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Although I have a CPS, I haver not turned it on really since COVID as gigging has become rare. Too sentimental to sell though, as one day it will be used again.

Waldorf Blofeld and Korg Modwave.

The keyboards, or should I say synths I have tested through the CP3 Timbre Wolf MS-20kit Waldorf Blofeld Monotribe Sledge They all sound quite good, my old setup, 2 KC-150 amps (L-R) just sound the smallest bit better, but that could be because they were separated by 8 foot and I was always in the sweetspot.

I am a bit curious in regards to why you replied to my experiments with all the details that you left. I was doing an experiment for my own benefaction, which may or may not have been connected with what you had replied with. Most of the items you replied with, I was already privy to, and if I am to share my experiments, I was wondering why you replied with such an itemized elucidation? (p.s. 53 years old, have been a synth owner for almost 40 years) Yes, that's exactly what the Fender versions of Aspen's design do. You input a mono guitar, add stereo effects, and the effects sounds are broadcast into the room. Let's start at the beginning. (You're asking why should I listen to this guy? In a previous life I was a telecoms engineer and I re-created the SS3 but with higher quality components two years ago. This is no diss on Aspen. It's a brilliant invention and I wish him all the best) 1). !@#$%^&* it, Google "M/S recording technology" and really learn it. If you open your mind and do some simple arithmetic you can do this in one hour. 2). Don't go on to the next step before you did step 1. Really. 3). Aspen's genius is to invert the M/S recording process and use it for reproduction. Since an M/S recording is done from a single room position this means that the inverse reproduction system can be done from a single room position. This eliminates so many problems that exist in trying to present a stereo image to an audience. 4). The center channel in an M/S recording is done with an omni mic. This means it captures everything. This is the same as taking a stereo recording and summing the left and right channels into L+R. This is everything. The phrase "common to both L and R signals " is deliberately confusing. It's L+R. And this is what is presented via the front-facing speaker. Technically, L and R signals that are identical and in-phase are boosted 6dB. 5). In M/S recording the second mic is a Figure-8 configuration positioned at 90degrees as close to the Omni mic as possible. To invert this for reproduction, we're going to use a Figure-8 speaker: which is exactly what every standard speaker is when it's not placed in a box. When a Fig-8 mic records, it recognizes sound from both ends of the diaphragm, but they are 180 degrees out of phase. Go back to step 1. If you haven't internalized it stop here. Back to our discussion, the Fig-8 mic has processed left and right directed signals, but in opposite phases. The way to state this exactly is that the Fig-8 mic has recorded L-R. 6). So, to invert and reproduce the original signal we are going to take the two stereo input signals (L and R) and subtract one from the other: L-R. 7). We then amplify L-R and drive the second speaker, positioned at 90 degrees w.r.t. the front speaker. Just like the Fig-8 mic that was used in recording. From one side it sends L-R and from the other side it sends that same signal but 180 degrees out of phase which is -(L-R) which is R-L. 8). That's it. This is not an analogy. This is the way it works. L+R to the front, L-R to the left, and R-L to the right. With two speakers and two amps. 9). My personal experience with this is that acoustic piano benefits slightly from this technology. It's like salt. Use to taste. 10). Keyboard sounds with lots of L-R components do really well with this technology. The result is not the same as a Leslie or as Fender Rhodes Stage, but gives a very sensual feeling of the sound filling the room. Pop quiz on Friday.

I actually bought my CPS with my MS-20 in mind. One early experiment I did. MS20 to channel 1 panned mid, NO EFFECTS Result: Only Front speakers fire. Add the Reverb and Strymon Deco effect to sends. MS-20(a mono signal) now has spatial information on Front and Side.

Sorry, what is the V5?

Well, here in Canada, I would love to honour your request, but that would colour my perception of the Queen's English somewhat!lol Can we please honour our moderators request and move on? Agreed. But I must insist that we stick to the American spelling of all words: it's "honor," damn it!

I ordered mine direct from Aspen circa July 2015 and had it delivered to my home in Sarnia, Ontario (a whopping 180 miles (300 km) from Toronto!) But us Canadians do dig them, ehhh! I bought mine (the smaller one) through sweetwater shipped to Toronto no problem.

There is a picture of the outputs on Aspen's product page, but I'd like to see the inputs, re, is it XLR only, or balanced TRS. Will it work with unbalanced. Also, if this was Gearslutz, my answer would be "get both" lol.

Will the MDF vs plywood affect how well the speakers "bite" into the cabinet with the screws?

1.5 Year review: Do the speaker lugs ever need to be tightened? Sometimes I get a harmonic buzz on certain notes. However, also I have my 1202VLZ-4 on top of the CPS. I no longer use stereo monitors anymore, I only use headphones for sound creation, and the CPS for live playing. Once you dial it in for the Waldorf Blofeld's tone, with the CPS amount, mid and highs, you are off the the races. IT IS THE BEST MONITOR for a Korg MS-20 EVER IMHO. Also, my new old Yamaha CS-40M just sings through it!

Re: Really Mini Tremor review. As I am a synthesizer player /programmer and not an organ/ piano player my expectations differ in regards to this sub. I have quite a few sound effects (usually based on sine) such as "Mothership" that simulate an alien craft take off and landing patch. With the CPS alone, the low end kind of "farts" and their is no low end energy. However, with the Really Mini Tremor engaged (and I only run it 7/10 volume) and the CPS at 5, the effect shakes my garage in 3D. Overall, my MS-20 and monotribe (in glorious hz/v), My three Blofelds and Sledge 2 all benefit from the Really Mini Tremor. Granted, I have nothing to compare it to, besides a CPS sans Sub, so it is entirely possible that another Sub would be even better. Again with the volume set to 7, it adds just the right amount of bass to my rig, which again is synthesis and not organ/piano. And as always, your results may vary. Mine certainly do, and yes I have noticed that the rolloff is steep after the low A on my Blofeld. My test setup was an 8' sinewave out of the Blofeld and this is what my ears told me. But for me and the (by the time I paid exchange, $95US shipping, taxes and duty) my Really Mini Tremor cost me close to CDN$500, so my options for return are zero. (Reminds me of the Maclean and Maclean album "Slightly Higher in Canada!) So, I had best suck it up and roll with the Really Mini Tremor!

A line level direct recording out of my board would not contain any of the room acoustics that the CPS imparts to the sound. Also, recording the sound acoustics into my FZ-1000 camera via a Rode Stereo Mic Pro (omni stereo) does not capture the nuances and stye of the CPS system. Aspen mentions using M-S mic recording, which will capture the room acoustics and ambiance that the CPS imparts.

I researched these speakers. They will not ship out of the U.S.

I'd like to record the room acoustics that come out of a CPS. I tried omni stereo mic but this does not cut it. Probably some sort of MS stereo with post phase inversion? Thanks