many KB are balanced out today, which is beneficial for longer FOH runs...I grant you that.

 

But KBs do not NEED to be run balanced for driving a SS3 20+ feet away from where you are set up...at the most. And in this most common application, I still maintain "balancing" is not required for connecting your KB (any KB) a short distance to either your mixer or my SS3.

 

Balanced runs will NOT improve anything. However they can prevent hum and other noise issues when running lower level signals (-10dB) very long distances. Balancing ONLY provides common mode rejection. (that is, the cancellation of stray electromagnetic interference that could possibly penetrate the cable's shield, by phase reversing and canceling these out at the receiving end). But that is ONLY a benefit IF there is something to "reject"!

 

As for shielding...this is a function of the "shield" around the internal wire conducting the signal, and most good quality TS and TRS cables have adequate shielding that prevents both electromagnetic and RF signal interference. Of course on longer runs of 100+ feet, the accumulated interference from minor penetration thru the shield can build up and become "audible"...so balancing your longer KB runs to the FOH has a real benefit in this case.

 

But balancing the signal is not required for short cable runs to a localized KB amp, or KB mixer. It just doesn't buy you anything. [quote}

 

...so this could add another $20+ for ZERO sonic benefit.

 

Sorry, I doubt it´s ZERO sonic benefit because w/ the hotter +4dB of a balanced signal you´ll have at least better S/N ratio.[quote}

 

Nope, must disagree here Al. Now you are comparing apples and oranges. "Balancing" has nothing to do with adding gain. You can just as easily balance a +4dB or a -10db signal....and the higher the signal level, the LESS benefit balancing provides.

 

Using a mixer to optimize gain structure, as well as to add GAIN (inhaling a -10dB signal HiZ from your KB, and exhaling a +4dB LoZ signal), is also a good thing. The SS3 would rather see a strong +4db signal (balance or unbalanced...makes no difference), and optimized by a good gain structure management a mixer can provide. And hat has NOTHING To do with balancing the signal...or not!.

 

Also balancing (or not) has little to do with degrading the signal to noise ratios...that is more affected by proper (or improper) gain chain management. Not understanding proper gain management can seriously degrade your signal to noise ratios...and again, this has nothing to do with balancing.

 

FYI, all mixers you mentioned above (and 99.9& of all mixers including the most expensive studio mixers) are NOT "balanced signal path electronics" (shockingly!). The just have balanced INPUTS an OUTPUTS! But between IN/OUT (which is where the action is...the active electronics) they are single ended UNBALANCED (usually Class A) electronics.

 

Maximizing your SN ratio is all about gain structure management, and nothing to do with "balancing". That is perhaps the least understood process and a subject of another discussion...maybe later.

 

Of course, more gain is a GOOD thing, and a hotter +4dB signal is typical of a mixer's output...regardless of balanced or unbalanced...it's +4db either way. Many KB have a lower signal levels, closer to -10dB...and many are somewhere in the middle. That is why I often recommend using a mixer BEFORE the SS3, to optimize gain management and feed the SS3 a stronger signal. This will also improve the SN ratios...and it can also improve the improve the tone of the KB by better impedance matching b/w devices.

 

A.C.

The Eminence CX2008 might be the best small cone coax speaker they ever made,- but their 12" coax specs fall behind.

 

Eminence has been a great production partner. They revived and remake the CX2008 exclusively for me, long after it was discontinued (a critical success, but low sales because of higher cost). So rest assured IF I make a larger more powerful big brother to the SS3...I am sure they will provide a 12" speaker equivalent to the CX2008...if I asked them nice.

 

 

 

[Aspen]

Has anyone tried mounting a CPS system upside down from the ceiling? This would still give the stereo effect, would it not?

 

Mark Pigott

 

Great question, thought you'd never ask..and the answer is YES!

 

I really like this approach for permanent club or bar installs, and also church style venues. I recommend inverting them and hanging them as close to the ceiling as possible. Thereby using the ceiling as the reflecting plain...it REALLY works well, filling the room, but not "blaring" at anyone.

 

The club can easily shift from background music during the days, to a great little all in one PA in the eves and weekends...and it saves floor space where the PA would usually be.

 

if you look close at our big room at Aspen's Place Recording (in the big tracking room shots), you will see an inverted SS3 hung from a pipe in the ceiling. We use this as a monitor for video shoots and also for live playback during live recordings w/ audience. We have also used it as a simultaneous room "reampping" device to "grow" the sound of the instrument we are recording.

[Jimmy Keys]

I'm sure this has been mentioned, but since there isn't a search feature for the thread I will ask. What are people doing to eliminate hum in their SS. I'm pretty sure it's a ground loop issue because if I pull the ground pin from the cord (I know, dangerous) it largely disappears. Any recommendations?

[Raymb1]

Try one of these: http://www.sweetwater.com/store/manufacturer/Ebtech

[J. Dan]

I'm sure this has been mentioned, but since there isn't a search feature for the thread I will ask. What are people doing to eliminate hum in their SS. I'm pretty sure it's a ground loop issue because if I pull the ground pin from the cord (I know, dangerous) it largely disappears. Any recommendations?

 

CLONK

 

 

Ok, ok, I know, this one is not so obvious....but yes, you can search a specific thread, as per the link.

 

 

Also note in the search results, the number you see out front is the page number of the post within that thread, so bigger numbers came later than smaller.

[Jimmy Keys]

Try one of these: http://www.sweetwater.com/store/manufacturer/Ebtech

 

Awesome, thanks, also if anyone needs one get it from amazon for $25 cheaper and free same day delivery http://www.amazon.com/gp/product/B0002E4YI8?psc=1&redirect=true&ref_=od_aui_detailpages00

[16251]

I'm sure this has been mentioned, but since there isn't a search feature for the thread I will ask. What are people doing to eliminate hum in their SS. I'm pretty sure it's a ground loop issue because if I pull the ground pin from the cord (I know, dangerous) it largely disappears. Any recommendations?

(common problem for any amp)

[Al Coda]

Keyboards are unbalanced,...

 

 

OK, I get your point Al,...

 

Aspen, I´ve read all of your comments on my post.

 

Be sure, I´m not against your product how it is,- it´s really innovative !

 

It was just only an answer for the record.

I don´t think you´ll stop developement after such a success you had and still have w/ the SSv3 and even it is not for everyone.

IMO the SSv3 is what it is incl. all features designed and components used.

It´s cool.

 

But for the future, having balanced inputs when using a front-end mixer w/ balanced outputs, getting parallel outputs usable to send a stereo or mono signal to a PA and getting a dedicated sub-out which activates a x-over leaving the SSv4 internal amps for the bandwidth of 100Hz (or whatever) to 18 or 20KHz would be improvements.

If it comes w/ 12" coax for more low end and a side-speaker solution offering comparable bandwith to the front speakers, that would be much more improvement, making a dedicated sub out obsolete IMO.

 

No need defending Eminence.

In the 12" Pro series you don´t find any coax speaker.

In the "American Standard Series" you find ´em all,- 8", 10", 12" ...

 

footnote:

**** BETA 8CX, 10CX, 12CX and ACOUSTINATOR CX 2008 are coaxial speakers with tweeter sold separately. Published Usable Frequency response contingent upon use of APT 50 HF Driver.

 

I truly believe you had your reasons chosing the Acoustinator CX2008 and it possibly would be a bit tricky to get that performance from any other Eminence speaker actually available.

The "beta"s are the only ones.

 

Balanced needed or not, at least the XLR connector is the safest connectivity we can get vs a 1/4" jack, may it be TS or TRS.

I like to have lockable balanced connections at least across my racks and amplification system, but also for the keyboards WHEN offering such connectors and even most of my keys and MIDI soundmodules are unbalanced.

 

I myself, I´m prepared to pay more for such solutions.

 

A.C.

 

[HammondDave]

 

Balanced needed or not, at least the XLR connector is the safest connectivity we can get vs a 1/4" jack, may it be TS or TRS.

I like to have lockable balanced connections at least across my racks and amplification system, but also for the keyboards WHEN offering such connectors and even most of my keys and MIDI soundmodules are unbalanced.

 

I myself, I´m prepared to pay more for such solutions.

 

A.C.

 

+1. There is a reason such high quality jacks are "industry standard" in professional sound equipment. So it costs $10 more? Already people are paying hundreds more to add more bass to the SS... Why not supply the jacks that we are accustomed to using?

 

It's tricky to balance cost savings, marketability, and innovation. Probably the same reason that many of our contemporary speakers (SS included) are manufactured in Chinese shops using cheap labor instead of the USA. You have to make tough decisions to hit a certain price point.

[MotiDave]

If it comes w/ 12" coax for more low end and a side-speaker solution offering comparable bandwith to the front speakers, that would be much more improvement, making a dedicated sub out obsolete IMO.

 

I myself, I´m prepared to pay more for such solutions.

 

A.C.

+1. with a higher power Amp to drive them, I'll be in the pre-order line right next to you. I see both having an identifiable market nitch, SS3 would still fill the bill for alot of users. And everyone needs a big brother

[elif]

Try one of these: http://www.sweetwater.com/store/manufacturer/Ebtech

 

Or a Rolls HE18 Buzz Off hum eliminator. In addition to RCA phono it has 1/4 TRS jacks.

[Brettymike]

^^^ Holy Smokes!, Aspen knows all these technical issues and details all above in all 128 pages ^^^

Stone the crows.

Brett

[minorguy]

I really love my SSv3 that I got a couple weeks ago. But I never tried the sub output until yesterday and it's apparently not working. I'm going from the sub out into my QSC K10 and I get nothing. I checked to make sure the cable is good and the K10 is working but still nothing.

 

Before I return it to SW, is there anything I might have missed? Anything I might be able to check and fix by opening it? (I'm not squeamish about opening things.)

 

Update: Ok, I discovered that this was my mistake. Sorry, Aspen. Two things were wrong. First, the QSC has a mic/line switch on input A which I had set to "line". So the signal was there but it was very low. The reason I didn't hear the low signal was because the amp was on a different circuit and so it had some ground loop hum. I was ignoring the hum because I thought I should at least hear some signal if I turned it up to 10 o'clock or so. So today I sorted out the hum issue, then I heard the low signal. Then I noticed the mic/line switch and switched it to "mic" and got plenty of gain.

I guess you guys who have both the SSv3 and K10 figured this out already. It just took me an extra day. :-)

 

[Aspen]

Why not supply the jacks that we are accustomed to using?

 

Hey Hammond Dave, just noticing your excellent vintage array of gear on your tag: "'55 and '59 B3's, Leslies 147, 122, 21H, Motif XS7, Mellotrons M300 and M400, Wurlitzer 200, Gibson G101, Vox Continental", So....I apparently AM supplying "the jacks you are accustom to using" as none of these are balanced, or use XLR cables.

[Aspen]

 

I myself, I´m prepared to pay more for such solutions.

 

A.C.

 

I will keep your excellent suggestions in mind, if and when I bring out a larger CPS amp.

 

But meanwhile, my focus is keeping the SS3 production line flowing and increasing to meet the demand. Frankly that's got me real busy....thanks to you guys here and all my early adopters I am delivering larger and large orders to Swwetwater and Thomann.

 

My immediate goal is to find dealer partners in Australia, Mexico, Japan and South America. Meanwhile I am supplying all those countries directly from here...and THAT'S keeping me jumping too. We even have 3 amps in Israel now...but eventually I'd like to have dealer partners in those countries to make CPS more accessible for my growing CPS Family. This technology has appeal for all types of music in every culture...we all love stereo!

[Aspen]

It's tricky to balance cost savings, marketability, and innovation. Probably the same reason that many of our contemporary speakers (SS included) are manufactured in Chinese shops using cheap labor instead of the USA.

 

Well, of course you're right about that Dave. I wish there were more incentives to keep manufacturing here instead of driving it off shore (all I'll say on that). But I should point out that with the SS3, I think I hit a good "balance" (pun intended).

 

FYI, at least 50% of the cost of the SS3 Bill of Materials ARE manufactured in the USA (Kentucky), then shipped half way around the world to a USA partnered and owned company's factory (Eminence) who is competing in a world of 100% Chinese made audio products...and doing very well!

 

This adds a lot of cost, and I could shave off at least $100 from the MAP price of the SS3 if I used all Chinese components (like earlier Spacestations and the later SS MK2)

 

But these USA speakers kick ass, and so I believe they are worth the extra investment. Earlier versions of the SS used Chinese speakers...which were "OK", but the SS3 is at a whole new sonic performance level and I believe the USA speakers are a big part of that technical achievement.

[Doug Robinson]

Aspen, I guess you didn't see my email but that sound I got a while back happened again intermittently--different club, happened when I turned it down, up, unplugged the synth...the only way to stop it was to turn the amp off, wait a minute and turn it back on. Maybe it was picking up some interference from a blender or something in the kitchen but I couldn't really hear anything.

 

Do you think that Eb Tech unit would help? It was extremely noticeable to the band and the club owner. Thanks.

[Doug Robinson]

I froze the busiest thread on the Internet with a single post!

[Danny Linguini]

I froze the busiest thread on the Internet with a single post!

We're all waiting to hear the sound.

 

Or maybe Aspen's reply.

 

 

Or both.

 

[DanL]

I really love my SSv3 that I got a couple weeks ago. But I never tried the sub output until yesterday and it's apparently not working. I'm going from the sub out into my QSC K10 and I get nothing. I checked to make sure the cable is good and the K10 is working but still nothing.

 

Before I return it to SW, is there anything I might have missed? Anything I might be able to check and fix by opening it? (I'm not squeamish about opening things.)

 

Update: Ok, I discovered that this was my mistake. Sorry, Aspen. Two things were wrong. First, the QSC has a mic/line switch on input A which I had set to "line". So the signal was there but it was very low. The reason I didn't hear the low signal was because the amp was on a different circuit and so it had some ground loop hum. I was ignoring the hum because I thought I should at least hear some signal if I turned it up to 10 o'clock or so. So today I sorted out the hum issue, then I heard the low signal. Then I noticed the mic/line switch and switched it to "mic" and got plenty of gain.

I guess you guys who have both the SSv3 and K10 figured this out already. It just took me an extra day. :-)

line level on the k10 should be fine with the ss3 sub out. How far up are you turning the K10 volume? Do you have the bass boost turned on too? (not that that would matter but it'd give you some more low end). I wouldn't use the mic switch for a line level input.

[cphollis]

I really love my SSv3 that I got a couple weeks ago. But I never tried the sub output until yesterday and it's apparently not working. I'm going from the sub out into my QSC K10 and I get nothing. I checked to make sure the cable is good and the K10 is working but still nothing.

 

Before I return it to SW, is there anything I might have missed? Anything I might be able to check and fix by opening it? (I'm not squeamish about opening things.)

 

Update: Ok, I discovered that this was my mistake. Sorry, Aspen. Two things were wrong. First, the QSC has a mic/line switch on input A which I had set to "line". So the signal was there but it was very low. The reason I didn't hear the low signal was because the amp was on a different circuit and so it had some ground loop hum. I was ignoring the hum because I thought I should at least hear some signal if I turned it up to 10 o'clock or so. So today I sorted out the hum issue, then I heard the low signal. Then I noticed the mic/line switch and switched it to "mic" and got plenty of gain.

I guess you guys who have both the SSv3 and K10 figured this out already. It just took me an extra day. :-)

line level on the k10 should be fine with the ss3 sub out. How far up are you turning the K10 volume? Do you have the bass boost turned on too? (not that that would matter but it'd give you some more low end). I wouldn't use the mic switch for a line level input.

 

Yeah, I have run the sub out to my K10 at line level -- works great.

[Doug Robinson]

Here's the noise:

 

https://soundcloud.com/dougrobinson/amp-noise

[HammondDave]

Here's the noise:

 

https://soundcloud.com/dougrobinson/amp-noise

 

Can you hear the noise through walls? (Bad joke, sorry...)

 

Seriously, I am sure that Aspen can figure this out.

[Les Mizzell]

Al talks about a larger version...

 

... If it comes w/ 12" coax for more low end and a side-speaker solution offering comparable bandwith to the front speakers, that would be much more improvement ...

 

I think I'd rather it keep the small footprint it currently has and use two 10" vertically mounted speakers instead of a single 12. It would be almost the same size as now, just 12" or so taller. Just my 2 cents worth! Aspen seems PLENTY busy keeping up with demand at the moment though...

 

Does anybody have TWO of these? What happens when you stack them?

 

Also, has anybody tried playing a binaural recording through one?

What does that sound like?

[minorguy]

line level on the k10 should be fine with the ss3 sub out. How far up are you turning the K10 volume? Do you have the bass boost turned on too? (not that that would matter but it'd give you some more low end). I wouldn't use the mic switch for a line level input.

It seems to me that when I put the SSv3 at about 9 o'clock (not loud....just saying), I needed to put the K10 at about 3 o'clock (no bass boost) to get roughly equal volume from it. Sound right? Anyway, that's OK. I don't need to use the K10. I just wanted to confirm the output worked. Maybe the 9 o'clock setting I mentioned doesn't matter anyway because the sub out is controlled by the SS volume control.

No, I wouldn't leave the K10 set to mic---if the K10 gain knob ever got accidentally turned up...boom.

[MotiDave]

i thought the ss3 mono line out was just an unfiltered pass-thru sum of L&R - it shouldnt be affected by any knob settings or levels?

 

i agree, setting the K10 to mic sounds risky. the K10 should get plenty of signal from the ss3 mono out when set to line input. if it doesn't, i'm surprised the ss3 has enough signal to generate adequate volume. i don't know what the expected (normal) signal loss is for the thru signal path, but knowing Aspen's attention to design detail, i am guessing its supposed to be negligible.

 

did we do the obvious and check/swap the cable, check the K10 input set to line using a different signal source (plug your board directly to the K10? if its not the K10, and not the cable, maybe there's a defect internal to ss3 causing signal loss.