Aspen

Hey B. J. Yes, I did and gave initial impression is that it is very good. I have not tried the pass thru signal chain yet so I was holding off on any formal review until I have tried it that way. So far, I just drove it out of the SS sub with my usual test tracks and it was quite impressive, seems a good fit for the SS and for that money quite a batgain! Thanks for the tip.

I'll chime in here; 1) as you and I are living in California, I must charge you about 9% tax when you buy from me, while SW ships for free and does not charge you tax, 2) buying from SW offers many perks, like liberal return policies, free financing for 24 months, and then there is that candy they stuff in the box 3) they buy the vast majority of my production...so they are far more likely to be able to supply you on a timely basis. In fact, this is by design and agreement..and frankly spoken, without them I would never had been able to relaunch the Spacestation. So while I do have some stock, a small share, this is mostly for export sales (I need to convert to 230v for example), for promotional sales to my local industry bros and also so I can have some on hand to support any warranty issues ASAP (which has happened, but VERY rarely). Then there are some cases where Sweetwater sells out, and then I may have some reserve stock to meet an immediate demand...some of you have benefited by that already. But by my own design, and as you all have noticed in my videos, I strongly suggest buying from Sweetwater. They are my exclusive (only) USA dealer for all APD products, of which the SS v.3 is the first and currently the highest profile (so far). FYI, at NAMM show I have made similar agreements with Ikebe for Japan, Thomann Musikhaus for Europe, and also possibly found similar dealer partners in Australia and Russia. Why? Simple; I NEED a strong dealer who everyone trusts and that can offer all the perks my customers need. I do not have a "sales force", or an "office staff", or "service department", or an "advertising staff", or a bank or stockholders (thank God!) I am a one man company these days, and my GT days are behind me when I had 30+ employees, 1,000s of dealers and distributors in 32 countries, and trade shows somewhere every other month. But that life almost killed me (literally). So after I got healed and a new lease on life (literally) I decided the only way I could get back in the game was if I had one manufacturing partner (Eminence) and one dealer partner (Sweetwater). This allows me to do what I love and what I do best; spend my time developing new CPS and other APD products. It also allows me the time to be here on this forum, which is a BLAST! I have never felt so close to my users as I do today, and I can't tell you how much that means to me. So, I am enjoying my time in the studio/lab, and with you here on this forum. Because of Sweetwater, I have the TIME to do this, as I never had before. Perhaps the best reason to buy from Sweetwater is because they support me, and their support allow me to support you in so many ways. And then again, there is the 9% tax savings!

I feel your pain, been there myself...not much we can do for egotistical guitar players hoggin' all the SPL. Also, guitar is a narrow piercing mid range sound, so all his watts go into 500hz to 2,00HX and that can really cut (and offend). On the other hand, KB is full range so your power is spread out from 50Hz to 20,000Hz, and also you usually are not reproducing Square Waves (distortion). So you usually need 3-4x the power just to stay even with a guitar player. The SS is a "loud for it's size" little Big amp, and has the 300 degree dispersion helping it fill a room...but last night it was obviously outgunned. Frankly spoken, he should bring a smaller amp if he wants to crank up, or get some attenuation. The too loud guitar also is in every open mic which makes vocals harder to produce for the sound man. IMHO, the sound man should have addressed his "keep it soft" advice to the guitarists, not you. But there are a few tricks I could suggest to help even the "playing field"....take notes all, this could be you next time! All that considered, and responding first to Gman's excellent suggestion to "send a mono signal", you already HAVE that ability built into the SS; just lower the Width and crank up the Level. The Front system IS Mono, and lowering the Width will give you more MONO, and more frontal projection. Of course you will lose "some" stereo effect, sadly, but in that case last night I think more volume was the goal, and also more direct projection so you could monitor your playing. Second, I noticed you said that the Guitar player asked YOU to turn down when you finally turned up to match his level. I am pretty sure he was offended by the Side speaker....probably he was off set sideways and so in line with it. So in that case, I'd suggest another approach; borrow a couple of guitar cases and set them up as a "V" horn behind the SS...make a corner...thereby blocking the Side speaker energy from offending your band mates and projecting everything forward toward YOU...that works just as good as a wall or corner. That way you can keep the stereo effect..and even enhance them. At a NAMM show in past, I had the same "offending side speaker" issues with exhibitors on either side of me. So, I fashioned a simple hinged "V" corner out of two panels of plexiglass (but 1/2" Plywood would be better in a club..and stronger for travel). These hinged "corner panels" only need to measure 1' high (if you are on the floor, maybe higher if on a sub), and perhaps 3' long. Then just attach some hinges, fold it flat, and bring it along to the gig in your trunk (they lay flat and take up almost no room). It's cheap insurance in case you are stuck "out in the open" again. You may actually find yourself using them all the time. I REALLY like the what they do; kinda makes a poor man's Klipsch Horn out of the SS! Just my 2 cents, and worth exactly what you paid for it.

this idea Markus notes above is very attractive to me as well. But, as a business strategy professor, there's a whole lot of "ifs" in that sentence. Managing growth and scaling in a small business is not for the weak of heart. I'm really encouraged in the short term by Aspen's challenges (demand outstripping supply), but we're all old enough to know it's the long term that matters. Well said Prof Tim, and many thanks for the kind words...I am doing my best for a one man company (now THAT is a small company!). My challenge is to produce enough to meet demand, and so I am pleased to announce that later ths week when the new February shipment hits my retail partner Sweetwater and they ship out all the backorders. ...there will be "stock on the shelves"...for the very first time sisnce we started delivering back in September! I also like Markus's idea, I actually made a two piece (top and cab) like that yeras ago (still have a few around). with a cab that had three 12" speakers, the Front being a 12" coax...so basically a bigger SS ....Ted Nugent bough one...but not many others did! But as a Strategic Marketing Professor I doubt you'd advise to talk about a new product when/if it was in development and long before it may see light, as it could hurt sales of existing models. But at the least I can say the thought of a Spacestation "XL" has crossed my mind. But now my only focus must remain on making more SS v.3 \

I wondered the same thing! Like setting 2 up as a PA system (with subs) in small-mid size venues ... not sure if any cancellation would occur or not .... I'm guessing none would ... Aspen? While I'd love to double my CPS Sales tomorrow, I have to be honest guys; one Center Point Stereo Spacestation is actually more effective that two. But that is the second most common question I get asked once somebody first hears a CPS system. I know that may seem counter intuitive to what you are used to with conventional stereo speaker systems, but CPS is just different than any other system you have ever experienced. In this case, less really is more. So I rarely recommended using two in a room, with the following exceptions; if they are spaced very far apart in a long room application (then I'd place one on either end), or if two are used to applify different stereo material such as a band's instruments thru one, and vocals thru the other (that BTW sounds REAL good when stacked). I have also used two on opposite ends of a room to do a 5.1 sound track (but that requires a mixer to get the Center back to L&R Front)...but you get surround sound image EVERYWHERE...really crazy stuff! But for what most of you want; a big omnidirectional 3D stereo image that is seemingly everywhere without blasting ears off...one is comfy, while two is a crowd. Here's why. The secret behind Center Point Stereo effect is there is just one single "Center" point of transmission of two electronically altered "out of phase" signals that do not have ANY common information. The CPS encoder inhales L&R, and exhales "Sum" (all the common, or mono parts of L&R), and "Difference" (all the content that is different, or unique to L&R). We label these encoded signals "Front and Side". They each have their own level control, so you can adjust the stereo image for various venues (more width for a dead room, less for a very live venue). Then we amplify these Front & Side signals thru two speakers that are "physically" out of phase so they do not "mix; like ordinary L&R speakers do, but rather they "repel" off each other to enhance dispersion. And because they are out of phase, they remain pretty much unchanged until they reach your ears...where they "come together". That's why CPS produces a uniform "3D" stereo image no matter where you stand in the room. I guess I can not over emphasize how cool it is for the player to hear exactly what his band mates hear, AND know this is what his audience hears! In fact, the farther away you stand, they more the Front and Side interact and "bloom". So the stereo image actually gets better as you move away, it will even travel thru open doorways into adjacent rooms and never collapse. Perhaps more importantly, the stereo image sounds the SAME no matter where you are because there is only ONE "Center Point" of origin. You just have to hear it, I know it all sounds crazy, but it really works. The reason conventional spaced L&R speakers do not work in live performance (and never will) is that they are, of course, "in phase" signals (electronically, and physically) with different content. So by design, they will only produce a very small "sweet spot" where they first intersect. And that's "good news" for those lucky few in the sweet spot. However, that is "bad news" for everone else standing in the "sour spot"! And, no matter where you stand outside that small sweet spot, it will sound different from every other spot. Either to much L, or too much R...or worse you hear a nasty result of these in phase signals mix to create a maze of weird cancellations...and the more reflection in the room the worse it sounds. This is why most FOH sound system, albeit stereo capable, are mixed "mono" so the sound at least remains uniform and intelligible for the larger part of the audience. But when you use two CPS speaker systems close together, then you basically have two pairs of Front speakers that are "in phase, and two pairs of side speakers that are also in phase and this condition will produce even MORE signal cancellations and weird acoustics than a conventional L&R stereo pair would. In other words, "audio caca occurs", disrupting our "Center Point" 3D image magic. Short answer; one CPS speaker is all you need to produce a uniform stereo image everywhere.

Where were you 15 years ago when I made the old E1 encoder (line level CPS processor), and a host of GT SFX cabs...including a side speaker only so you could place a dual 12" under a JBL 15" PA cab. But these separate component systems were bigger, and far more expensive...so few bought them. If you'd like to build a custom CPS system using your own full range front system give me a PM and I'll send you some info...or also you can check out the archives at my aspenandassoc.com So we already threw that party, but nobody came...

David, Has there been a price increase I am not aware of? The price from Sweetwater or Aspen & Associates is still just $749, shipped free anywhere in the USA. And, I don't mean to sound argumentative BUT...we are way past "theory" David! I have 100s of happy KB campers who are using their SS v.3 and hearing stereo patches like never before. Of course you would have to actually try and hear one...I get that. But Sweetwater has a great return policy, and also offer free financing over 24 months (which BTW, I subsidize)....so it's pretty easy and painless to "try one and see".

It's not the knobs guys, it is the pot shaft that is to long and we have not been able to source these ones we have in the MK2, sorry. Still trying. Only good news we have yet to damage a pot by a "trip and fall"...guess the longer rubber knob protects the pot shaft. But if our only complaint is this, then we are way ahead of the game!

OK guys, time for me to chime in with a "full disclosure statement and set the record straight. Yes, the very 1st version Spacestation (and SFX 100) had a high pass filter that was activated when plugging in a sub, AND a low pass filter built into the sub jack that sent a conditioned LF signal out to the sub. Then years later when we changed production partners for the new MK2, this feature was omitted...without my asking for that. When I was writing the new spec sheet prior to it's re-release as the new MK2 (which had MANY new improvements), I just assumed the sub design had not changed and still had BOTH the LF roll of when the sub was in play AND sent a LF (only) signal to the sub. So, when I was writing the new owners manual for the new MK2 I just picked up the earlier text from the 1st version spec sheet and continued to list this as a "feature". Then, I found out many months later from my engineer that the sub out had been "simplified" to omit the jack switch and BOTH filters...oooops! Actually, I discovered all this when a user told me how he was using the sub for a FOH mono send and how happy he was about how that well that was working for him. So, that was about the time I was selling my company to Fender (for health reasons, so I was also a bit distracted at that time), and the MK2 went in that sale....so I never revisted the on line manual, and ender decide not to continue with the MK2 (to my dismay). 7 years later when I decide to "resurrect" the 3rd version of the Spacestation (prompted by a insightful MK2 user who had modified his MK2 which blew mine away) I purposely left the sub out full range...knowing most subs HAD an input filter and/or a bass amp had tone controls that could alos be rooled off and it would work fine! And, that meant a user could still use it for a full range "mono" FOH send. Sometimes "stuff happens", and you just roll with it...as in this case when the accident served a good purpose!. Of course in practice, just adding a sub to the MK2 changes your total mix and the way you hear things; you will hear better low mids from the SS because you no longer turn it up as loud and/or change your EQ because you have more energy in the LF just by adding a powered sub.

You know, I've been working on this nose and distortion issue with a few early adopters off line. Believe it or not, in every case so far, the problem was traced to some older (weaker) cables. I know it sounds over simplistic, but since the Sum & Difference matrix that is key to the CPS effect requires BOTH Signal to be VERY equal when we "flip the phase" on them, it makes sense that if the Left or Right signal path is compromised (or just not equal) in anyway with a bad or loose connection it REALLY affects the circuitry in a bad way; and that definately WILL create distortion and noise! And, that condition would not be NEARLY as problematic if the same cables were used for a typical L/R stereo system. You know, at my APR studios we do ALOT of MS stereo recording (which is the exact reverse of the PS matrix) and the few times it stared sounding weird were ALWAYS traced to "bad connections" or cables. So if you do hear weirdness, noise or distortion, be sure to substitute some good new cables FIRST, before you panic! After 50+ of tracing troubling audio Gremlins, it still amazes me how often the problem has turned out to be a bad cable or connection!

Hi All, good news; The February was released today and the truck just unloaded your Spacestations. The Longshormens union only held them hostage 11 days this time, which better than 22 days last time (so things are improving!) I am currently heavily absorbed in my usual spot check QC, I usually personally open about 15-20% of all the boxes to hear/see for myself...thankfully, all have been perfect. So I have scheduled a FedEx truck for Sweetwater tomorrow AM and they should have them by middle of next week. I know many of you have been patiently waiting, for which I am so very grateful, but it shouldn't be much longer now! Perhaps the best news is that FINALLY, for the first time since we began shipping Spacestation v.3 last September, this shipment will out pace our backorders! So, we will be fully caught up; both SW and A&A (us) will have some stock on our shelves for immediate delivery...what a concept! Of course, who knows how long these will last? FYI, the next shipment is 60 days out, not due until late April (but it is going to be a double run, our largest yet!). So be advised!

My agent told me today he thinks a few more days, a week at most.

Well I studied both these sub specs and here's what I see: The EV is slightly bigger and heavier and has a bit more power. Both have a 12" woofers and about the same features. The EV says it's 9 layer plywood, but "internally braced", while the Berhinger doesn't say...anywhere... so I can assume it's MDF (which is acoustically deader so probably doesn't need "internal bracing", so I am OK with that). Both deliver more than enough LF SPL to (over)match w/ the SS v.3, and both are made in China (BTW, as is about 50% of my SS v.3) IHMO, it comes down to your budget; the Berhinger is half the price, but the EV certainly is not twice the sub. I bought the Berhinger and expect delivery very soon. I can give you a detailed report once I get mine, but on the surface the Berhinger seems a much better buy and plenty of sub for the SS v.3 in larger (louder) gigs. In the interest of full disclosure; I have been using a variety of 100-200 watt HiFi subs w/ 10" woofers I bought used at swap meets for <$50...they work just fine. So the $299 Berhinger will be a big step up for me!

EXCUSE ME, yes, of course you are RIGHT...my mistake! Correction; I meant 20x5mm!

FEB SHIPMENT UPDATE: Our vessel arrived Port of LA Feb 9, and my agent has already cleared customs. Now he is waiting for the container to be off loaded from the ship. I will keep you posted. A 230v SS OWNER UPDATE: For those many of you living in a 220-240v country who have bought SS v.3 from me or SW over the last several months, we have an updated service recommendation regarding the fuse value. It seems the formally recommended 1.6a slo blo fuse can "pop" on "turn on" due to the high voltage surge that is a characteristic of our Triodal power transformer. This was a "hard way" learning experience for a few of you (whom have now been sorted out) and so far has only happened in Australia and New Zealand. But it could also happen in Europe, so to be on the safe side, I am posting this here to be sure you all have been notified. The solution is very simple, replace the 1.6 amp fuse with a 2 amp Slo-Blo (NOTE: that is a fuse labeled a "T2A" fuse (50mmx5mm). So even if this has not happened yet to you yet, and may never happen, we recommend you upgrade to the T2A fuse to be on the safe side. There is no change to the fuse specification on the 120v units.

The ship w/ our container left Jan 12th. Normally I would have it by now and moved it on to SW. But as I know, the ship is anchored off LA waiting in a long line to reach the docks and clear it's cargo. This shipment will (would have?) clear all backorders and put stock on the SW shelves. They Longshoremans unions recently said a "deal is close", but if you read past the headlines it now looks like the PMA (dock owners) may shut the docks down, and soon: http://sanfrancisco.cbslocal.com/2015/02/04/west-coast-port-shut-down-could-happen-soon-but-union-believes-labor-deal-is-close/ and this: http://www.zerohedge.com/news/2015-02-05/catastrophic-shutdown-americas-supply-chain-looms-west-coast-port-worker-talks-break Just keeping all you guys updated here from the Left Coast, please don't shoot the messenger...I am in this with you and it is costing me dearly too. No (or slow) cash flow means no new orders can be placed, and the cycle of back orders may continue past this next month. In a related story, it appears that due to the "slow down" at the west coast ports, Mardi Gras will not have their beads delivered in this year...so it could be worse I guess. http://video.newsfixnow.com/Strike-at-Port-of-Los-Angeles-could-affect-beads-for-Mardi-Gras-28495372

The SS v.3 has FOUR Class D switching amps; one (100 watts) for the woofer (this is actually set by the master Level), one (40 watts) for the 1" compression coax that sits in the throat of the 8" woofer, one (40 watts) for the super tweeter in the upper Left corner on the Front speaker system, and one (100 watts)for the High Power 6.5" full range Side speaker. This allows the user maximum control to make it sound great, or also the ability to sound pretty terrible if set wrong! If you are calling the "Width" Level "separation", then IMHO the best starting point is 12 o'clock, as I would also suggest for the other two. I am not sure this is "technically flat" but it is where I "tuned" these 2 amps to sound "normal". My personal song reference for tuning the v.3 are a few familiar tracks from a Steely Dan and Micheal McDonald...but remember, that's after extensive computer modeling to tweak the filters and balance these components in a much more "scientific" method (the credit goes out to Dr. Marshall Buck from Psychoacoustics). I start Width all the way OFF so I can focus on the 3 way tri amp Front system as follows: Starting with MF an HF OFF, set the Level (now you will hear only the woofer") to the loudness you will use. Next bring up MF slowly up to 12 o'clock. The Vocals should sound best here. Next do the same with the HF (NOTE: some patches like AP and EP will have very little HF content up there, as you discovered, so). So to set HF I use a synth, a sting patch, or a well recorded band CD w/ a strong Hi Hat. Don't worry if the tweeter is non existent for your AP and EP patches...to quote Bruce Hornsby; "That's Just the Way it Is". Now once you get the Front (L+R, mono) system sounding "nice", slowly add Width. Probably you will never like it much beyond 12 0'clock. The cool thing is, once you set this balance...the Master Level keeps it as you turn it up or down. Final Note: a small room can be very deceptive for "judging" the "sound" of the SS. I have noticed many of you have unboxed it and start to play with it in a small carpeted room at your house (naturally!). But also, I have notice some use a larger rehearsal space for their first impressions...and the first impression range from "so-so" to WOW!" That is because CPS technology takes a few feet and a few surfaces to "mix" and "bloom". It loves big reverberant rooms with terrible acoustics. Any system can sound good in a acoustically perfect room, and so will the SS v.3. But the SS neutralizes a bad room, using the reflections to it's advantage! It also can sound surprisingly good in a back yard gig set up against a house wall. If you can get to the 1st gig you will use it at a bit early and can play a demo song, it will be more fun and much easier to adjust the levels. Just walk around the room, I am sure you can dial it in very quick. Your ears are the best measurement tools, and the only ones you really need. (I know I have explained this tuning method before, at least once, but I notice many start posting here asking for direction without reviewing this rather lengthy thread. So I felt the need, apologies to those who have been on here since the start)

Yep, it's a bitch ain't it? It's happened to me already, I realized I needed to tighten up a few parts because the guys have told me they can hear me clearly for the first time. Bob LOL! thanks for the honesty Bob and Tom...but is this really such a bad thing?

I've been listening to CPS for 14+ years, and in my experience it is the listener/user who needs time to "break in"...the electronics and speakers do not change...but you will. But as noted by so many here. CPS is a (wonderfully) different stereo listening experience as compared any other stereo speaker system you have ever used, and it really does take some getting used to! For a few examples: WIDTH LEVEL: Too much width can really mess up your tone, especially if it's a wide stereo patch to start with. Think of the width as the "wet" level of a "DSP FX" program that creates those lifelike stereo patches. So obviously, too much "wet level" will mess up the clarity of any effect. That's why I designed these controls to have a "average mix" starting at 12 o'clock, then the width control can be used to adjust the "wet" for a live or dead venue (a bit more width for a dead room, less for a live room). I'd also like to comment on some observations that certain patches are much more "stereo" tan others and that levels seem to drop off as you switch b/w these. All the more reason to keep your width control at 12 o'clock or slightly below. Too much width energy will make your wider patches seem louder (NOTE: there is ZERO Level coming from the side speaker if you give CPS a mono signal). So if you have a (real) EP that is mono, use a stereo mixer with some stereo FX like verb or chorus and it will sound wonderful. Not that mono os a bad thing, but you will get some energy from the Side amp/speaker system which will better "level match" to your other patches as you switch b/w them. MF LEVEL: Same thing goes for the MF control...a little bit of mid horn compression driver goes a long way....this is an extremely efficient component from about 1.2K Hz to 10K Hz(about twice that of a cone speaker, and so we only need 40 watts to compliment with the 100 watts used on the 8" woofer). So again I "tuned" this to be adequate around 12 o'clock. That is a good starting point. Cranking it all the way can be way too aggressive for most patches...especially for a guitar modeling system, violins, vocals or an acoustic guitar or an AP patch. Interesting side note here: 35 watt compression driver is nearly the same as you'd find in a vintage Leslie 122 spinning horn system...so it REALLY does sound correct for those Hammond/Leslie sims! And, if you go with a strong sub in the mix, and crank that MF up to 2-3 o'clock to match levels and it can sound very much like a hot rod modified rock Leslie...awesome! But then again, it may be too brash for the AP patches. So setting all these levels is always going to be a trade off of sorts...depending on your application and various "widths" of your patches...but at least you have options! FYI, my first pro rigs (larger and w/ separate components), and my first 2 versions of the Spacestation, had fixed levels on the MF and HF, they were run "full on" (as most PA speakers are). A dedicated early adopter SS MK2 fan brought me his SS for a listen a few years ago that had been modified with L-pads that could "trim down" the MF and HF and it blew mine away! That was a teaching moment for the teacher if you will...and the v.3 greatly benefited from moment. SETTING ALL LEVELS: Listening on axis and very close is deceptive, because while the Center Point Stereo "sweet spot" is everywhere, it does need soem "distance" and a few reflective surfaces for the two systems (Front/Side) to mix and really "bloom". MOst guys are gonna stand 3-4 feet away and in the center (as you might expect for evaluating a stereo speaker system), but that will sound overly bright and dry (as you are hearing mostly mono). So it is best to set your levels standing 6' away, at most any angle...but walk around if you can...once you get some distance to most interesting thing is the "image" never collapses and sound "sweet" everywhere, and even better on the other side of the room! This of coarse is the exact opposite of most stereo speaker systems that sound their best in that narrow frontal sweet spot, and then degrade the farther you move away from that spot. So it's not that the speakers and electronics take some time to "break in" as suggested here...CPS just needs some time to break YOU in! I hope I haven't run on too long here, I just want you all to get the most out of your new SS v.3, with as little "break in" time as possible. But I believe this "learning curve" will be well worth your investment in time.

BJL, thanks for this, I also couldn't be happier...another night of peaceful sleep. But now I find myself in the same position many of you have been; waiting for that SW delivery! I can't wait to try out the Behringer sub!

Aussie, it just dawned on me that there may be a better/quicker way to check if your SS v.3 has distortion issues. Just do what I do when I am testing systems before shipping; play some well recorded music thru it, something I am well familiar with. The v.3 works very well as a sound system, so put some sounds thru it. My reference tracks are Steely Dan "Babylon Sisters", or Michael McDonalds "Keep Believin'"....but the Beatles works very well too. Anything that was recorded "clean", you know, like stuff from the last century : > ) All you need is a 1/8" mini TRS jack to 2x 1/4" jacks (iPod headphone cable) and you are good to go! Set Level, Width, and MF all around 12 o'clock, and HF maybe at 3 o'clock...should sound awesome, and it should be loud. Then you can crank Level up to see where it starts to distort...that should be around 3 o'clock.

Aussie, I do not have one of the newer Hammonds but they loaned me one for NAMM and it was in constant use all show long. Needless to say every KB player who tried it was BLOWN away, the NAMM Sound Police let me know more than once I was over 100db and to "turn it down. One of the top guys at Hammond came over for a listen and was very impressed as well...so believe when I tell you, it was loud, it was magnificent, and it NEVER distorted once! Here's a short (fun) clip of Al Morrata playing it while I greet the Keyboard Corner gang in an inpromptu video we shot on the NAMM floor, just posted on the CPS Site: However, as we also had Sweetwater product demo videos, various recorded music demos, a Fender Mustang floor pedal for direct guitar demos, a Pbass thru a GT Brick tube preamp, my new DT1 Dual Top stage condenser mic (yes we even had a few vocalists going thru it) and a Casio PX5S all going thru this little SS v.3 at the same time...of course, we used a MIXER. The other advantage of a mixer, most any mixer, is it allows up to examine and control signal levels...so that no stage overdrives the next, which is definitely my guess of what's going on with your set up (OR you could have a faulty unit, which I am always open to consider). However, when Jazzmammal came out and ran his SK1 Hammond into the SS v.3 WITHOUT a mixer it was also LOUD and clear.. See/hear: https://www.youtube.com/watch?v=MTQA0XE5yuc Trust me, Bob was playing loud, and you will notice at the end I came back into the picture to end the segment, and I go behind the unit to lower the volume to talk over him (as he would just NOT stop playing...having way too much fun!), and close the session out with a few words...I am speaking LOUDLY even after I lower his playing volume considerably...otherwise you could not have heard me! So IMHO, there are still only 2 options to your dilemma; 1) you have a faulty SS v.3, or 2) there is something amiss in your signal chain or possibly your instrument. I know you mentioned you did try a mixer before, but I wonder if you would humor me once more and go thru that step by step, listening w/ a pair of headphones before you crank up the mixer's last gain stage, as follows: using headphones to listen to you Hammond gain chain as you go from the mixer's "trim", the the channel fader, and finally the main out fader. Then if it does not distort anywhere in that chain, and the ss v.3 is still "distorting" at normal conversational levels...I will concede you may have a faulty SS v.3, In that case, I will advance replace you a new unit and get yours back (at my expense both ways) and hear what's wrong with it fo myself. Of course in that scenario you'd be doing me a great service because until now nobody has made this complaint. If any one of my kids is acting up out there, I REALLY want to know about it ASAP! Anything is possible, afterall, my spacestation is only human. So, please try my suggested gain chain examination experiment. Then let me know what happens. I have a replacement unit standing by in reserve if you, or any other early adopters, have a quality issue with a SS v.3. Please trust that I will fully support you if there is any quality issue with one of mine.

Dear Mixtremist, it sounds like you may have got a unit that could not be 100%, these have been proving to be fairly quiet as Class D amps go. But I have not personally listened to every one. I'd like a chance to personally "hear what you're hearing". So if you are OK with it, I'd like to advance exchange it for you with one Ive personally checked out here, and I'll pay shipping both ways. I will PM you exchange details.

Well tonight's posts are definitely leaving me with a big smile and a sound sleep! MANY thanks thanks to all you guys for your detailed gig reports, your kind words and support, especially those posting for the first time such as Mathofinsects! I will continue to do my best to support you as well, and keep you updated on the next delivery...now docking in LA any day now. I also heard the Longshormen are about to get back to work!!

OK, OK, after that posted sound bite I heard yesterday with the awful sounding SS KB distortion samples starting w/ the Level set at 2 o'clock and higher, albeit without any SPL reference to calibrate, and then hearing some speculation that perhaps there was something wrong with this latest run...I decided to do some extensive listening tests today. I am always open to the possibility that perhaps something MAY have gone amiss in the latest run. S I decided to test this subjectively and also I have sent an amp from this latest run out to our test lab for calibrated measurement comparison with the first two runs. For my subjective tests today, I enlisted one of my APR engineers to join me, Bill Kaylor who plays bass in our Big and Wide band (seen in our video at the amp show). Bill was also employed by Ray Charles for some time at Ray's studio (up until Ray passed on, so he has VERY good ears I can trust to be objective. Bill is also very familiar with the SS v.3 development, and participated in many of our live studio recordings you see on line. Short story; Bill and I agreed there is no audible difference b/w the 1st, 2nd and 3rd run SS units. I suspect my test lab results will confirm this, although sometime you can measure things you can't hear. Perhaps more importantly, sometimes you can hear stuff that you just can't measure. I am relieved to report that we heard nothing abnormal with the latest run of our CPS Spacestations, period. And, in our opinion, the Spacestation continues to deliver clean, clear sound, with a big stereo image, right up to it's rated 105 Max SPL. This is an amp that has until now, surpassed all expectations by most every earl adopter. It is surprisingly LOUD for a box just 11" wide and deep, 18"tall, and whose "woofer" speaker is just 8". Which brings me to an observation; I think after so many positive gig reports how our little SS v.3 is working in larger/louder applications than we had originally designed it for, competing for jobs formerly held by speakers twice it's size and power....well, it seems now that "expectations have been raised"! I would like to remind you that from the beginning of this thread, I have always recommended using a powered sub for those louder band gigs...there are physics in place when it comes to "moving air" in the lower registers that can not be ignored. I also believe that some of you who have followed my "signal path" set up advice are not experiencing distortion the way others are...who perhaps have not....and/or who have come to expect more SPL than we can deliver. After my listening tests today, I am convinced these distortion events recently reported here by some users are more likely due to over driving our input stage, than from the reaching amp or speaker distortion limits. But to be sure, our speaker does have limits, as any system will, and when pushed beyond our limits it WILL result in distortion. As a designer, setting the impedance and input sensitivity was a "trade off" at best...there is never a perfect solution. My goal was to accommodate BOTH an "instrument" signal level ( -10dB level high impedance) KB, AND a low impedance (+4dB line level) preamp/mixer balancing many instruments. So we had to set our input sensitivty high enough that a weaker keyboard could drive it to max SPL, and yet not be too sensitive so that a higher line level signal from a hotter KB and/or a line level mixer would overdrive the first stage and distort before Max SPL was achieved. This is why for those applications where you are using various KBs, I asked you to consider balancing these with a small mixer so you can keep your signal chain pure and avoid un necessary distortion. Those of you who followed that advice seem to be enjoying the SS v.3 to it's full potential. Frankly, when the signal chain is correctly set with a low impedance line level mixer, or a hotter KB...I have RARELY needed to raise the level above 12 o'clock to reach "max SPL". In my experience, raising the Level control to 2, and 4 o'clock will certainly produce distortion, and not any more volume. If you need more SPL than 105dB, then you will likely just need a bigger and more powerful amp. And, as advertised, the SS is for small and medium venues and applications. And, as as we have read here many times by USERS, it has more often surpassed expectations, than not, and even without a sub. But if you want to play MUCH louder, you should consider adding a sub. FYI, I took BJ's recommendation and ordered that Behringer $299 sub yesterday, which is $249 MORE than I have spent on any of my swap meet hifi subs I have now!