B. J. Love
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Posts posted by B. J. Love
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I'm anxious to hear it. I doubt I have much use for it in my present band, but at some point I'll be solo again and I'm hoping it'll be useful. Anything to cut down on weight and keep it simple. Just seems like a handy thing to have around at that price. (Yeah, $151.99. So I rounded
) And much as I like the SS by itself, I really do prefer just a little more bottom than it can comfortably provide.
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Alright. I know I already have the Behringer, but c'mon - 150 bucks?! 27lbs? I just ordered the SA mini-sub.
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I don't remember seeing this Seismic Audio sub earlier in the thread. SA mini-tremor It's 10", 27 lbs of plywood, 250W mono with a variable low pass filter. Could be a good choice for those looking for a simple set-up using the SS sub-out - if you didn't need a lot of power and were just looking for a little low-end reinforcement. It's VERY cheap - usually $189.99. Just got an email of a blowout coupon code: RMT20. 20% off ($151.99!) Free shipping, 30 day return. I can't recommend it. I got the email because I bought some cables from the company; I've never heard their audio components. I have the Behringer already and it suits my needs, but this looks like it might be a good match for some.
edit. Just read down the webpage and read a very positive review from a SS V3 user - "Just Ed" from RI. So probably this has been discussed. Still a great price.
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Handles better when rolling it too; all the weight's at the bottom.
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I may have been the first to try the B1200. I don't recall which sub Math is using but I'm still very happy with it because of everything he just wrote. For my purposes, the $300 sub works just fine; if anything, it's overkill.
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To be clear, the Behringer does not have a variable cross-over; the cross-over is fixed at 100Hz. Stereo input, stereo thru, and stereo output above 100Hz. It has 2 EQ controls: a switchable +10db boost, variable 40-90Hz (I've not found a need for this and just leave it switched off. YMMV) and a -24db high cut, variable 70-150Hz. I've kept mine at about 100Hz as well. Neither of these controls has any effect on either the thrus or the outputs.
I find I don't need a lot of support from the sub. Running the SS level at 12 o'clock, I set the B1200D at about 9 o'clock - just above "barely there." The real advantage is freeing up the SS to make its magic unimpeded by having to reproduce the extreme low frequencies.
I really like the SS by itself; for me, it's prefect for a rehearsal or a jam. But I absolutely love it with the sub. And what's one more trip to the car?
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My old Ultimate Support bench finally gave up the ghost last week. I had recovered the original seat twice, replaced it once, recovered that twice, but the hardware is just getting too loose and sloppy to repair again. I'd been looking for something with a back rest. Tried my son's round Rock n' Sock for a night and hated it. Those goofy folding guitar player seats didn't really look like the answer. I realized what I really wanted was a light weight, portable, folding version of the piano chair I used to haul around when I was young and strong.
After much Googling I found this:
It's an Alera CS612 - sold by office suppliers for around $95; I paid $87 on ebay. Should be delivered Monday.
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It's going to break one day, probably during whichever gig has the longest, most annoying load-in path. Yup. I do love the side handles, though...
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Ray, This makes a lot of sense to me - especially on tight stages. But are you finding major differences on carpeted vs bare stages?
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The guy who first mentioned the B1200D here needs a round of applause.
I think that was me - tho' it hardly deserves applause. I chose it almost by accident. At the time I purchased my Spacestation, at the early adopter price, it only qualified for the standard Sweetwater 3 month financing. I needed something to push the purchase over $900 to qualify for the 36 month no interest financing special. ($25 a month I can commit to without having to run it by She Who Must Be Obeyed in the purchasing dept.) The Behringer seemed like a good match and the price was right on the money. No risk; if it sucked, I could return it and still have the extended financing in place on the SS. I'm just real pleased that it worked out - not only for me, but apparently for everybody who's tried it. Including Aspen!
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And now we can have a raging debate about which is better, A trifold or a bifold
What's the answer?
I love rickzjamm's 3-panel design as it can be used as a more effect baffle in situations where the side speaker is blasting a bandmate. I thought about a 3-panel, but couldn't come up with a design that would both sit on top of the sub when needed and fit inside the SKB case - my own requirements for practical purposes.
Originally, like DanL, I thought the best idea was to hinge small "wings" over the openings. I still think this might be the most practical deflector, but have a more limited effect as bandmate protection. My simple 2-panel was really attempt to test the concept before committing to putting screws into my new amp. I'm going to research some different hinge types. Ideally I think the wings ought to be able to fold all the way back when not needed, overlapping out of the way in the back.
I think the use of the baffle or deflector - just like in a recording studio - is situational. You don't need them for every session but sooner or later, you're going to run into a situation where they're necessary or at least desirable. We know that the SS's effect is more pronounced when it's placed near reflective surfaces - "try it in a corner..." I have two less than ideal environments for the amp: a small, crowded studio/practice room/office with no access to walls or corners and a bar stage that, while I'm able to place the SS in the corner, the corner has a carpet "wainscoting" running 3' up the wall sucking up all the reflections. My little 2-panel gobo worked great in both instances. Used it with the SS on the floor in the studio and on top of the sub in the bar last night; the effect in both instances was pronounced and I think, much improved. YMMV - depending on the situation!
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Quick trip to Menard's. Found this plastic sheeting for $10 CLONK Results:
Deflect II 1 by bjlove15, on FlickrDeflect II 2 by bjlove15, on FlickrDeflect II 3 by bjlove15, on FlickrSame Gaffer's tape hinge, but looks better than the Masonite. The wings are slightly larger (18"X12")but still fit in the SKB case. Gonna try it out at a bar gig tonight.
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And on the other end of the spectrum... Here's my ghetto-rigged prototype. Again, my goal was to use materials on hand to construct something that would fit in the already tight SKB case. I reasoned that it only had to be as high as openings for the side speaker. The panels are 10"X17" Masonite, smooth side facing the speaker openings; the hinge is gaffer's tape.
deflector 1 by bjlove15, on Flickrdeflector 2 by bjlove15, on Flickrdeflector 3 by bjlove15, on Flickr -
I experimented with a smaller "deflector" with similar results. I wanted to try something that would fit in the already tight case. I had some 1/8" masonite laying around, so I cut two 17"X10" pieces, gaff taped them together at the 10" edge, and just stood it up at a 90 degree angle on the floor in the middle of a small room with the SS in the "corner." The difference, even with this short little deflector, was remarkable. Stereo effect more pronounced and increased bass response. I hardly missed the Behringer sub. For grins, though, I put the whole Rube Goldberg contraption on top of the sub. Ugly as sin, but sounded glorious!I set up a home made acrylic trifold (12" x 24") enclosure placed behind the SS & set it 8' from me... for me the trifold baffle made the difference. -
Yeah. Like with auto-pan. It's not like sitting at a Suitcase Rhodes or sitting in the sweet spot between a pair of near fields as the sound pans back and forth. It's more like listening to the Suitcase from the audience's perspective; there's pulsing and motion, but not distinct panning.It's hard to describe the way the stereo effect works. It's not a conventional dedicated L/R, per se - just different things happening in different parts of the room.
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Thanks Moody and Aspen for the fuse info. I made something very simple as hard to understand as I possibly could. Too many years in Japan...
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I'm very confused about the fuse too. Elsewhere in the thread, Aspen has recommended "changing the 1.6 amp fuse for a 2 amp" in 230v models. If I recall correctly, he's also recommended slo-blo fuses. But the back of the amp is clearly marked "3.15 Amp Fuse" The fuse itself (as far as these old eyes can see) is marked "T3.15A250V" I can't find "slo-blo" anywhere on the amp or the fuse. I'm no engineer, but when it comes to fuses, I'd think there's a pretty big difference between a 1.6 Slo-blo and 3.15 fast acting type.Aspen, could you give the exact specs for the SS fuse? Thanks, Ray -
Hey Aspen -
Did you receive your Behringer sub? Impressions?
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Review addendum: First gig last night. Couldn't be happier. V.3 atop the Behringer sub tucked into a corner on my right; seated much too close to appreciate the full effect, but band members and others confirm the rig sounds great. Dialing in the balance was pretty easy. I barely used the sub - OFF is 7 o'clock; I was running about 8! It really does make a difference, though. Pulling those sub-100Hz frequencies out of the SS really increases clarity and headroom. Not a hint of distortion - and as close as I was sitting, I'd have noticed. Loved it. All night long.
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I used toothpicks. But I'm still uncomfortable with the open span and screws into particleboard. In addition to adding some corner protection, I very well may replace all the grill screws with bolts and T-nuts.
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I sorta dealt with this a few pages back (this thread is getting like "SK1 tips..." - lots of good info, but ridiculously long and tough to navigate!) The cable run between the sub and the V.3 is so short you don't have to worry about a balanced line. I assumed I was going to have to make some XLR to mono 1/4" TS cables by shorting together pins 1 & 3. (Can be done at either end.) Overanxious when the V.3 arrived, I tried hooking it up using some stock XLR to TRS pigtails I had on hand. Inserting them, I felt two clicks - try it, the jacks are actually TRS - and the prewired cables worked just fine with no added noise or ground loop buzz/hum. I did think the sub sounded fuller with the phase reverse switch engaged. I emailed Aspen and he confirmed that all jacks are TRS, unbalanced, with the ring & sleeve shorted together internally. So I run the my keys into a mixer, stereo balanced outs to the B1200D, XLR-F to TRS-M into the V.3 TRS unbalanced jacks.you guys who want to use the Behringer or other subs with LO-Z I/Os , how are you dealing with feeding the Hi-Z SS inputs?
) And much as I like the SS by itself, I really do prefer just a little more bottom than it can comfortably provide.
Yup. I do love the side handles, though...
Too many years in Japan...
Heads-up: SpaceStation keyboard amp is apparently back
in The Keyboard Corner
Posted
An enthusiastic +1. I was an early (if not 1st) adopter of the B1200, but I only use it outside now. Very rarely. The Mini Tremor is a perfect match for 95% of what I do. Small, light, and easy.