Aspen

Great questions, 1) mono vs stereo for FOH PA. you are right; FOH systems, while stereo capable, are rarely used in stereo...and for good reason. With stereo PA you lose clarity and intelligibility. That's because whenever two "in phase" signals that contain "different" information (IE a stereo Left and Right signal) meet, they will "mix", and not in a good way. As they combine, the result will cancel some frequencies, while doubling others. Think of this as the opposite of the "sweet spot", I call it the "sour" spot. And, the room will be 95% "sour", and certainly sound different everywhere where you stand. Only a small spot in the center of the room, roughly 30 degrees from the speakers will hear the stereo effect without this adverse cancellation effect. So everywhere else in the room will sound "muddy", and to various extents! However if the PA is run in mono, then each speaker contains EXACTLY the same signals, So then when they mix, no harm done...you get uniformity, and clarity and no adverse frequency cancellations. But it is also still, just mono :> (so it never "sounds as good as the CD) This is simple audio physics folks, there was no way around this...until CPS....using our speaker as a small venue PA creates a 3D stereo effect that sounds the same everywhere in the room and not only produces a credible Left and Right image, but even a Front to Rear effect as well...which is why it sounds as good as a Leslie rotating speaker in the room, but even out performs a Leslie because the 3D imaging does not collapse in adjacent rooms. Again, this is NOT magic, but rather simple physics; the CPS out of phase sound waves CAN NOT mix, even as they pass thru doors and around corners! CPS changes the rules so now live stereo sound re enforcement is finnaly possible, even practical, because 1) all signals come from the same point (so not time alignment problems), 2) they are NOT in phase (and so can not mix), and 3) are TOTALLY different in content! RE: "magic" processing for deriving a mono foor FOH: No magic (sorry to say, just good audio science). As it turns out, the L+R (or Front) signals which are derive from our reverse MS matrix ARE mono compatible and sound pretty good (the matrix filters out any "different signals, and so leaves only those that are the "same"). This matrix is often called "sum & difference", so the "sum" is a great send for the FOH. This is why we did not place a low pass filter on our SUB output but left it full range! Of course if you use it for a sub, most subs have an adjustable frequency limit filter (40HZ up to 300 HZ) so we recommend somewhere b/w 100Hz and 150Hz "ceiling", then adjust level to "taste". But you could also split this off and run one to the FOH. Is this better than a simple passive summing of L+R for FOH? Usually I'd say "yes", just because in our encoding circuit these are actively "buffered". But this would depend on how you are currently summing now, it may be "better", but it could be no worse. Of course, you could compare for yourself and let us know!

I have used these outdoors, with very positive results. However my little V.3 is hardly a "festival" level amp! Best I can recall was a backyard BBQ & Jam ...which sounded amazing...and the neighbors didn't even complain! The SS V.3 SPL is so smooth and broad it is non-offensive. See Jonathan Wilson's CPS video and comments when he used a MK2 for his NAMM floor demo. The MAMM show sound police could not believe their meters...the sound was everywhere yet below the 85dB limit. They were speechless!

This boils down to a Stereo vs. Mono discussion. IMHO Keyboard amps are "broke". Because 99% of keyboards are stereo, yet 99% of Keyboard amps (including the Rolands) are mono. So while loud and clear...and work horses...they are still mono! Even if you buy 2 and patch them in stereo as they promote w/ the 350 (now @ 100lbs), you still have the age old "deal killer" problem of that very small "sweet spot" (and the resulting very large sour spot). Other similar discussions: Apples vs. Potatos

Again, in order: 1) Like an acoustic piano sounds; big and wide...as Michael Boddicker describes so well in his video segment;...it's like you are playing a real grand piano in your living room, it surrounds you. This assumes your EP HAS a great stereo AP patch...so judge that with headphones on, if it sounds real like that, so it will with the V.3. 2) I must now apologize for the MK1. The "fill the room with a nice stereo feel" was acomplished, BUT we were rushed and I had to forego the "computer modeling" phase...this would have corrected so much. The results were an overly abundant midrange response which frankly crippled it for some patches, especially AP. This was an "exclusive", special ordered product for Guitar Center chain. Their large quantity PO allowed us to begin production and keep cost low...but the tender trap caught me, and I was not able to "refine" the concept. You see, we were under great pressure to deliver it (and the SFX 100) before Christmas. I wanted to do the "acoustical math" and create the filters that would "level" the peaks and "enhance" the valleys...but we ran out of time, I had no choice; assimilate or perish! This was corrected in the MK2, we got our first shot at "modeling" like is common in near field studio monitors...and the MK2 had a much flatter response. We took that process to an even higher level with the V.3. We also went for the tri amp system which greatly reduced intermodulation distortion as you'd find in modern PA system. Now it sounds like a good studio monitor. I credit much of this improvement to the considerable talents of Dr. Marshall Buck (past VP Engineering at JBL, president of the AES, past president of Cerwin Vega, and now the force behind Psychoacoustics). His work brought us up to a new level of sound quality. 3) I agree hearing is believing, and don't blame you for your position. But because you bought a MK1 I feel a bit indebted to you...I feel I owe you. So if you would ever reconsider, I will give you a $100 credit and pay your shipping cost to Sweden. Just my way of saying I am sorry for the shortcomings of the MK1...which IMHO delivered the "Gag", but not the "Goods". That was then, this is now.

Hi Aspen! Just only by technical interest I wonder why you selected a 6.5" side speaker and not exactly the same coax speaker and HF tweeter triple amp combo in 90° arrangement. Is it because drivers/tweeters, in opposite to a cone speaker, are closed at the back and the side effect only works w/ cone speakers ? Isn´t it the side frequency spectrum is much different compared to the front ? How does the cab behave in a "dead" room? Just curious because some of my buddies have carpet covering the walls of the small rehearsal room completely. I don´t say I like it but it is. Does the cab need reflective walls ? What´s up on a outdoor festival stage ? A.C. Wow, OK, in order: 1 & 2) Much like the MS stereo miking technique, and UNLIKE typical stereo speaker systems OR X/Y or spaced Omni stereo recording techniques, with M/S it is not necessary to "match" transducers. Just the opposite in fact; M/S invites "strange bedfellows!" The side speaker in my MS speaker technology actually enhances the dispersion of the more directional Front system's mid driver and highly directional tweeter. And remember, both the front and side are technically "full range", albeit a one way vs. a 3 way system. The crazy "acoustical vortex" interaction pushes everything around, so in practice these totally different signals are like oil and water...that CAN NOT mix, so thy repel each other...and that creates that Front to Back 3D feel, unlike traditional sweet spots, and so defy traditional rules of conventional speaker systems! So, the usually directional mid horn and tweeter systems get "pushed around" by what I affectionately call my "gag" side speaker. Would I rather have used a 8" side? of course, but would that buy me that much more bang for the associated buck...no. A larger andor 2 or 3 way side speaker would have have been "better" BUT also would have increased BOTH the footprint and price....significantly. One thing I am hearing from the new V.3 owners is "love the size, and wow, it cranks! As a designer, and in most og life pursuits, I am a big fan of the "80/20 rule"; you get 80% of the result with 20% of the investment (and getting the last 20% usually costs you 80% more!). So it was with my choice to go with the 6.5" side speaker, which BTW is an exceptional HP full range USA made Eminence showcase speaker. Also, and this is one BIG difference from my past systems, I had Dr. Marshall Buck create an incredible computer modeling circuit to "optimize" all these components to their rather challenged small enclosures, and in the case of my side speaker...NO enclosure at all! 3) Regarding the various rooms you will encounter, dead or live, this of course changes the interactive "vortex" dynamics. This is EXACTLY why there I provided a "Width" control. If a dead room offers less reflections (and hence less interaction of the MS Vortex "magic") then you use MORE width. Or, in a live room the MS "sweet spot balance" with happen with less "width" level. Just use your ears, this is easy to hear. And, you will notice the "Width" level will change from room to room.

Actually, it is I who should be thanking you guys...You ALL "get it"...and care deeply about your sound. I feel like I'm at my favorite pub talking "tone" with old friends, and still on my first beer...heaven.

Ooops, the promoter shot me down on this idea, the admission is $20 and "nobody gets a discount". The "Lonster" likes to keep it simple.. So I have a better offer; if you are 1st time attendee and a Keyboard Corner reader coming to see my CPS demo, then just let me know and I'll give you a signed copy of my Tube Amp Book, a $50 cover price, OR, a $10 bill to cover 50% of your ticket...your option! Best I can do, sorry for the change of plans.

We just finished a few acoustic guitar videos, and the next ones will be a fuller band w/ acoustic drums (I can't find any drummer who wants to play E-drums for me!!). Then we have our pianoman Al in the cue. Al has that Nord and will do a video with some organ and piano patches. Michael Boddicker just hooked me up with the new Casio Privia 5, which has some great acoustical piano patches, so we will definately try and answer all your requests here...keep those comments coming! BTW, Al will be on keyboards (+guitar synth and bass) for my live band demo at the The Amp show this weekend.

Yes, exactly how my encoder works, and as we have described in numerous papers and videos for many years. But as with most "theorys" the devil is in the details! I have tried literally DOZENS of cabs with 2 (or more) side speakers spaced and other weird variations (like that Airsound TV speaker...and long before Airsound), but nothing works as well as two transducers at 90 degrees and as close as you can get them...trust me....my attic is littered with "no cigar" speaker boxes". Look at any MS mic, same principles there; the capsules need to be @ 90 degrees and as close as physically possible. It's physics, and Gods laws are absolute!

Actually, my SS V.3 has more bass coupling when placed on the floor...and I do not recommend putting it on a chair or pole...that is unless you are using a sub. In fact, for those smaller gigs, you won't NEED a sub when it's placed on the floor or better in a corner as that enhances the low end. I have placed them in ceiling and that is VERY effective for a permanent install, say in a small pub. But in that case I recommend mounting it upside down...the side benefits from a reflective surface like a floor or ceiling, it increases the acoustical vortex (read; more 3D magic!). Try it on the floor, and while playing hav somebody just lift it up a few feet, you'll hear what I am talking about...it's likes the floor. But if on a chair or cab it will be closer to ear levels, so I get that...but again, with a sub in the mix it works out great.

I never saw this! [video:youtube] Well shucks, I guess I need to chime in here now and set the record straight. This Ted Fletcher fellow popped up back in '07 announcing his invention; "Airsound", his breakthrough technology! He was seeking (and got) millions from UK investors based on his "utility patent pending" application with the British patent office...as he mentions in his video. He said the revelation came to him in a dream. Actually, it was more like watching one of my demonstration at AES convention in Europe years earlier. I believe it was 2003 or 2004. And that was several years after we won the "Best New Technology of the Year" at the Frankfurt Musik Messe (awarded by the International Press) for the Fender Acoustisonic w/ SFX guitar amp (made under our license). Fletcher was very impressed with my demonstration and wanted to "chat", which is why I remember him. He told me how important he was as a legendary UK audio designer. When somebody forwarded me his website, and I read some of these dribble "dream" claims...I fell off my chair! So I wrote a "friend of the court" letter to the British patent office, copied to Fletcher, reminding him of our visit at the AES show, and also of my utility patent held in USA, Germany and UK filed in 2000. I also mentioned several "prior art" designs in HiFi products dating back 50 years. Furthermore, at the time he was trying to sell his "patent" to an amp manufacturer in UK...to whom I supplied Groove Tubes. Ted wanted to license him "Airsound" for guitar and keyboard amps. He was the one who tipped me about Fletcher in a phone call because I had shown him my technology many years earlier, just before I exclusively licensed it to Fender back in 1999 when I was still patent pending (and believe me the Fender patent lawyers checked my utility patent application out real good!). When Fletcher was just trying for a patent in Hi Fi, I paid little attention, but when I heard he was trying to move into my world; the music amplification field in direct violation of my USA and UK patent, I was pretty upset. My UK patent attorney wrote him a letter to put him on notice. The Airsound amp was dropped and I never heard from him again in the MI Markt. As I know most of the investors pulled out when the British Court tossed out his utility application. I see he is still out there marketing a TV speaker under a new name and claiming a patent (obviously some worthless design patent on the shape of his box or something), and as long as he stays out of MI amps I could care less about him anymore. No doubt; the Airsound "invention" was a con from the start. Just watch the video. There have been sooo many phase tricks in Hi Fi products over sooo many years that there was no way my slightly different "snowman" speaker placement design coupled with a sum & diff matrix (like a MS mic capsule array and MS decoder in reverse) would get a utility patent in that broad filed of "audio" (which is what Fletcher had filed for, and flopped). Except for perhaps a worthless design patent anyone could get around. But nobody ever conceived that stereo would become such a big part of musical instruments, in recording and live performance. A stereo E piano? A portable stereo Organ w/ Leslie simulation? Stereo Chorus, Flange and Delay for the guitar player? Nonsense! That was, until my partner Drew Daniels (RIP) came up with that spark of an idea that I developed with him. And wow, the first time we tried it we were both stood in awe...how come NOBODY ever thought of this for MAKING music? So we narrowed our patent claim to "live stereo performance" and in due course we were awarded utility patents in the USA and several other countries. Sorry to bore you all with this background, but I thought I should nip this nonsense in the bud. And now, I am done speaking about that short legal nightmare and total waste of my life force. I would MUCH prefer talking about new ways CPS can make music better for us and our audiences.

Hey guys, just a quick heads up on two items; First, we've found a local pal of ours who has been using a Nord for the last 5 years, so he will be doing that "request" for a Nord video demo next week. Al had an old Fender SFX keyboard amp and was the 2nd local player here to buy a new V.3 from me a few weeks ago. I just didn't know then he was using a Nord. That video will be uploaded on YouTube like the other videos. If there is a certain patch you like us to use, let me know and Al will cover that! We also are doing another V.3 video with a whole band AND a live drummer, again recorded live with a MS mic. Secondly, for anyone in the LA Area, I have just booked 2 two hour SS V.3 demo/performance sessions for the upcoming Amp Show here in Van Nuys California on Oct. 4&5 (next weekend). This is a great show but mostly focused on guitar amps and FX. I know the promoter for years, Lonnie Spector, and I felt it would be a great opportunity to offer some attraction for the keyboard players. Lonnie agreed and gave me a great spot to do the sessions. My sessions will be 1-3p Sat and Sun and we'll be in a good sized conference room. I will bring out the V.3 w/sub, a mixer w/ fx and some great local talent to play thru the V.3. We'll talk about keyboard amplification, a first for the Amp Show! I am just putting my "band" and set list together. I'll do 2 one hour sets each day, discussing the technology for 10-15 minutes, followed by some live music performances to show off our "Little Big Man" stereo box. Mention that you are a KEYBOARD CORNER member that came to see the V.3 and you'll get a 50% discount off the entry ticket (my treat). I know this would be a very long drive for most of you, but if you have any LA pals, please let them know. Thanks!

Thank you for your interest and comments, but frankly spoken, I am not a "conventional" company anymore. I do not want to have a big catalog of "Elvis Impersonator" products and live for the next NAMM show. Been there, done that. I want to focus my remaining time on Earth and life energy on NEW ideas...including my patented CPS technology. I'll let the Big Boys make the subs, and mixers. And, there are already sooo many already on the market now! I believe that "opportunities are problems in disguise", so I am interested in finding solutions to problems. But finding a good sub is not a problem. None the less I greatly appreciate your suggestion and the "opportunity" for this discussion.

To my fellow "analog addict" (nice name!), THANK YOU so much for your suggestions. I know of "The" music store (Koln. yes?), they have a great reputation. They used to be my dealer when I owned Groove Tubes and GT amps (for 30 years!). Back then I drove all over Germany and hit all the big stores, but my contacts there were the guitar guys, and V.3 is more a keyboad product, or small pub PA. I will reach out to them but I am sure they are very busy. The other one you mentioned, EP-service, is new to me and sounds interesting. If they already handle my pals over at Vintage Vibe (great stuff) then I know they are quaility guys who like interesting keyboard products...so I will try and get in contact with them as well. My export goal is to find a single outlet for Germany (and maybe for the rest of EU) to keep the street price low...as I have done in USA by partnering exclusively with Sweetwater. That usually means "no distributors" but rather large retail shops...and many of these do not like the trouble with importing into the EC (lots of expensive roadblocks)...but I will keep trying. Thanks again so much for your kind words, suggestions and interest in CPS.

If I understand what you're suggesting, that leads to the problem of possibly needing to alter knobs on the SpaceStation itself whenever you switch from, say, your piano sound to your clonewheel, which is not practical (to say nothing of the quandry it puts you in if you're playing piano and organ simultaneously). Well, if you have your width control about 12 o'clock this is not much of an issue. You would hear about the same levels but of course less stereo effect. Much the same as you experience now on a mono amp. However, CPS brings out the stereo magic as nothing else can (other than headphones), and once you hear a piano patch with more stereo content you will probably change your preferences and start using that one! And again, the piano DSP developers have long ago realized most guys play live thru a mono amp, so they offer both mono and stereo patches...for live and studio work. All I am saying is the stereo patches will now WORK thru CPS and sound more like your recording patches when you play outlive. The more mono patches will sound about the same as what you have now....booooring!

I understand completly, and that is why I decided to go with a Tri-Amped Front speaker system, as is often used in larger PA setups to get clarity and intelligibility. However, all the 2 or 3 way keyboard amp/speaker system designs (as I know) on the market today use passive crossovers following one single amp...and that I believe is what you are complaining about. When you ask one amp to reproduce the full bandwidth, especially at higher playing levels, intermodulation distortion is quite high...and that muddies up your sound (compresses in a bad way). This effect is made worse with the dynamic content of today's AP patches. That is because one amp is burdened with reproducing all frequencies and the lower frequencies kinda push around the mids and highs (bass is always the bully in the room). When they hit the ceiling and distort, every frequency is similarly distorted...hence the term "inter" modulation (one affecting the other). Sound designers know that separating these frequencies into 3 areas (LF, MF, HF) BEFORE the amplifier stages, then using 3 separate amps, means NO intermodulation distortion. If the bass section amp get a big grand piano low note and distorts for a second, is it not nearly as noticeable because it doesn't cause the Mids and Highs to be distorted. Additionally, the individual level controls allows you to "tune" your system....call it our build in piano tuner :>) Of course, 3 amps cost more than 1...but when it comes to great sound sometimes you have to spend 3x more to get hit the goal...my goal was the most realistic sound possible. I wanted a speaker you could use as a Hi Fi at the back yard BBQ and say...wow, not bad! And also one that COULD cover the wonderful realistic acoustic piano patches out there today. I think we hit that goal for small to medium sized gigs at least. Of course adding a small sub makes this even better for the larger gig...and I highly recommend that (note: this does NOT need to be an expensive sub, the one I use cost $100 at Best Buy, a 10" 100wt Sony) If/when I make that larger Spacestation, as many have requested, I will probably stay with the tri-amp approach. It spoils you.

The more think about this Dave, the more interesting it sounds so I am MOST anxious to hear your review after you try it. It reminds me of a small scale re enactment of that old Grateful Dead PA from the 70's. You may have seen that massive speaker array set behind them on scaffolds. I was like 40' tall and the width of the stage. Each band member was split in the mix and sent into their own amps and cabs. The cabs were mixed around and arranged so everyone heard each other (from behind) in about the same stage mix. But it was also much of the main SPL that went out to their vast audience. All JBL cabs, some driven by McIntosh 275 tube amps. What I recall from those hazy days was; "far out man". But I think that's what blew out their ears, I know mine are still ringing : > )

All great ideas Scott, and FYI we already have had this product line in past like the one Ray Manzarek used, but the cost was just to high. Each new product we manufacturers release adds a bunch of new (hidden) expense most folks don't consider (another cab, extra connectors, extra metal parts, extra feet,another box, another certification process expense, etc). So in my experience the premium for this split is more than 15%. But as I consider ways to make the V.3's big brother product, I will again consider your good points and see if I can keep the costs down. One point in favor of your suggestion is that a larger single unit could weigh up to 60 lbs...so a separated system would then be easier to handle. Regarding features like multi channels and DSP...it is as you say; small mixers on top of a head/amp unit may be the most cost effective solution. I need to stay focused on providing the one thing we do that nobody else can, 3D stereo everywhere, and there is no way with my small volume I can compete with Behringer or Yamaha on the mixer market!

"Aspen all you do is hit the Quote button at the bottom of whatever post you want to respond to. That opens an edit window with the quote tags in front of the text and at the end of the text. All you do is use your cursor to delete the text you don't want just leaving whatever text you want to quote in between those two quote tags." Great, thanks! (if you are reading this then I have passed the test!)

(I wish I could get the hang of this Q&A reply routine, like having the paragraph w/ the question boxed above and my answer contained below. Guess I need to get some lessons, or is there a "help" section that teaches this?) But anyway, as Hammond Eggs is considering recording his SS performances (by request), and others may also want to do that too, I can offer some advice from my experiences. First off, it would obviously need to be a stereo recording in a room. While there are many types of stereo recording techniques, IMHO none work as well for capturing the "being there" result as a M/S (mid.side) system. This is what I used in my CPS recording demos. You can use any two mics that offer a Cardioid pattern (most all mics do), and a mic with a Figure 8 polar pattern (few do this), and they do not need to be matched. Then you need an MS box, aka "sum and difference" matrix, which inhales the Cardioid and Fig 8 (usually line level) signals and exhales L&R. Also many HD recording software programs offer an MS patch thereby eliminating the need for the outboard MS box. There are also several "plug & play" MS stereo mics, from under $100 to $500+ like the Shure VP88 I use for over drums at APR. Nuemann makes one too, but for $5K+ (used!), which I think is unnecessary for this exersize. I used a GT67 over a GT40 (my old GT tube mics) nad a GT M/S box (6 years out of production). Now just set these up one on top of the other in a large room (larger is best!)facing centered to the speaker and let 'er roll! When mixing down you can vary the levels Front and Side mics to dial in the stereo width.

"So far in the thread, there's been one mention of an AP patch sounding "thin", which was remedied by turning the pan slightly to the left (makes sense, as it would boost the lower end of the keyboard.) More input from anyone on this, please, including from Aspen if possible, as to how to get the best AP sound from this unit - thanks so much in advance." In my experience the AP patches do vary from fairly "mono" to pretty wide. The wider patches usually have some strong stereo modeling to it give that big grand piano tone...call it resonance for lack of a better word. So the way SS works, the wider patches will bring out more side level, and so you will hear far more pronounced differences b/w the various AP patches than you would in your former mono system. This is normal, as is the reaction to "pan more to left" to "correct" that thinner sound (which may have been simply too much side IMHO). One thing I have noticed over the many years I have demoed CPS systems was that the piano sound designers made some very narrow (mono) patches, probably BECAUSE nobody was really playing (live) in stereo (because they really couldn't before CPS). Therefore faced with that reality, I believe the piano programmers were optimizing some of the patches for mono and live performance, while others were made much wider for recording applications. In the case of comparing any SS to your former mono rigs (or even conventional stereo rigs where you were not listening in the small "sweet spot), little difference will be heard using these more mono patches, just because there is little or no dramatic stereo content (and so little or no side level). As I often tell folks, there is no reason to buy a CPS system if your content is mostly mono! But now that some of you have a CPS V.3, I believe you will begin to re-embrace the obvious advantages of the wider stereo patches (now made possible thru the SS) you may change both your patch selections and your mixing strategy. In general while "more left pan" may have produced more bottom, in fact that gave you a more "mono" content (and less side speaker level)...which was a pleasing result. However, in retrospect, I would rather have advised to KEEP the stereo pan dead center (and so maximizing the stereo model), and just trim back the Side level (width control), while increasing the master level to make up any volume loss.

Hallo mine lieber Herren Coda! my apologies for (my German) and the confusion on the spec sheet, you make very good points of course. But I DO know what a TRS jack is, and realize it could be either stereo OR balanced...which is why I did NOT use the TRS nomenclature! Of course our input jacks are neither! But I agree that I could have been more descriptive so as to avoid all confusion! Alas, I am hopelessly blunt sided American, as my beautiful German wife continually reminds me :>) That said, the design decisions behind my simple 2x (mono) 1/4" Left/Right input jacks were driven by the reality that there are so many small format 4-8 channel mixers out there selling for "peanuts" (w/ stereo FX, and balanced inputs and outputs) that it would not be cost effective for little old me to incorporate all these features in my CPS stereo powered monitor. My goal was to deliver "The One Thing" that nothing else can; stereo everywhere, and keep the price within reach of working musicians. We have a philosophy over here called the KISS principle; Keep It Simple Stupid. That's me. Regarding your SSV3 sub out question; it's taken from the FRONT signal (L+R, mono compatible) and it is full range. My very first Spacestation was even smaller (2x4o watts) and had a switched High pass on the SUB jack that limited the SS range starting from 100HZ when activated by adding a sub. It still delivered a full range signal derived from the L+R sum/diff network as it is today. We felt then, and now, that a full range mono compatible signal would offer more options than a frequency limited sub output. Again this can lead to some confusion as we still label it "sub" output because 1) we think that is the most useful (and highly recommended) option that allows the SSV3 to actually hang w/ the "big boys", and 2) most subs have a FR limiting range control anyway. If you choose to use a normal bass amp as your subm I'd recommend cranking the Treble and Mids OFF so it only functions from 150HZ down. FYI, we have made MUCH larger custom higher powered CPS systems in past, converting 2x800 watt QSC amps driving SFX K5 cabs loaded with McCauley 15" coax drivers, like the one we made for Ray Manzarek's (rip) touring system with the 20th Century DOORS. That system kicked ass on Robbie's dual stacks and even overpowered the drummer...ha!...but the average working musician just can't afford a $3K+ rig, much less the cartage fees, so I lost interest in those, Regarding V.3 sales to Europe, I have tried to find a retail partner like Sweetwater over there that will keep the price in reach of the common musician. It is complicated selling in Europe and usually several levels of distributor and retailer "profits", on top of importation and VAT just puts the price nearly double the USA street price. Toman flat turned me down, they are no "pioneer" and frankly didn't "get it". Seems they have just become a large box internet store. I am still looking for the right sized direct retail partner over there..any suggestions?. But meanwhile, I have to focus on filling the demand over here...which is very encouraging. So maybe by MESSE 2015 I can offer you that option. Meantime, I have just sold a 230v converted V.3 system an end user in Germany for $550, which is a 10% discount to offset the average $125 in USPS freight charges and the duty + VAT he pays on his end. FYI, I designed the V.3 to be compatible for the Euro market...so every V.3 has a 115/230v xfmr that can be easily rewired. Additionally, we have made the V.3 CE, RHOS and WEE compliant, and those symbols are printed on the shipping box.

Thank you David, it's great to be back among friends, like you. The last year has been a struggle, as you know, but I think we are on the right path now!

"I wondered if SSV3 are balanced (TRS) +4dB line ins or if these are -10dB unbalanced (TS) inputs (what I guess they are). Are they?" Regarding the V.3 input sensitivity; our spec sheet states "-10dBu to +10dBu. Not typical, but neither was out goal for accommodating a wide range of stereo engines from the low level headphone jack of an iPod, to the hot instrument levels of a keyboard, to the even hotter line levels of a mixer... which if not reset will overload the V.3 if you were using +4 line level amps. I suggest setting the V.3 Level around 1-2 o'clock and bring up your mixer levels until you hit the limits of the V.3. Regarding "balanced inputs", I saw no need for the added expense to my PCB, or for the more expensive cables. I am a "bang for buck designer; no bang here. BTW, none of these "stereo engines" I mentioned above either have, or need, balanced outputs in the applications for which the V.3 was designed. I have enjoyed following this discussion thread. So many sharp folks here asking the right questions, and getting the right answers. As my CPS (formerly SFX) line has been (sadly) off the market for over 6 years, I really want thank the many MK2 users for sharing their MK2 experiences and answering many of these question on my behalf...it means so much more coming from you. Trust me; all your comments, (+/-), will be heard, and will be most helpful as I bring the Center Point Stereo product back to life.