Heads-up: SpaceStation keyboard amp is apparently back

[Danny Linguini]

Wobble, wobble ...

 

The SSv3 wasn't intended as a near-field vocal monitor. If that's what you're looking for, there are probably far better choices.

 

What it does do well is fill a room with lush stereo. Of course, that presumes you feed it decent stereo content: leslie, chorus, pans, etc. Feed it a mono signal and all the magic is lost, although it holds its own.

 

So, when I got mine, I immediately thought "well, I probably need more bass". So I got the Behringer unit, gigged with it a few times. Yes, it added a bit more bottom.

 

But one day as I was loading up for the gig, I thought "gee, do I really need that?". And since then the bass sub has stayed home, gathering dust. Note: I am not doing heavy bass parts.

 

BTW, SSv3 also pairs well with bass amps, self-powered PA units, etc. But part of the undeniable appeal is having less stuff to schlep.

 

The real decider is: do you want a small, loud unit that's capable of filling most venues with great stereo without having to lug more gear?

 

If yes, this is your amp.

 

* I'm a one-man-band with MIDI sequences of bass and drums.

* I've been running stereo for the past 16 years with my Fender Passport Deluxe PD250.

* I've sequenced to take advantage of that stereo.

* I'm looking to replace the Passport on quiet gigs, i.e. luncheons for The Association of Retired Realtors, where they want music, but want to hold conversations without a speaker directed at them.

* Just because it's a quiet gig, I still don't want the bass/drums to sound tinny. I'm not expecting boom, just fullness.

 

No need to wobble. Using the sub is just me. For the kind of quieter gig you describe here, the SSv3 alone will be more than adequate. Drums and bass are not tinny through it -- I just prefer a little more oomph than it has by itself. (For the gigs I usually play, every sound system I've used is complete overkill, so take that for what it's worth.) I've never heard a Passport, but looking at the specs, I'm pretty sure the SSv3 will blow it away and you should be more than satisfied.

[Aspen]

Ordered it. http://img.photobucket.com/albums/v707/HandsomeTramp/smilies/04.gif

 

Thanks all!

 

Welcome to the family, and thanks for your support!

 

I have been following your decision making process. I heartily agree with all the great replies and tips from "the amazing CPS gang", and REALLY appreciate their input in my absence.

 

In fact, this group is so experienced now I rarely see the need to chime in, they beat me too it...but I enjoy reading all the great interchange.

 

I especially like the suggestion about trying a sideways set up in your close quarters venues, but also I agree that we sometimes over think all this. There really is no "wrong" position...because it does sound "blooming" good almost anywhere you put it!

 

So on that sideways note...I'd like to give you MY gig report from a few Friday nights ago.

 

I did a fun brewery gig in Van Nuys at MACLEODS (authenic English pub brewery) with a local LA "almost famous" Americana band called the Sweet Potatoes; Laura Hall and Kelly Macleod are two female singer songwriters with great mostly original songs and vocals (you may know Laura Hall as Keyboard Girl & MD on all the Drew Carey TV shows such as "Who's Line is it anyway"). But in Sweet Potatoes the girls front and play acoustic guitars (Laura doubles on squeeze box) and are backed on bass and vocals by Laura's husband Rick (a Disney TV regular actor, you kids would know Rick), plus an awesome Cajon player and another ringer playing banjo, lap slide dobro and a mean harpoon. So LOTS of open mics into their PA with all guitars and bass going into various amps.

 

But this regular gig had been a nightmare for them. They had so much conflicting level from all this amplification in this super live room, and crammed into a small corner (no stage)...feedback and monitoring was a huge problem.

 

So when Laura came out to APR studios to try out a SS3 for her new KB amp (had been using a Roland...in mono of course..and had heard about the SS3), she loved it (naturally). But then she told me about her other band, and how much trouble they were having in the smaller venues. So I mentioned to her that the SS3 might double as an "all in one" vocal and instrument system "for the whole band". So she called my bluff, and the game was on!

 

I agreed to bring down a SS3 and mix for them thru their mixer, on the condition they leave ALL their amps in the car. If it seemed the SS3 wasn't cutting it, they could bring them in and do the "usual set up".

 

I wanted to prove they could go completely thru the SS3...so no other amp in the room....sound and play better plus enjoy it more too.

 

They had warned me; this brewery had terrible acoustics and feed back and monitoring were big problems in past. They had a 16 channel mixer they had previously just used for vocals w/ JBL powered PA speakers + several amps + monitors. I felt all that "amplitude" with so many sound sources was making the bad room acoustic issues even worse.

 

They wanted to try the SS3 for vocals only, and their acoustics...but I challenged them; try my way first. I ran everything thru their 16 channel mixer (no channels left over!!), and JUST one SS3 set in the corner, but because Rick played electric bass, I brought along my B1200 to be safe.

 

The Brewery was a typical concrete wall/floor industrial unit, and the steel roll down loading door was the back drop for the band. Imagine the acoustics of a really bad gym, plus a steel door at your back! No carpets, no baffles, zip! Probably the worst acoustics I had ever heard.

 

I used the SS3 in the corner sitting upright on top of the B1200 sub for the first set and gradually kept turning the sub down (remember, I had hubby's Martin acoustic bass going thru the system as he left the bass amp in the car)...but the room was so live and boomy, the sub was just "too much". But it sounded GREAT, and they instantly LOVED it.

 

I walked the room once I set my mix, and the coverage was good...lots of loud talking but no problem hearing this band over "the buzz", and the music covered the whole brewery. As I have mentioned before; reflections are very SS3 friendly, so the bloom "happened" in like 3 feet!

 

Their delicate 3 part harmonies were clear, everyone could hear and hit their parts, and once I set levels they "mixed" their own guitars, bass and percussion intuitively...making my job easy (yea, Macleod Time!).

 

However for the 2nd set, I took the B1200 out of corner and unplugged it...I was at near zero by now anyway and in this room I believed they would not need it. Also, I turned the SS3 on it's side!. In the 1st set, the side speaker was shooting right at the Dobro and Cajon players who were set up behind the girls, and I could feel their discomfort (thou the only stereo I had going was some stereo vocal delay). So I put the SS3 on it's side (same corner location BEHIND the band, up against the roll up door and side concrete wall. I used a rat trap (boxed like a 3x3) lying near by as a "prop up" (forgot my amp stand...darn). But now the side speaker was shooting harmlessly to the floor and back wall...for an even quicker bloom!

 

WOW, it was all good, even better that set. Of course as they were getting acclimated so they played and sang better too...a typical 2nd set! But we did not miss the sub...especially as the SS3 was now sideways on the floor, so it had more natural bass coupling...it was near perfect! (nothing is ever perfect in my world :>)

 

I know it sounds crazy, but this room was so live "less was more". The mix was really easy to find; and just one amp made it the same mix for all...and ple ty of SPL for this band.

 

Of course, these guys were seasoned pros, and instantly found the right groove once they could HEAR an even mix. Everyone was comfortable and REALLY enjoyed it...the level was great (running the SS3 about half way to it's max level...but to be fair; they were not a "loud band"). I had a ton of head room...and not one feed back moment all night...even though the SS3 was directly behind (on an angle) to all the vocal, guitar and dobro mics...and the Cajon mic was on the concrete floor.

 

BTW, every one of these 5 open mics were within 4-8' of the SS3, which was placed behind them in the corner!

 

This was a bucket list gig for me and the SS3, something I had been wanting to try for awhile, and the Sweet Potatoes were a perfect opportunity. Needless to say they bought one the next week and....it's also Laura's new KNB amp for the TV show (but doubtful the SS3 will ever make it on camera!).

 

So, Synthaholic; I am sure you will find your first few gigs "enlightening", and quite a different experience from your pole mounted Pasport PA. But as it is different it may take soem getting used to and dialing in your patches will be required...you can really play "wider" now, because it will be transmitted evenly throughout the room.

 

And as s some have already suggested here...try playing a loop so you can walk the room and get a feel for levels...and how "wide" you stereo patches will sound, no matter where you are. That will give you some confidence. Then just relax knowing how well your audience can hear you and play you butt off!

 

And do try that sideways position tip, with or without a sub, that shortens the "bloom" effect so even at 3' and set off to your side...you will get "bloomed" and be hearing what your audience hears.

 

 

[hardware]

Sideways is fine too.

Here's the 24 inch dispersion at the most cramped space I ever played, and outdoors in 100+ degree weather.

A bunch of whiney WIne tasters with money though...

 

 

http://s14.postimg.org/z39j0jh0x/DSC_0053.jpg

post img

[zaphod betamax]

Can someone recommend a nice 1/4" unbalanced input subwoofer for the Center Point Stereo 3? I have extensive testing between my standard stereo KC-150 L-R amps and the CPS3 and the only thing lacking on the CP3 is the low bass. I have no XLR or balanced in my rig and many subwoofers seem to be XLR, which is what I do not want.

In a pinch I could use a XLR-1/4" converter cable.

 

 

As you guys are in the CPS club, could you help a fellow member out?

representing the 43rd latitude of Ontario!

[MotiDave]

I recommend you also consider a bass amp and not just a subwoofer. others may disagree.

 

I can't recommend, I don't own one of either. But I did have the ss3 with a Behringer b1200 sub briefly, that sub didn't do it for me but we may not play the same tones or hear the same so ymmv. And maybe other subs sound better, i don't know (it is one of the lowest cost sub option available).

 

re XLR: I recall I had to order cables specifically for the setup (similar to as you note above), both keyboard to b1200, and b1200 to the ss3. whole lotta trouble for what in the end wasn't right for me.

[Doerfler]

I use one of these. Won't work if you are kicking pedals or left hand bass but if you need more low end on your AP's and organs it's an inexpensive way to go.

Really-Mini-Tremor - Powered 10" Pro Audio Subwoofer Cabinet

[drawback]

+1

 

I use a bass amp and prefer it, but if you must go with a sub and it's XLR, you just need some adapters or the right cables depending on how you intend to hook it up (stereo to FOH, mixer/instrument to sub to SS, mixer/instrument to SS to sub) etc.

 

http://www.shopvista.co.uk/offerImage/GwUBGUhdSglSSh0LBAMOBwZPFB4QDwYcXAYDXB1aDwgFDBFaK1pHQDMgMQgNJEFhf0wDEg4-/Balanced-Patch-Lead,-XLR-Male-to-TRS-Jack-0-75m-(30%22)-Black.jpg

 

 

[Redknife]

Re:needing unbalanced sub input: I'd pick the sub or bass amp based on sound and portability. I bought trs-xlr and xlr-trs cables for my setup (Zxa1 sub). The cables weren't very pricey and work even though ss uses ts.

[zaphod betamax]

With my four keyboards I use, the MS-20K(it), it does not need the lows, the Sledge 2 does not really care either, but my Blofelds are missing something in the lows. I can not put a finger on it.

Will look into the link you sent me, as I am in Canada, I hope shipping is not insane!

 

As a synth player and not a keyboard player per se, I do not even know what the term AP (acoustic piano??????) means, but ask me about modulation matrix, and boolean operators on a Blofeld and I am all over it!

 

I use one of these. Won't work if you are kicking pedals or left hand bass but if you need more low end on your AP's and organs it's an inexpensive way to go.

Really-Mini-Tremor - Powered 10" Pro Audio Subwoofer Cabinet

[Doerfler]

As a synth player and not a keyboard player per se, I do not even know what the term AP (acoustic piano??????) means

 

well, you guessed correctly.

[Danny Linguini]

I use one of these. Won't work if you are kicking pedals or left hand bass but if you need more low end on your AP's and organs it's an inexpensive way to go.

Really-Mini-Tremor - Powered 10" Pro Audio Subwoofer Cabinet

 

Ditto what Dave said. I've got this little sub too, and it's perfect for my needs. Any place that the SS3 is the right size for, this sub will add just enough if you need that little extra bottom.

[Aspen]

I like the Mini Tremor too, the right size and good pricing (bang for buck)...but not sure it is available in Canada for the same price as we get here.

 

I bought the Berhinger B1200 and it's has always been over kill, I run it at 1/3 to 1/2 level tops.

 

If you are in Canada, then Long & McQuade probably have the best on line selection of subs, and/or small bass amps (also poplar w/ many CPS users)

 

Looking at what they offer, This $450 USD (%600 CD) JBL powered sub looks good, and has 1/4" TRS inputs:

 

https://www.long-mcquade.com/51435/Pro_Audio_Recording/Subwoofers/JBL/10_Powered_Studio_Subwoofer_With_XLF.htm

 

Also if y ou go the mini bass amp route, these all have 1/4" TS inputs of course, and have tone controls that can roll off highs and mids (and so repurpose it as a sub...or not), then little this Canadian made Traynor "Small Block"amp looks good with it's SS3 matching metal grill:

 

https://www.long-mcquade.com/21828/Guitars/Bass_Amps/Yorkville_Sound/Small_Block_200_Watt_-_1x12_inch_Bass_Combo_Amp.htm

 

Remember, the $515 price on this L&M bass amp link is in Canadian Dollars (about 75% of the USD), so about $385 in USD. Pretty good value. Also, L&M has a very attractive rental program (if you live near one of their stores) where you can rent one of these Traynor amps real cheap, and apply some of those fees toward purchase.

 

In fact, it was the L&M rental program that inspired my Rental Partner program where you can rent a SS3 to try it out, then apply up to $50 of your rental receipt toward purchase.

[guitpic1]

Review..my first gig with the SSV.3

 

Bottom line, very positive responses to the sound.

 

The setting is a nursing home facility, about 30 folks in attendance. The area I play in is the back of a large sanctuary. Also attached to this is an indoor courtyard that seats probably a 100 folks. The walls are stone and wood...very acoustically active.

 

I'm facing about 15 folks in front of me anywhere from 15 - 30 feet away. Another 15 or so folks are seated to my left in the courtyard at tables, 30 ft or so from me. The open speaker was facing this group. This was a small crowd yesterday...about half the size I usually see.

 

The SSV3 was on my rock-roller cart placed about 4 feet to my left against the wall. I tilted the SSV3 at a slight angle. The main speaker was facing the folks in front of me with the open speaker facing the courtyard. The main volume of the speaker was at 50%, width at 25% and the rest of the controls at 12. I was using my Tyros 4. My Tyros was at about 25% volume.

 

I started by playing a country style and just walking around the area. I was surprised that the sound was as big and full as it was. And the sound was very balanced...plenty of bass.

As I had the system set up, there was a drop off at about 50 feet...but I had the settings lower because, quite honestly, the sound was loud in the whole area.

 

There were about three folks I know personally at the gig and I asked them to move around the area during the gig to give me an idea of what they thought of the sound. They told me they thought it sounded very good and they are used to hearing me with two Bose Compacts.

 

My impression of the sound at the gig was very good. I could hear myself very clearly in the mix. The styles sounded very good to me with no lack of bass. Plus I could hear separation on parts very well.

 

In short, I was very happy with the SSV.3.

 

My original plan was to use the SSV.3 in settings smaller than this but it was good to find out that the SSV.3 sounded this good in this big a space.

 

At this point, my Compacts are going to be my go to speakers, but I can see using this SSV.3 much more in the coming year than I had originally planned.

 

guitpic1

 

Tyros 4, PSR 970, DGX650, Space Station V.3, Bose Compacts(2), Nano 300, Line 6 Amplifi, Roland 2480, Taylor T5, assorted acoustic guitars

[zaphod betamax]

Thanks, the Mini Tremor looks nice. The others seem overkill,though. I am sure I can order from their webpage and take the hit with exchange. I was lucky when I bought the CPS direct from you way back in June of 2015, as the Canadian dollar was much higher at the time. The exchange rate is always a consideration when shopping for synths and other sundry items in the U.S.

Mark

 

I like the Mini Tremor too, the right size and good pricing (bang for buck)...but not sure it is available in Canada for the same price as we get here.

 

[Synthaholic]

I've now done 10 gigs with the Spacestation and am still undecided about keeping it. In certain rooms it sounded great, in others it sounded awful. In all rooms it seriously lacks any bass. And I have found that it only sounds good to me if I have it to my right, where I can hear some of the side-mounted speaker. But that means carrying and running 2 long cables and an extra extension cord - more hassle than my Passport (I know - First World problem). Another issue is when I turn up the Width my vocal effects are exaggerated greatly.

 

I'm wondering why 8" and 6" speakers were chosen instead of 10/8, or optimally, 12/10. I assume that if the concept is sound, it's scaleable, but I don't know. It just seems like the 8/6 really limits the appeal and narrows the market for it.

[Synthaholic]

So, Synthaholic; I am sure you will find your first few gigs "enlightening", and quite a different experience from your pole mounted Pasport PA. But as it is different it may take soem getting used to and dialing in your patches will be required...you can really play "wider" now, because it will be transmitted evenly throughout the room.

 

And as s some have already suggested here...try playing a loop so you can walk the room and get a feel for levels...and how "wide" you stereo patches will sound, no matter where you are. That will give you some confidence. Then just relax knowing how well your audience can hear you and play you butt off!

 

And do try that sideways position tip, with or without a sub, that shortens the "bloom" effect so even at 3' and set off to your side...you will get "bloomed" and be hearing what your audience hears.

 

 

Thank you for this, Mr. P! I am positive that a lot of my initial reactions are just that - I am using something new after nearly 16 years of the Passport.

 

I have tried it on it's side, and it sounded very good. On Easter Sunday morning I played a brunch at an exclusive club with 300 diners over two seatings. It's an old converted building, with 3 floors and 6 small dining/meeting rooms - all wood and glass. I was set up basically in the first floor foyer and asked a waitress to let me know how it sounded upstairs. She reported back that she could hear me clearly in all the rooms. So that's really impressive.

 

My only real issue with it is that in order to get more bass I'm having to really crank it up on my mixer, which has made some of the channels overload a bit. If I left the channels flat I'd have no bottom end at all. That, and the effects wash on my vocals when turning up the Width.

[Aspen]

I've now done 10 gigs with the Spacestation and am still undecided about keeping it. In certain rooms it sounded great, in others it sounded awful.

Thanks for your report. It seems like you are struggling to dial the SS3 in to sound great in all venues, which I assure you it can.

 

So I am just wondering here if you've tried it horizontally? Or perhaps sideways on a small amp stand like many of the SS3 fans have done? Also, to maximize bass it's better horizontally and on the floor (raising can reduce bass response)

Also, I do not recommend turning up the width much past 1-2 o'clock, especially if you are using strong stereo vocal effects, just because it can sound unnatural. And BTW, a sideways position will spread those stereo FX quicker and better and you will hear it better in close proximity...so perhaps you won't have to crank up the width that far.

Also, IF your music is heavy bass dependent, as your Synth name might imply, augmenting the 3D stereo soundfield of the SS3 with a small powered sub may make you very happy. Many here use an inexpensive powered sub for that under 100Hz area with great results in some venues, and leave it in the car for others.

 

Regarding why didn't I use larger speakers, I have just two reasons; size and cost. One of my prime design goals, and a feature many here have really appreciated, is our very small footprint for the 106SPL output. I accomplished that with smaller drivers computer tuned for a smaller enclosure and a 4 way Class D amp design...which also kept the price low and keep it accessible to all.

 

Remember, I already had a hit product in the SS MK2. Sweetwater sold 100s of them, but after selling GT to Fender, they decided not to continue it, and yet years later folks still wanted to buy it! So the goal was to upgrade that product, and not make a totally different, larger and more expensive product.

 

Of course a larger 12" speaker in a lager box with double or triple the power would be great, and I am not against that at all. I made HUGE custom CPS Cabs in years past but they didn't sell nearly as well as the SS3.

 

But if you double the size and weight, you can also expect the cost may double as well. Plus the double weight and size may also "limit the appeal" too!

 

BTW, adding a small powered sub to the SS3 breaks up the weight and size into 2 boxes, and can accomplish the same goals of "more bass" for less cost than a "bigger" SS3 with a 12" Front system, as many have discovered. Then for smaller gigs they can (and do) leave the sub in the car.

 

I guess I am saying, there are many markets for CPS. And it is as you say; "scaleable". And once I can ramp up and meet the demand for the current SS3, I can start to look at larger (or smaller!) versions of the Spacestation.

[Synthaholic]

So I am just wondering here if you've tried it horizontally? Or perhaps sideways on a small amp stand like many of the SS3 fans have done? Also, to maximize bass it's better horizontally and on the floor (raising can reduce bass response)

 

Yes, as I mentioned in my last post it sounds the best on it's side, on that little OnStage amp stand.

 

But I'm now confused when you say "horizontally and on the floor". That would put the 6.5" facing the ceiling. I thought the object was to reflect the 6.5" off of the floor. If you mean tilting it against the wall instead of using the amp stand, I'll try that the next gig where I have a wall right behind me.

 

Also, I do not recommend turning up the width much past 1-2 o'clock, especially if you are using strong stereo vocal effects, just because it can sound unnatural. And BTW, a sideways position will spread those stereo FX quicker and better and you will hear it better in close proximity...so perhaps you won't have to crank up the width that far.

 

I haven't turned it up any higher than 1 o'clock because of the effects wash. I have the Width at 12, and the Mid and High at 1 o'clock.

 

Also, IF your music is heavy bass dependent, as your Synth name might imply, augmenting the 3D stereo soundfield of the SS3 with a small powered sub may make you very happy. Many here use an inexpensive powered sub for that under 100Hz area with great results in some venues, and leave it in the car for others.

 

I have an upcoming weekend gig where I'll pair it with my JBL subwoofer. I expect it to sound very good in that configuration.

 

Regarding why didn't I use larger speakers, I have just two reasons; size and cost. One of my prime design goals, and a feature many here have really appreciated, is our very small footprint for the 106SPL output. I accomplished that with smaller drivers computer tuned for a smaller enclosure and a 4 way Class D amp design...which also kept the price low and keep it accessible to all.

 

Remember, I already had a hit product in the SS MK2. Sweetwater sold 100s of them, but after selling GT to Fender, they decided not to continue it, and yet years later folks still wanted to buy it! So the goal was to upgrade that product, and not make a totally different, larger and more expensive product.

 

Of course a larger 12" speaker in a lager box with double or triple the power would be great, and I am not against that at all. I made HUGE custom CPS Cabs in years past but they didn't sell nearly as well as the SS3.

 

But if you double the size and weight, you can also expect the cost may double as well. Plus the double weight and size may also "limit the appeal" too!

 

BTW, adding a small powered sub to the SS3 breaks up the weight and size into 2 boxes, and can accomplish the same goals of "more bass" for less cost than a "bigger" SS3 with a 12" Front system, as many have discovered. Then for smaller gigs they can (and do) leave the sub in the car.

 

I guess I am saying, there are many markets for CPS. And it is as you say; "scaleable". And once I can ramp up and meet the demand for the current SS3, I can start to look at larger (or smaller!) versions of the Spacestation.

 

I'm hoping a larger speaker version will be economically feasible for you to produce in the future. I'd happily spend $300 more for one of those.

 

Thanks so much for responding! I'm sure that I just have to get used to it more. FWIW, employees and audience members alike all say it sounds great, so I just have to acclimate.

[roygBiv]

Synthaholic

 

I think Aspen means laying it horizontally on the floor, with the front propped up with either a stand or some sort of wedge, so that the front speaker is pointing at you, and the 6.5" side speaker is also pointing at you, but bouncing off the floor first.

 

I've also placed it horizontally on the floor and leaned it back against a wall or something to get the same effect, just have to make sure it doesn't lean to far back and squash your input cables.

 

Aspen may want to consider installing (or selling as an add-on) some kind of leg that attach to the side of the amp, like the old Fender amps used to have. Those are cool! Love them on my 1970 Fender Pro Reverb.

 

Anyway, by having the length of the speaker cabinet physically touching the floor, it seems to really increase bass coupling. With this arrangement, I've never noticed a lack of bass, but have with it standing "normally".

 

And if you point the main speaker at you, you get a really nice even sound. Not quite as "3D" as it can be standing up vertically, but seems more consistent from venue to venue.

 

I pretty much do the above as default these days, just because it avoids any variability.

[Tombsalley]

Sadly, I gave up on the SSV3 and I owned 2 at a point! I just couldn't deal

With the set up variations from job to job. They sounded great when it worked. But, because it s soooo dependent on those spaces and positioning, I just couldn't feel confident when I set up. I don't always have the time needed to adjust from each gig. This to me is it's down side. Perhaps Aspen, could gather valuable information from it's users and compile a simple guide for each situation, possibly in a PDF file that is downloadable. Just to give a quick look that possibly insures some quicker set time for each situation? I think that would help users that are on the fence and are struggling to get it right per situation. What do you think Aspen?

I think your a great person and really are passionate about what you are doing. So, don't take this as a negative criticism but, an opportunity and a valid challenge.

 

[Synthaholic]

I used it last night with a subwoofer for the first time. It was OK. But now I know that even a subwoofer won't help the AP and vocals, which definitely fare the worst in a SSV3. I'll still keep it for the ultra-quiet gigs, but that's it.

[Raymb1]

My two cents worth. The Passport system is an entry level system. There are many better PAs costing just a few dollars more. My keyboard is a Casio PX5s. The APs, EPs and organs sound very good through my SSV3. I don't think it's the SSV3 that's causing your APs to not sound good.

[Danny Linguini]

I had two very different experiences with two different keyboards through the SS3. The PX-5S sounded great through studio monitors, but I was not happy with it at all through the SS. The CP4 on the other hand sounds great through the SS (with some eq fiddling). Of course I haven't used it in too many different venues, so I haven't really had the same opportunities to beat it up as the guys above. I have to wonder, though, how much of their disappointment comes from what they themselves are hearing vs what's being projected out to the audience. It's very hard to appreciate that there's a big difference between up close and out beyond the 'blossom' area when you're only hearing it from up close. Which is not to doubt what they are hearing -- it's gotta sound good to me as well as to the audience. If it doesn't, then I go shopping for a new PA, too.

[Raymb1]

I make sure that I have at least 6 ft between me and the SSV3, otherwise you won't hear the 3D sound even though everyone else will. The SSV3 is on a Gator amp stand on it's side. I guess the sound you need is dependent on the kind of music you play. The group I work with plays jazz and standards. Buble and Sinatra music. Ray

[ShadowMan]

I, too, have been having problems dialing in the sound on my SSV3. So far, I've kind of had mixed results.

 

For gigs I've take to stacking it on my Barbetta 31C - and sending it a separate feed from my mixer. I dial the Barbetta in more when I play piano to boost the low end, and that kind of balances the sound.

 

But frankly, I am hearing an unnatural warbling on the SSV3 on the fast rotary setting with my Electro 4, C1 or HX-3. I use the fast rotary a lot, so I wind up keeping the width setting very low to minimize the warble... somewhat defeating the purpose of having the amp.

 

Anyone experiencing the same... and any thoughts?

 

[Doerfler]

I play my HX-3 through a CPS SS3 and don't hear any unnatural warble, though unlike you I don't use tremolo much. Make sure you have updated your HX-3 to OS Version 3.92. Other than that I am out of ideas.

[hardware]

Rotary Throb, Rotary Balance, Chorus Dry Mix and C3 Vibrato mix should be tuned per cabinet.

Haven't bought a 2nd SSv3 yet so have a pair of Barbetta Sona 32s and always reset stereo parametrs.

I also use lots of fast lower manual Gospel style voicings.

Fine tuning the settings with the highest 3 drawbars helped out.

 

Rotary Throb especially alters the doppler effect.

[jpgxk3]

Shadow.....have you tried swapping your Leslie settings in the Nord boards? Maybe that will get you in the range you are trying to find. I had a NE2, then NE3, C2 with an older ss a few years ago. The old Nord sims sounded great in the ss; I wouldn't be able to comment on the newer Nord sims.

 

FWIW I am using an sk-1 with the new cps ss and it sounds really great. I am using the amp sans sub as either a monitor or main amp in the micro venues. I know its limits and am I tired of trying to make "things" work harder/better than they are intended to. This coming from a guy who built a couple of custom Little Leslie cabs, as well as a motor-less Leslie tone cabinet. I also ran my Mojo into the cps and again it sounds great within the limits of the box.

 

I played a great venue last weekend with a super FoH system, big band for an occasion with 2 percs, drummer, 3 guitarists, bass, 5 vocalists; point is ALL the stage monitors went to the front of the band; non for the keys, so I pulled my cps out of the car and used it as my own monitor. The stereo bloom thing gets lost in the sauce, and with ear protection in my head even more so, but at least I was able to hear what I was hitting. Worked fine and as intended. Good luck, Joe

[Synthaholic]

My two cents worth. The Passport system is an entry level system. There are many better PAs costing just a few dollars more. My keyboard is a Casio PX5s.

 

http://i.imgur.com/4i6Ckte.gif I don't know what this means. Mine is the 1st generation PD250, designed by Bose, and using their components. It was the only version with Bose. All versions since have been Fender's design, with whatever components they are currently using. There is a world of difference. I bought another Passport as a second system (when they had the white special edition ones) and sent it back immediately. Sounded awful.

 

And my piano is a Kurzweil.

 

The APs, EPs and organs sound very good through my SSV3. I don't think it's the SSV3 that's causing your APs to not sound good.

 

Yeah, it is. They sound great with the system I used last night for an indoor banquet: 2 JBL 510 on the floor and the Passport on poles. The SSV3 just doesn't give a warm enough, round enough piano tone. For me, anyway. Sounded great with the KB3 organ, though!

 

And I should clarify that when I say vocals, I mean the effects. I was turning down the Width until the effects wash went away, but then it's too low for everything else. I'll have to create effects programs with lower levels of delay, reverb, etc. and use them just with the SSV3.

[Synthaholic]

I had two very different experiences with two different keyboards through the SS3. The PX-5S sounded great through studio monitors, but I was not happy with it at all through the SS. The CP4 on the other hand sounds great through the SS (with some eq fiddling). Of course I haven't used it in too many different venues, so I haven't really had the same opportunities to beat it up as the guys above. I have to wonder, though, how much of their disappointment comes from what they themselves are hearing vs what's being projected out to the audience. It's very hard to appreciate that there's a big difference between up close and out beyond the 'blossom' area when you're only hearing it from up close. Which is not to doubt what they are hearing -- it's gotta sound good to me as well as to the audience. If it doesn't, then I go shopping for a new PA, too.

 

So true. The SSV3 has gone over very well in quieter venues. Even though it hasn't always sounded quite right to me, I've gotten many compliments on it, especially in very live rooms. I played in the tile and glass hallway of a performing arts center last week and it sounded great, without bouncing off the walls.