DaveMcM

#57 Yamaha GS1. Got to play one in the early 80's at NAMM. Amazing (at the time). Check out Toto's Africa video to hear it in action.

Thanks for the input guys.

Any business owners here that have used one of these sites to find employees? If so, any good and/or bad comments would be appreciated.

I sent stereo signals from both keyboards. Reezekeys is correct. The SpaceStation unit needs a stereo signal to create the 3D field. A dry mono signal will just appear at the front speakers. Most DP"s are stereo samples or at the very least have a stereo reverb effect so there you go. That"s one really cool thing about the old Fender 200 SFX. It has a very nice assortment of stereo effects that can be applied to even a mono signal so you still get the big, wide 3D sound. Plus it has multiple inputs with separate EQ, effect send levels and width (3D) control.

The Roland SA300/SA1000 was a neat idea. I was actually thinking about separating the top from the bottom of my Fender 200 SFX. Would make it much easier to cart around. The XL is not really that hard to deal with though. Back in the 200 SFX days, Fender also made a satellite cabinet that just contained the side fill speaker and DSP that could be paced under whatever amp your had, provided it had an effects loop.

Note; I copied my comments from another thread (Using SSv3 for piano? Tried adding a sub?) but thought a new thread may be worth starting. No need for a sub, the XL has plenty bottom end. Having the controls up front is a nice change over the smaller SS. The recessed and angled input section is brilliant. I sat it on the floor about 5 feet behind me and it sounded fine. I think I will tilt it back a bit next time to be able to hear the high frequencies a little better. The acoustic piano from the Casio PX-560 sounded just fine with a nice full-bodied tone. As expected, the PX-560's EP's and the strings, brass, synth and organ from the Roland VR-730 were terrific. I can't wait to play the DMC-122/Gemini thru the XL, should be amazing. While this band wasn't the loudest I've played with, the volume did creep up a few times and the XL held it's own. I was glad to see that the external handles that are pictured on the CPS and Sweetwater websites have been replaced by sturdy metal handles. The unit is on the heavy side. As I mentioned earlier, I have a small hand truck to move it around but lifting into the back of my vehicle is a bit cumbersome but doable. All in all, I'm happy.

Let us know how you like the XL and how it comepares with other amps you amps. Thanks. Short answer...I like it. Little Longer answer... No need for a sub, the XL has plenty bottom end. Having the controls up front is a nice change over the smaller SS. The recessed and angled input section is brilliant. I sat it on the floor about 5 feet behind me and it sounded fine. I think I will tilt it back a bit next time to be able to hear the high frequencies a little better. The acoustic piano from the Casio PX-560 sounded just fine with a nice full-bodied tone. As expected, the PX-560's EP's and the strings, brass, synth and organ from the Roland VR-730 were terrific. I can't wait to play the DMC-122/Gemini thru the XL, should be amazing. While this band wasn't the loudest I've played with, the volume did creep up a few times and the XL held it's own. I was glad to see that the external handles that are pictured on the CPS and Sweetwater websites have been replaced by sturdy metal handles. The unit is on the heavy side. As I mentioned earlier, I have a small hand truck to move it around but lifting into the back of my vehicle is a bit cumbersome but doable. All in all, I'm happy.

#2 is a very good point. When using multiple keyboards and the SSv3 I've used a small mixer and sending a hotter signal to the input does make a difference. But on single keyboard gigs, my laziness takes over and I skip the mixer. And you mentioned various placement techniques which is one of the negatives that some folks have complained about. Silly complaint as far as I see it. The extra 5 seconds it takes to snap on the little deflectors I made to reflect the side speaker forward a bit is no big deal and well worth the effort. #3 the EQ pedal sounds interesting. The DP that I use has a master EQ section so I use that to tune things up prior to the start of a gig.

Yeah, it's not exactly a pocket amp. But I normally stack the SSv3 or KP610s on top of the B1200D and roll them in on my hand cart so this will actually be easier.

Let us know how you like the XL and how it comepares with other amps you amps. Thanks. Will do.

Man, if this isnt the greatest flashback to the greatest thread in keyboard forum history. The adherents were unwavering in their love for this contraption, at last the holy grail one-box solution to their quest for stereo imaging. I remember Aspen was there early and often for the first 50 or so pages before mods eventually said 'we all love you, but we have a policy about manufacturers promoting their gear and ⦠uh .. thats what you"re doing'. No disrespect, he was a really great guy by all accounts. The endless page after page ⦠sharing critical tips of how to point, baffle, shield, raise, lower, tilt, distance from it and of course endless pages on what other boxes to add to it ⦠to fix the sound from their holy grail of a one-box solution. For the record I tried SSv3 with the mentioned Berringer, after reading the disciples reports. i did not like it - not one little bit. I sent it back within a week and bought a real PPA. Haven"t thought once to go back. But many love it and most of them are a lot smarter than me so ⦠I get what you both are saying. Everyone hears things differently and has their own opinion on what sounds good. Some are more concerned on what they hear on stage while others care more about what the audience hears. Then there are those, including myself, that care about both. I've had many amplification setups over the years. Currently I have a Motion Sound KP610s, an Electro-Voice ZLX-12P, a pair of QSC K10's, Fender 200 SFX, SSv3, Behringer B1200D and the SS XL (which will take it's first flight tomorrow afternoon). Out of that list, my guess is you might choose the QSC's as the amplification of choice. For me, besides hauling two cabinets, two spk. stands, a mixer, the cables to connect it all and looking like I'm wearing a giant set of headphones, I really didn't enjoy the sound. I let someone sit in and I felt the same way out front. On another gig where I just had the SSv3 (no sub) I again let someone sit in and was impressed with how well my keys sounded, even the acoustic piano. Not trying to sway anyone's opinion here, to each his own. But like I said, I get were you are coming from. It's kind of like some folks, me included, that don't have the desire to ride the big red keyboard train. I am very happy with my blue keyboard and have had fellow keyboardists (several of which have a red keyboard) and other musicians come up on breaks and compliment me on my sound and can't believe it is coming from a blue keyboard.

Actually it says ' please use your Kart-a-Bag TriCart 800'. ð The Fender 200SFX is 85lbs so this"ll be a walk in the park.

True. They were very expensive and an entirely new technology that no one really understood and/or new how to demonstrate. They were only manufactured for a couple of years. I was glad when Aspen got back in the game with the original SSv1.

I have the SSv3 and Behringer B1200D and really like the combination. I agree with those that don't particularly care for acoustic piano through the SSv3 although I have done many gigs using the set-up. Last year when I was at Sweetwater I picked up a Motion Sound KP610S figuring it would improve the acoustic piano sound but still work great for stereo rotary speaker emulation. Acoustic piano is more pleasing (using the B1200D sub) but there is pretty much zero stereo imaging. The SpaceStation is way better imo. I also have a Fender 200 SFX keyboard amp from 1998 which is the SpaceStation on steroids (see pic in attachment). Aspen licensed the SFX technology to Fender years ago. It sounds great on acoustic piano, organ/rotary, and anything else you though at it. With that knowledge, I just ordered/received a SpaceStation XL. I think that will be the winner. Anybody want to by a KP610S

The Ensoniq Hearing Aid was far more advanced than anything else available at the time. While I worked at Ensoniq, my father was set up with one, and it made a world of difference for him.

The Idea Pad was a great feature and well implemented. Not sure why no other manufacturer has picked up on it.

I am so sad to hear this. It took a few days to let the news sink in. We met when I worked for GEM and spoke many times since. Sue was a very kind person and quite witty. It's great how a forum like this allows folks to get to know each other without ever actually meeting face to face. I felt a real sense of loss upon hearing the news. She was far too young. RIP Sue 'gangsu' Steel

I preferred them as a trio. Maybe I've been living under a rock, but I had never heard of Cory Wong. Looked him up and one article I read quoted him as recalling the first time he heard Dirty Loops and thought they were great but thought to himself, where's the guitar. Not every group needs a poser, I mean guitarist. Sorry, being a bit facetious there. Cory may be wonderful, and Quincy Jones has a lot of credits under his belt, etc. but things kind of loose their flare with all the added glitz.

Event Processor Plus The Event Processor can do all kinds of neat stuff and may very well help with your situation. I would contact MIDI Solutions at info@midisolutions.com and explain what you would like to do and see what they say. Good luck.

I would suggest the Studiologic MP-177. Don't get a 13 note pedalboard. Those extra 4 notes above C come in very handy. It's nice to have an octave range in keys other than C. The Viscount pedals are nice in that they have the radial curve of a full 25 note set of pedals but they are also way more expensive and if you're not sure how it will go, then I would save some money. You should always be able sell the MP-117's with no problem. Now on to the heal-toe situation. The reason pedal players like a console style set of pedals is the length, the radial curve and the fact that the pedals are hinged at the rear of the pedals. One problem with the Viscount 18 is the naturals are shorter than standard and therefore your heal is much closer to the hinge making them harder to play. However they do have the radial curve so that's a plus over straight pedals like the Studiologic, Roland, Crumar, etc. A short story- Yamaha used to make combo organs. The 13 note pedalboard was very unique. First, they were built in to a case with a lid, nice. Second, the naturals, instead of being flat and lower than the sharps/flats, were angled up towards the front of the pedal (below your heal) so you could use heal-toe technique quite easily. Great idea that no other manufacturer has ever thought of replicating. I accomplished a similar idea by taking a piece of plywood with the footprint of my MP-117, and mounting a strip of wood along the front edge which when the pedals are sitting on the wood, it allows for easier heel-toe action. (hope that description makes sense). I had plans of removing the existing keytops and fabricating something similar to the YC pedal for the naturals, but the angled board does the trick for me. BTW, I still have the pedals pictured below. Years ago I hard-wired the pedals to a Yamaha CS-01 (which I also still have) and made my own synth bass pedals.

Not if you use both feet.

I have been using iGigBook and iReal Pro for years now. Both have more than paid for themselves. Take time to look over the websites to see what all they can do. In a nut shell, iGigBook is a PDF viewer with some very useful functions. iReal Pro just displays chord charts in a proprietary file format which allows for transposition. Both apps have the ability to add notes which I sometimes use for lyrics. iGigBook has a large assortment of indexes for the most popular fake books so if you have or purchase one of these books in PDF format, the book will automatically be indexed. Search for a song, and iGigBook will display that song in every book or single PDF that is in the database so you can choose a particular version. In iReal Pro, you can easily create your own transposable chord charts and even upload them to a user area where other iReal Pro users have placed a huge number of tunes. From within the app, you can search that database, provided you have a wifi or cell connection, for an on-the-spot request. I am extremely happy with both of these apps. iReal Pro even includes playback using fairly basic but still useable backing tracks based on the song chord progression. Not really gig-worthy IMO, but for practicing/jamming its a nice addition.

Do you mean you swapped the half-moon for a new one, or switched something inside? I ordered a replacement internal switch from Genuine Soundware. I'm sure you could do the same by contacting Crumar from their website.

Very likely the switch in the half-moon unit. I had a similar problem with my DMC-122 half-moon. A simple switch of the switch took care of the problem.