Aspen

Just fyi, if you have fluorescent lighting or a dimmer switch on the same circuit that you are plugged into, or even if your too close to flourescent lighting, it can cause a buzzing noise in you equipment. Good suggestion. You may also try running an extension ocable from another room on a different circuit. One early adpter found that a 'add on room' had the buzz, but no buzz in an original room on another circuit. (back in Season one, episode 43) I might also add to try another pair of cables, the CPS encoder (that converts L&R to Front and Side) is VERY sensitive to slight differences in the L&R cables. A bad shield or ground in just one of the cables would not be even noticed in a conventional KB/amp/mixer setup, but could play Hell with our CPS amp.

Great 3 gig reports NosPup, and all so different! I personally love producing those smaller gigs with the SS3 serving as the PA, the instrument amp, and monitor for both. Actually, that was my original target market, but the KB players just jumped on the bus first (thankfully!) and took it over. It makes such a comfortable playing environment because everyone has the same mix reference. You hear each other and also hear what the audience hears. I think it makes everyone play and sing better. Thanks so much for sharing! This forum has been a blessing for me, for CPS technology, and for all those using it for the first time. It's like a 160+ page interactive operators manual! We could never have reached this level of success w/o you guys...I can't thank you enough.

Season 1. Aspen explained these knobs. I can't remember the details, but I think it had to do with the amount of stem needed on the inside? Or the diameter of this particular stem? Anyway, search "spacestation" and "knobs" on this site and the post will be there somewhere. EDIT: Found it. So guys, while we never found those early MK2 pots w/the shorter shaft (they were discontinued actually), we have 1) increased the depth of the chassis inset, so they no longer protrude and are safe now...effective last two SS3 runs...and 2) we came up with a simple preventative measure for the earlier runs; just screw in two small rubber feet to the wood cab by the rear panel in line with the control knobs....so then the pots are shielded in case of a 'back drop', and also you can even travel with the amp on the back once those are sdded, no problem. NOTE: if you can't find those rubber feet near you, I will gladly mail them to you. Just email me your address at aspen@aspenandassoc.com and I'll get them right out to you.

Not sure where you got the idea I was out of stock on covers, but I have had covers back in stock for months. Just go to the Aspen & Associates website, also free shipping. And Hardware, many thanks for the kind words of support, very much appreciated! As a small token of my appreciation for your support, please send a note w/ that cover order with your shirt size and I'll include a CPS T-Shirt in your box with a great slogan inspired by a fellow early SS3 adopter here on KC; 'Spacestation v.3; everything else is just a box!'

Guys, it is I who need to thank YOU for your support and believing in Center Point Stereo...even moreso when 'stuff happens'. So when things go wrong, I must thank YOU for having the patience to allow me make it right. As you may know, I do not advertise. So I use those 'ad dollars' on customer service...because I believe a happy customer IS the best advertising money can buy! Actually, I ran Groove Tubes service policy the same way for 30+ years, and it served me very well. When I had to downsize (for health reasons) and sell my beloved GT company, Fender bought a highly profitable enterprise with a great bunch of products, and a few patents. But mostly, they bought a 'Brand" that had 'value'. That is without doubt, the biggest contributor to the valuation of a company when a company it is bought or sold. My GT brand reputation was built over a long time thru our 'no limits' customer service that was par excellence..the best in the business. So IMHO, it's just good business to go 'pass the money' and take care of your customer 'family'. Frankly Chris, I agree w/ you; I just do not understand why every company doesn't realize the MOST important thing they can do is 'make Lemonade' when things go wrong. And thereby keep the trust and respect of the MOST important component of their success; the customer! It is hard to get back once you lose it. We have a very low 'issues' rate, well under 1%. But when an issue does comes up, I make Lemonade! And, if I hear about it first, I will ALWAYS bypass Sweetwater (who has excellent customer service as you all know) and 'go direct' at my expense to save everybody concerned time and money. But most importantly, to save YOU the 'down time' on your CPS amp! Because once you acclimate to CPS's 3D stereo sound, it's hard to go back! I have always believed that "Problems are Opportunities in Disguise". So I treat any issue as an opportunity to build a stronger bond with my CPS 'family', without whom I would not be where I am today.

Actually, I think making stereo finally 'work' for live performance is for everybody in the band. But no doubt the KB guys were the first on the bus (as usual), because they 'think in stereo'. There had been so much hype and misguided attempts at making stereo work for guitar I think us string guys just got burned out and gave up...but that is changing. (watch for a new video on our website soon with the Line 6 Helix, where the player uses the SS3 as his 'fx amp' perched atop his usual guitar amp. This is a very interesting new application for the SS3!) Some of my most interesting gigs have been listening to whole bands mixed thru one stereo mixer, like a live recording would be, then played back thru one (or sometimes two spread wide) SS3 amps. Wow, it really is an incredible performing and listening experience. It is especially intoxicating for the vocalists, who can hear themselves like never before in the context of the mix, and just 'sing' (for a change!). No more whinning! Of coarse that is only practical (for now) in smaller clubs and venues. We have numerous small combos doing this now in weekend restaurant gigs, and also retirement homes where SPL levels are lower (by request). That is my dream guys, to walk into live venues and not see any amps, monitors, or PA stacks obstructing the view of the performance while hearing a nicely mixed 3D stereo surrounding sound that is balanced and the same everywhere I would sit or stand. I know that sounds crazy, but I also know it can be done. God willing, I hope to live long enough to see CPS become the standard for all live music performances.

First off, thank you Todd for your thorough and excellent review...and your finally pulling the trigger on a SS3. Your support is VERY much appreciated. And I am so glad you found the CPS 3D stereo magic to your liking. I never get tired of hearing what others think on first experiencing CPS technology. It brings back some great memories for me; like the first time my partner Drew Daniels (RIP) and I built and actually heard our very first prototype...wow, were were like kids at our first Christmas! As others here have also mentioned, I think with a few more gigs I am sure you will dial it in even further, but it sounds like you are off to a great start. I like the way you are adapting your patches for stereo...now that you can HEAR stereo. I often thought KB designers must have been b/w a rock and a hard spot because they KNOW players will probably be using a mono amp for live performance, but also know that players would want to record big stereo patches too. So should they optimize the patches for live sound and so mono, or for the studio where stereo is king? (thankfully today, most boards offer the options to change settings for those very different applications). Regarding a break out preamp with my encoding circuitry...good idea! But not the first time that has been suggested on this thread (I think it was back in Season one, Episode nine...) But actually, that was a vision of mine too about 14+ years ago. Take a look here on my archives on Aspen & Associates website, and download my first GT 'Custom Shop' SFX catalog and manual, here: http://aspenandassoc.com/support-documents/ NOTE: SFX stood for Stereo Field Expansion", the first brand name for CPS that Fender trade marked when they took out a CPS license for their 3 SFX products (and my first mailbox money!) I used 'SFX' on my first line too (with permission) for my Groove Tubes product line. Notice the SFX 'E1' encoder, which was a 1 RU stereo in, Front/Side out pre amp device. Also see my weird looking Side speaakers, open 4 sides! The system I detailed in the catalog applications page used a JBL powered PA speaker for the 'Front' speaker signal...a top my SFX 'S12' or S15' cabs. These were a completely open 4 sides dual driver boxes which had VERY wide dispersion, and could handle 200-300 watts...so they got loud! The worked really well, But ordinary boxed PA speakers for the side system really don't work very well, and they are nearly impossible to align. And that 'point' is VERY important; there needs to be a "Center Point"! CPS is a very different speaker technology. The Side system must have VERY wide open dispersion and also be exactly and strategically placed to the Front speaker for the CPS magic to come alive. But as mentioned before here, we didn't sell many 'component' CPS systems (and neither did Fender sell many of their SFX Satellite amps either...more on that later). But not because it didn't work well (IT DID!). I just think it was a bit ahead of the times (my curse!). CPS has only really been seriously accepted by musicians with my release of the SS3, the first 'High Def' CPS audio system I have made. A 'CPS' break out box might catch on today, who knows. But that would be another $50K 'new product' gamble, and right now I must focus on maintaining SS3 supplies...I do not want to run out like I did so often in my first 7 months! We are currently in the middle of our 9th and by far largest run ever. So this is taking all my energy and assets to just keep up with current demand. I am STILL a one man company (albeit with some large and powerful Vendor and Dealer Partners). But IF I were to bring out such a product, it would have to be integrated with a special design Side speaker... the Side speaker is the key! Using a typical powered speaker, highly directional (one way) cabs, just do not work very well. So I would also have to introduce a CPS encoding powered side speaker...oh wait...we DID have one of those in the 1st Fender SFX product line! They called the SFX Satellite! But it also died an early death as it was targeted toward guitar players and deemed too 'klugie', hard to set up and dial in. I am pretty sure the KB players could handle that issue better. But most my SS3 fans tell me what they like the most is the simpler (and smaller) setup, and foot print. But I always liked he idea of it; a player could KEEP his favorite powered PA Cab for the Front system and use a special powered Side cab as the platform with the CPS encoder builtin....but now were back to lugging 2 cabs and twice the space and weight. And what if nobody buys it? I'm in the dog house w/ the boss lady! They say 'burned once' is 'twice shy'. I am not sure folks would embrace a component system these days, everyone seems to want the convenience of a one box, plug in and play solution. So don't hold your breath on that one Todd, but it was a great conversation....

Hello Junkcar, sounds to me like something is broke here, maybe a damaged pot from the sound of this. The quickest way to get you back in the saddle is for me to get directly involved and 'make some Lemonade'. So I will PM you with some options. Sorry for your inconvenience.

Hi all, sub chiming time again... Got in my Mini Tremor today, and also found time b/w sessions in my big room for another quick A/B comparison with the Behringer B1200. As you know, I had returned my Really Mini Tremor a few weeks ago...not because it was 'horrendous' (it was not THAT bad!), but more because I was not knocked out with the input sensitivity and the lack of really low bass response. The SS3 SUB output just didn't drive it hard enough, so I had to run it 100%...or use a separate mixer with a AUX channel drive to bring it up to the loudness I wanted when pairing to the SS3. So I didn't think I could recommend it as a "great" stand alone sub solution. So that said, my first impression of the Mini Tremor on it's own driven from the SS3 SUB output; pretty good! Much better than the RMT! It had more low bottom, and at least 3dB+ louder than the RMT, although I was still running it around 80-100% to balance w/ the SS3 level...but it was easily 'heard'. So I CAN recommend the Mini Tremor as a 'fit' to the SS3, if just driven from the SS3 SUB output. It is also cheaper by $80 as compared to the B1200. So what does an extra $80 for the B1200 get you? More. So next I A/B'd the MT against the Behringer B1200 (using mostly a few familiar tunes like Babylon Sisters and some others...then some KB demo patches I have on hand. Result; I still have to say guys, as a stand alone partner to the SS3...the B1200 beats the MT hands down. Frankly, it may be worth the extra $80, depending on your applications. Also, I only need to run it at 50% to get same SPL as the MT produced at 100%. And frankly spoken, the bass and lower octaves just sounded...well, lower! To my ears, the B1200 feels strong to 40Hz, while the MT seems strong to 60-70Hz...but the MT may be all you need for APs, or for vocals and guitars as many are using the SS3 thesedays. The other considerations are size, vand cost. The B1200 was around $300, the MT around $220...$80 less. So cost advantage to the MT. However, the MT appears larger than the B1200. But I didn't measure or weigh them today (maybe I will tomorrow...kinda had a fast 10 minutes for this in the big room today, while our client was taking a break). But there is NO question the B1200 is louder and goes lower; IMHO, you get your extra $80 money's worth. That said, I do see why folks like the MT, it is adequate sub support for the SS3, and good bank for buck (I could not build it for that...which is why there are no APD subs!) Last point, which is just me; but I MUCH prefer the B1200's Black Tolex covering over the MT's black carpet. Carpet seems to attract all forms of dust and lint...it just looks shabby after a few weeks on the road. Bottom line (pun intended); I will NOT be sending the Mini Tremor back. I think it will be useful w/ our small stock of SS3 demo amps. And also it looks way cooler than my $99 Best Buy Sony 10" HiFi sub! Just my 2 cents, and well worth what you are paying for it.

Sleeping Bear, you don't need to apologize for anything! Your experience is extremely valuable to share...as you should. Others may find that for the under $200 range this is enough sub support. I said I was 'underwhelmed", and I was. Yes, you could tell a difference in/out...but only a slight difference. Not enough IMHO to justify schlepping this to a gig. But then again, I had the B1200 there for comparison. And that is MUCH more sub to schlepp, and also much more to spend too (about 1/3 more in price too). My main complaint was that the Really Mini input levels were not a good match for the SS3 output levels. I do not think you should ever run any amp "all the way up". I believe there should be some headroom in any gain structure. I am hoping the 12" 500 wt Mini Tremor will not have that issue, but neither their spec sheet nor their customer service rep could really answer that for me...so I will try one and see. BTW, this level issue can be easily corrected using a mixer that has a second output channel....and I was able to get more level in that way...but I do not need an additional gain stage with either the B1200 or my really cheap Best Buy Sony 10" sub, largely because of the design of those subs with a more sensitive input stage. But now we added a sub AND a mixer! But nobody here should ever feel intimidated to express their honest opinion, and I must apologize to YOU if I made you feel uncomfortable. Not my intention at all. So please keep posting, by all means, I have been enlightened and encouraged by your voice here, many times...thank you! And to all concerned, please take my comments with a large grain of salt! And remember, I am NOT KB player! (and not much of a guitar player either). And should I ever show up at your gig, you would be well advised to not let me sit in, as I am probably the least experienced musician on this forum (but I have had fun TRYING to be a professional musician for the last 55+ years!

I am also trying to decide between the Really-Mini-Tremor and the Mini-Tremor. The Mini-Tremor is a little bigger than the other one. Yes, 27 lbs vs 43 lbs, but I am thinking that it is only 1 pound more than CPS. I am waiting for Aspen's thoughts on the Mini-Tremor as he said he was getting one. Feeling the need to chime about now, w/ my 'sub chapter'; my misadventures with the 'Really' Mini Tremor. It started out with the best intentions, a bit of this mega thread initiated R&D GAS curiosity. I though I'd buy a Mini Tremor to see if it could possibly be a better match for our SS3 than the Behringer B1200 (which as many of you may know I bought awhile ago, also as a R&D project...more on that later). I had been intrigued by several positive reports here on the 'Home Thread" touting the Mini Tremor, and if it could cut the gig then I liked the size and cost reduction over the B1200. My mistake was that when I went to the Seismic Audio site to pull the trigger on the Mini, I saw the 'Really' Mini and thought; wow, even smaller size and weight....and with just slightly less power (250RMS). Also, I had been using HiFi 10" sub that did the job, with even less power (100RMS)...so I thought "why not?". So instead of the Mini, I bought a 'Really Mini". Ooops. It arrived 2 weeks ago and it took me a few days before I found time to take it into the studio and do a serious evaluation. And I have to say guys, I was underwhelmed. I even called and spoke with a very nice guy at SA. I think we eventually came to the same conclusion; not a good fit for our SS3. My Best Buy Sony HiFi 100wt 10" sub was louder, and lower...and retailed for $100! (but of coarse, no handle, not made for travel...and certainly not 'cool'. The problem I encountered was having to crank it full up, even dial up it's low pass (extend the HF fully) all the way. But almost nothing was noticeable when I plugged it in/out...it was barely audible. I thought; maybe it's a defective unit. So I called SA customer service. During my rather long conversation with the nice SA tech, trying to get some basic specs like input sensitivity and frequency response (they offered little on the website and didn't really give me much over the phone). Finally I was able to confirm what I thought I was hearing; it takes a much stronger preamp level signal (than our SS3 delivers) to drive it to full power. Maybe their sub's input sensitivity is compatible with their other products, but not with our SS3. But also, and perhaps more disappointing for me, IMHO; it 'Really' lacks low end! When I tried a mixer in between to give it more level than I was getting from the SS3 SUB output, it got louder and in better balance to the SS3 level BUT, it didn't really shake my booty! I thought it's not got much below 80Hz, and to my ears it rolled off fairly sharp around 80Hz. It's resonate frequency was fairly high too for a 'sub', which felt like 100Hz. Back to my talk with their tech. After asking for some input sensitivity specs and/or Frequency Response curves...as there were none on their site...he said he wasn't sure about 'levels', but he had recently 'shot some response curves' there at their offices. After some internal debate (talking to another guy there about "which curve he was reading belonged to which sub") he confirmed what I thought I had heard; his Really Mini Tremor DOES roll off strong at 80Hz, and it's strong resonance peak is around 100Hz. Ooops. Kind of a shocking admission that your sub poops out at 80 Hz! Heck, my SS3 is fairly flat to 100Hz, and it is MUCH louder at 100Hz too! However, while those 'specs' doesn't change my opinion on the Really Mini Tremor, after he described the way they "shoot their curves", I wouldn't put much stock in their test results. I have been shooting FR curves on mics and speakers for more than 40 years, mostly looking over the shoulders of really smart engineers who know what they are doing. And if I have learned one thing; getting 'reality' below 100Hz is VERY tricky business. That's why speaker companies build $50,000+ dollar test chambers...just to accurately test low frequencies. Frankly, testing accurately below 100Hz is nearly impossible without expensive tools, an anechoic chamber and mucho experience! I do not think SA has any of that. Darn, I WANTED it to impress me, but it fell flat. So after a half day trying various ways to squeeze more level, and lows out of this Really Mini Tremor, I gave up and returned it. BTW, be forewarned; I did so at my cost for the return shipping ($48) and took a 15% restocking fee hit too (about $30) So this purchase was not a Sweetwater experience! I suspect the problem is mostly because of it's input sensitivity being comparatively low. Which was helped by using a mixer 2nd main output to get a stronger drive signal to the sub, and balance the louder SS3. But if the common +4dB level out of the SS3 is not enough to wake up the Really Mini, then it's really a non-starter for a SS3 end user. Therefore I can not recommend the SA Really Mini Tremor sub, sorry to say. By contrast, and Apples to Apples, I run the B1200 right out of the SS3 SUB and it works just fine! I am usually around 50% level @ 120 on down...before it 'overtakes' the SS3 SPL level. So no complaints for me with the B1200, except perhaps I feel it overkill; too big and probably too loud to be a 'perfect match'. You must be careful not to add too much sub, but I trust your band mates will tell you when you have 'exceeded your limits'! So now I am back to square one, and thinking about buying a Mini Tremor, for the same purposes. It has a 12", more power, and weighs a bit more (it's actually 1 lb. heavier than a SS3!). However, the SA guy tells more that the Mini's 'curve looks about the same'. But as I said; I do not trust his low frequency measuring methods. In the end, as it always is, I'll just have to 'try one and see'. I do believe several of you already have, so I am pretty sure it will cut it...but I'll have to try it for myself before recommended it to my CPS family! Therefore; I just ordered a Mini Tremor...$219 shipped to my door (can't complain about the price and the free shipping). I hope to give you a more positive report in a few weeks. FYI, if you want to 'try one out', from SA, it will cost you. Seismic Audio is a 'direct' marketing company importing these from China, and ONLY selling direct to end users at what would normally be considered 'wholesale' price. Hence, no dealers will stock them, and if you want to return something, you have a short decision window, and there are 'penalties'. So this is NOT like buying something from Sweetwater, or my Aspen & Aasociates's website (yes, we sell direct too, but with free freight in the lower 48, and return options w/o restocking fees!)

Regarding the on going "SS3 ultimate Sub Quest": As some of you know, I had been using cheap low powered HiFi powered subs by Sony and/or Klipsch that I bought for peanuts at my local swap meets (well, b/w $25-50 peanuts). They worked fine as IMHO the SS3 doesn't need a BIG sub. These can be seen in many of my videos. But frankly spoken, they really are not roadworthy and/or "pro". But then when everyone seemed to be doing it, I bought a Behringer B1200 to hear one for myself. At $300 I just had to see if I should be recommending these to other SS3 users. My conclusions were: very good "Boom for the Buck", but I didn't like the loss of gain when used pre-SS3 to take advantage of their hi-pass filter. So I use mine post-SS3 from the "Sub Out" feed off the SS3 for best results. I also thought this B1200 was probably "over kill", and I do not really push it hard to get the right amount of sub for those louder gigs. Then also, it is a pretty "big box"! It is larger and heavier (43.5lbs.) than our SS3 (42lbs.)... so I was still looking around for something smaller/lighter I could recommend. I had heard favorable reports here on this thread about the Seismic Audio Mini Tremor, a 12" 500wt sub like the B1200, but a smaller footprint than the B1200. However, while smaller, it still weighs (43lbs) almost as much as the B1200, and a pound more than the SS3! But now I just noticed SA brought out a new "Really-Mini-Tremor w/ 350 watts and a 10" speaker. Also it's smaller/lighter (just 27lbs), so his could be closer to matching the SS3. It was also "ON SALE" for $189 w/ free ship. So, again I took one for the team and ordered it today! I will post my review in a few weeks. Our CPS "Big and Wide" band just got a regular Thursday night gig at an Irish pub over the hill. The guys will be using their SS3 w/ mixer for the whole band; keys, bass, guitar synth and vocals (drums are acoustic). So that should be a good test, stay tuned!

Hey Al, Great post! As I said when you first PM'd me with this goal of keeping your High End RCF and using the SS side system "only" by turning the Front system off somehow, I was intrigued...but not surprised. Years ago I wanted to do that too, so I made a separate side speaker in the old Groove Tubes SFX line (the S12 and S15) so you could keep your favorite full range speaker and just add a Side speaker which was designed as a platform; you placed your PA speaker (or guitar amp) on top. It worked great (but you had to add another amp to drive it, and the system also required an SFX EC1 1RU encoder to get the CPS circuit and technology). See the "Old GT SFX catalog" in our A&A archives here: http://aspenandassoc.com/support-documents/ And also, Fender's 1st Generation SFX line had a 100 watt w/ 12" SFX Satellite powered Side speaker that had a recessed platform top designed to hold your favorite (tube) guitar amp. It also worked w/ any KB amp. But they discontinued it pretty quickly...just too kludgy to set up (used the amp's FX loop, had a builtin CPS encoder + some stereo FXs). And also back then, CPS was just coming out, so guitar players were kinda shy to try "new ideas" (especially guitar players, Fender's biggest customer base). So yes, I did find this experiment and post of yours VERY interesting! And now I see and understand the challenges with your gain structure issues. I think this "imbalance", if you will, is because the SS3 has a "averaged" input sensitivity (somewhere b/w +4dB line and -10dB inst levels). That is so it can work w/ either a mixer or an instrument which have different signal output signal levels and impedances. While the RCF's input sensitivity is more likely designed for just a +4dB line level as would be seen from a mixer (note; some of these powered cabs have a switch to change that). Therefore your thoughts about adding a mixer in the path before these powered monitors seems like a good solution. But also then, I bet if you cranked up signal level into the SS3 with the mixer (which also may lower the impedance), you would also increase the SS3's sub output level and so drive the RCF louder to full power too. That may allow you to use more SS3 side speaker level than before. But you'd have to experiment with that...just a guess on my part. Either way, I think you proved out the idea, and now dialing it in would be the next step. My guess is as interactive as this thread has been, we will hear from others on this! The funny thing for me was that when we discussed this initially, I never imagined closing off the Front system by simply facing it down..very intuitive of you! Of coarse that would obviously be the best way to keep the Side speaker in play while closing down the SS3 Front speaker...duh! But when we were discussing it I was thinking (as always) to leave the SS3 facing forward and just concerned w/ the Front/Side close alignment; hence my suggestion of stacking the SS3 upside down under the RCF...and turning down the MF and HF amps. But your way makes perfect sense...good thinking...congrats! Now I wonder; what about different positions for the SS3...just for fun: 1) how about leaving the SS3 upright and upside down, then facing it backwards to your RCF, towards the wall behind you? And again, minimizing the MF and HF amps ...so more LF dispersion with the 8" joined to the RCF. 2) or how about using it as you have pictured but add a a few 2"x2" blocks under it to raise it up off the floor slightly, like a down firing sub works...firing the SS3 8" fire off the floor (maybe that would give a quicker "bloom"? That may increase the 3D effect!? It might be fun to try these combos several ways and just see/hear what you get! Keep us posted (pun intended...:>) PS; I have thought about bringing out an upgraded version of the old Fender powered "Satellite Side" speaker, but I sat down until the idea went away. IMHO, me thinks most players these days are interested in a fully integrated CPS amp, and as we grow older; size does matter! In the end, every new product I bring to market is a massive investment of my time and money, and just one clunker product that didn't sell very well could put a (very) small company like me out of business.

I haven't tried this FX unit (yet), but I am not sure how any stereo FX could ever "defeat" what CPS does? I mean, we invented CPS expressly FOR reproducing stereo in a live venue! So in theory, these would have to be mutually enhancing products. The better the stereo FX, the more powerful the CPS result! I am intrigued by Behringer's claim to produce "3D" stereo FX (now, where have I heard that claim before :>) So I went on the Sweetwater site and watched Behringer Phil's demo (Phil is a local LA bud for many years...used to be at Guitar Center and then Line 6...great guy). And after watching it I can see that there is really no fundamental application difference b/w this and a Lexicon or any other processor, except perhaps the low price point ($149, wow!). I mean, they all have stereo in/out (this one labels them "Chan 1&2 in/out", and also has the typical midi features) and factory presets for all the usual patches. So why wouldn't this shine brighter thru a CPS speaker? I did notice it has amp simlulations and vocal enhancing FX too. So while I do not think this would be useful for a typical modern keyboard, it could be very interesting for a mono KB like a Rhodes or Whirly, or as an addition to a live PA that didn't already have builtin stereo FX. At this price point I am feeling "GAS onset". I tempted to try it in my all tube based CPS guitar rig; Trio preamp, Dual 75 stereo power amp, and SFX G12 speaker (3x12"). My ancient Marshall rack FX unit is a bit long in the tooth, and the lighted panel has gone over to the dark side on me. (Thank God my wife doesn't read this thread!)

Hey guys, chiming in with a recent gig report, and 2 videos we just posted on YouTube of Geoff Stradling and his 18 piece Jazz band, "The Strad Band". We taped Geoff's band playing a really nice local supper club venue called "Typhoon", which is located right on the runway of the Santa Monica airport. Geoff has been a highly visible SS3 user for over a year, and graciously allowed us to come see and record him in action. Geoff is a very busy boy as organist for the Hollywood Bowl, featured organist for the LA Philharmonic (I caught him w/ the LA Phil at Disney Concert Hall w/ his SS3), and his every day job as a #1 call film and TV score composer (you have heard him on 100s of film and TV scores)...too many to list. Then just for fun (and because he can), Geoff brings out this amazing Jazz band several times a year for a intimate concert. The Strad Band is a collection of top LA session players, and Geoff writes all arrangements fresh each time. He also introduces each song with interesting historical comments on the motivations behind his arrangements (from Chick Corea improvs to Tower of Power "Oakland funk")...so it's almost like a college course on Jazz history. They played for 90+ minutes, but you can see/hear the SS3 shine in a big band setting on these 2 tunes we picked as they have nice piano solos from Geoff: A Side of Blue Beat Iguazu (native geographical spelling) You be the judge, but I can say that "being there" was a fantastic "SS3 First" experience for me, and I was pretty impressed! I took some stills showing the placement of the SS3 that sits behind Geoff (the SS3 is not visible in the videos) and posted them on my facebook page. But unfortunately I can't recall how to post them or embed them here (help? there was a chapter on this several seasons ago but I am too rushed to go back searching right now). But if you'd like to see them, they are on posted my facebook page here, along with a more detail description of Geoff's amazing talents and resume: https://www.facebook.com/aspen.pittman/posts/801932273276168?pnref=story Enjoy these videos, and thanks again to Geoff for being a sterling example of just how good a SS3 amps can sound in the hands of a true Maestro! BTW, we gave Geoff the entire evening on a DVD, perhaps he might make that available somewhere. Frankly ALL the tunes are amazing arrangements with top notch performances....so I hope he will. I have to say, the quality is not the best possible, it's just a one camera shot in a room full of diners (all we were allowed to do as this is an exclusive dinner club venue...and I had to buy an extra cover for the camera table!). The audio is recorded thru the built in stereo mics on our little Canon XA10, sitting on a table top...please excuse the occasional clanking of plates. But you can hear actual and enthusiastic audience participation at the end of each tune!

Good questions! Actually there were many previous designs where I did use 2 side speakers (but always out of phase, for obvious reasons; they sound better like that, and the 3D effect is enhanced. Technically speaking though, we wanted them to function as one dipole transducer, not 2 speakers, for uniform audio clarity). In all of my early (released) designs the side speaker(s) are open and "centered" directly under the Front speaker to get maximum 3D stereo effect. I used dual speakers in most the early designs to be able to get more acoustical output because of the challenges of an open baffle design (of coarse a close cabinet design increases the efficiency for any speaker design and would have put it in acoustical better balance with the Front speaker, but also would be more difficult to "center" under the Front speaker, and so lose some of the dispersion interaction I was trying to maximize for "stereo effect"). I have a dozen prototypes that never made it to production, and there were several that did make it to market under the "Groove Tubes Custom Shop SFX" brand. I offered components to build custom systems; an E1 CPS encoder (inhaled L&R, exhaled Front and Side) that could be used with any conventional stereo amp or dual mono amps to drive these larger "SFX" speakers. NOTE to SFX brand origins: because by this time I had licensed our CPS patent to Fender, and because they wanted their own "brand name" which became "Stereo Field Expansion" (SFX), I decided to ride my products on their coat tails (and ad budget) to associate our patented technology with their brand...with their permission of coarse. Later when I had sold my GT company to Fender in 2008 (but did NOT sell my CPS patent which they are still licensing BTW), I decided to revert to the original name of the patent; Center Point Stereo and build that brand going forward. The CPS Spacestation v.3 is the first product I've done using this brand. These early GT Custom shop SFX systems were just great (I still use mine daily), because it allowed a player to build a system around his own amps and even his own speakers (we made S12 and S15 side speakers so he could keep his own for a front system) . The front amp/speaker could be a Fender Hot Rod Deluxe for a guitar player, or a QSC PA monitor for a keyboard player, for which we just made these open baffle Side cabs (2x drivers that were facing in out of phase configuration) that acted as a Front speaker platform, and so sat directly under the players Front speaker. I sold Ted Nugent a system like this at our first NAMM show debut. A fun story here; Peavey had paid for Ted's attendance to promote one of their new amps, but not to "play for the crowd". However "after the autograph session" as he strolled by our booth, he heard Jimmy Wiggle (our GT engineer and demo guy) playing Cat Scratch Fever. He stopped dead in his tracks, grabs Jimmy's guitar and played for like a half an hour until the NAMM folks shut us down. Ted LOVED that big 3D sound and just couldn't stop playing. Then he asked "where are the other speakers?" He couldn't believe he was listening to a single speaker. He ordered one on the spot! That was an SFX G3 (3x 12" guitar speakers) with a Trio preamp, and E1 SFX encoder driving a Dual 75 tube amp. (all tube amplification of coarse!) I also built a custom E1/K5 Keyboard system for Ray Manzarek's last tour with the 21st century DOORS. That used one 15" McCauley 15" coax system w/ a McCauly mid driver for the K5 Front speaker system, and two G85K 12" Celestion keyboard speakers for the side system. These were pushed by a stereo 1,000 watt QSC rackmount amp we specially modified with w E1 encoder inside of the amp. It sounded just awesome and kept up with Robbie's double stack! But just the McCauly coax speakers were well over $1,200 at my cost! I have pictures of Ray on stage with that rig somewhere, I should get them up in our archive section of Aspen & Associates. But while these early SFX component systems were AMAZINGLY good sounding, they were REALLY expensive (and bulky). I doubt we'd be selling many in today's market (we didn't sell many then either : > ) FYI, we do have catalogs and pix of these early Groove Tubes Custom Shop SFX product, showing all these early systems, at our A&A website, under "Support", then PDF archive": http://aspenandassoc.com/pdf-archieve/ NOTE: this is a new site and still has a few bugs I am just finding. IE: just noticed we misspelled "Archive" and also that the old SFX catalog I refer to here is (currently) misnamed "Spacestation MK2". I have asked our web master to correct that, and add in the real MK2 spec sheet, plus a "White Paper" on our patent I wrote in the beginning that answers a lot of questions I get here, but it is the weekend... Lastly I will say that these early systems were bulky and expensive, and in keeping with the times (and age of our end users), when designing the new Spacestation v.3 I tried to maximize the CPS effect, the audio fidelity, and SPL output, while minimizing the footprint...and "wallet dent". Therefore, with all the above history, and many speaker configuration designs (both released and unreleased) behind me, I settled on four Class D switching amps, three of those used in a 3-way electronic x-over Front speaker system (computer modeled of coarse) and one for the specially designed single side speaker that has a Donut style magnet with a hole thru it's back and an internal protection grill (look down the hole of your SS3 side speaker with a flashlight...very unique design!) and so this allows the voice coil of the Side speaker to emit Highs from it's back side. And perhaps equally important as it's sound; the new SS3 v.3 is affordable and fits in any car...or on any stage. I think we hit the target. The SS3 is without a doubt, the most significant product I have ever released because it fixes a huge problem; realizing a stereo image in a live venue. But also, it is (by far) the most successful single product launch of my 40+ year career...probably because it is affordable!. But frankly spoken, and to be totally honest, much of this success due to the great folks, our CPS family, posting on this thread who have been vocal ("postal"?) in their support, for which I am humbled, grateful and honored. THANK YOU!

LOL 5x hard...very funny stuff! Thanks for this, made my day.

Hmmm, I haven't actually tried that, but assuming the 2 speakers are typical L&R, (and in theory) that should only exacerbate phase cancellations we experience when standing outside the "sweet spot". You suspicion that this configuration may not "ring true" might be the understatement of the audio year. That said, I am sure there are probably those who may enjoy that listening experience....

Hi Worth, I know we've covered this before but I can't recall; are you using the KB straight into the SS3, or is there a mixer in the middle? A mixer improves the impedance matching, and gain structure, which in turn will improve the LF. And also a mixer might have an EQ and so could add some LF too....that might get you closer. A mixer today can be quite small, much smaller than a small bass amp or sub. I am just wondering if you've tried that? Lastly, the CX2008 8" in the SS3 is a custom made speaker with a poly cone and a foam surround. The voice coil is 2" and it has a massive custom coax magnet. It is as good an 8" as I could find, and I tried a bunch. I even had to coax (sorry, couldn't resist :>) Eminence USA custom into making it again after they had discontinued it because it was so expensive folks didn't buy enough to keep it in the line...now they only it (in the USA) for the SS3. In addition this spk/cab was seriously computer modeled to extend it's LF to the max. Because we wanted to keep the small foot print, and considering the actual internal volume of the sealed Front cabinet is about 10x10x10"...I think we got the most out of this footprint; flat to 100Hz, and then only a -3 dB roll off per octave. Everyone loves the size of the SS3, and frankly spoken it has covered gigs way beyond our original vision...to my great surprise I might add! If I could have doubled the foot print, and kept the same 8" speaker (or gone larger) contained now in cab w/ an internal 20x20x20" (translates to a 24x24x24 OD), then I am pretty sure we could get down to 65-70Hz. But of coarse to get that lower energy we'd also have to double the power too...big waves require big watts. So again, that adds weight...not to mention cpst! Then also, a SS3+ may not fit in some cars and/or it could be too large to take on the subway, etc., etc. I recall when we first met (via email) it was the size that originally attracted you to the SS3. I doubt you would have even considered such a larger SS3+...not to mention one that would cost another $300+. FYI, I thought about adding a built in sub woofer component to the SS3...then I sat down until the thought went away! I realized for another $300 (or less) anyone could probably add a powered sub (thee were dozens to choose from). In this way, they could make the call themselves. And in reality, many have...while many (if not most) others don't miss a sub. Especially true if one is in a bass w/ a bass player who owns that area. Regarding product design, and I have done or have been involved in maybe 100+ over my career, really everything is a trade off. So you know going in that you will never be able to please everyone....so you try to please yourself (Ricky Nelson said that best). That said, I think we have turned a new page in live sound with the Center Point Stereo technology. We can deliver what no other speaker system ever could; uniform 3D (bigger than) stereo image that permeates thru out any venue, large or small, inside and out. IMHO, no other stereo amp I know of can make that claim. Certainly nobody is complaining about our "lack of depth", or image. But if it's broad band fidelity, and you don't mind giving up our 3D stereo image...then IMHO I think the QSC family of powered monitors are excellent. Just my 2 cents, and well worth that.

No dummy heads around here...mostly just old tube mics. But I'd love to try one someday.

Rofox, first off, thanks for your enlightened reply to Worth...most informative and "spot on" (more Brit speak). Second, let me assure you; the SS3 is not going anywhere...I am just catching up to the demand! Nor will it be replaced by an SS4 anytime soon. The SS3 has been a run away hit, perhaps the most well received product I have ever had in my 45+ years in this biz. And third, if there were ever to be a new addition to the CPS family, you will surely HEAR about it HERE on this forum first; because I believe in family first!

If you scroll back to Season 3, episode 4, you will see my trivia question about what was the 1st most often asked question when folks first hear our Center Point Stereo; the answer was "How do I record that!" Perhaps that was my first challenge too when I started making some demo videos, and frankly spoken I do not think I have ever been able to 100% capture the real life audio magic you hear standing in a room with a CPS Speaker (unless you play it back thru one! :>) That said, and having written a small chapter on stereo recording in my "Choosing and Using Microphones" manual, all of my on line videos were recorded in M/S (Mid-Side), or otherwise known as reverse CPS! I love live big room stereo recording, and we do a lot of that here at my studio (APR)...and most is with M/S. Listen to the Doyle Dykes recordings that show our mic techniques...there are 6 out of the 11 channels devoted to M/S stereo mics. Just my 2 cents, and well worth what you've paid for it.

VERY sorry to hear about this SteinwayB, but SO glad you brought this to light for some discussion. The good news is the SS3 chassis is completely a plug and change design, so most anyone w/ a Phillips screwdriver could exchange a chassis in case of a failure...which has happened, but honestly guys, VERY rarely happened. The 4 speaker leads all have a locking plug to the chassis PCB, there are 4 speakers so 4 locking plugs...this system has only failed once, as noted in a recent post here when the crimping of the wire into the back of the plug was not a tight fit, so the wire came out...but the plug itself did not fail. The only potential for out right "disconnect" are the 2 wires that have speaker type "tension" lug plugs that attach to the rear of the AC Inlet...and this is the "disconnect" that SteinwayB encountered. There is a White and Black wire that lead from the backside of the AC inlet to the power transformer of the power supply. If either of these fall off it will be "lights out". I am SO happy he had the good sense to open it up and check (BTW, as long as it is not plugged into the wall this there is NO danger in this), and that he saw the loose AC lead wire and reconnected it. If still loose, just use a pair of pliers to squeeze and crimp the plug so it's a tighter fit. I hope this never happens again to anyone here, but at least you know that it takes about 5 minutes and a Phillips screwdriver to check for this should "lights out" ever happen to you! Honestly, I can't remember this "disconnect" ever happening to a user in the field before. But I have noticed a looser than usual fit on this AC plug myself when inspecting an issue or changing out a chassis. So I have added this issue to QC my check list and also notified my factory to double check this in the final QC process. Look guys, stuff happens. 98% of the times I see issues w/ a SS3 it turns out to be faulty cables, signal chain mismanagement, or otherwise source related...and these are the easy fixes...many handled now by other users here who chime in from their own experiences (BTW, THANK YOU!!) But after 1,000s of SS3 amps sold, it is an unfortunate reality that we will get a few failures for various reasons. On the positive side; these are always assembly issues like that plug that was not crimped tight enough, or the rear coax driver was not screwed in tight enough (causes a rattle)...and NOT design issues (or we'd get 100s of failures!). Frankly spoken, the only design failure was that the back chassis mounting that was not recessed deep enough to protect the control pots with a backward fall event, and we have since deepened that recess so that can not happen again (NOTE: and also suggested a preventative measure for all SS3 amps with the addition of 2 small rubber feet to rear side of cabinet in line w/ the pots to protect the pots in this event) Life occasionally gives us all Lemons, and as mentioned here several times recently, the SS3 is no exception. So for me, it's all about making Lemonade ASAP when that happens. And also as mentioned here recently, I will always do my best to get you back on track ASAP. (BTW, thank you all for your kind reviews on my customer service...much appreciated!) Actually, I prefer to hear directly from you when ever you hit a glitch with your SS3 (or any of my APD products), so I can consult and help correct the issue faster this way. And yes, I know it sounds crazy and expensive for me...but I will often bypass my (amazingly good) Dealer Partner (Sweetwater for most of you) to figure out what going on. And if needed, I will advance replace your amp to keep you in business (NOTE: this has been very rarely required, but it is a welcome relief for you when "stuff happens"...and it is they way I would want to be treated by my vendor). This approach is more expensive for me, but it saves you my user who gave me your support first, and my Dealer Partner Sweetwater, a lot of time, hassle and expense! My reputation is FAR more valuable than any one shipping expense! But more importantly, I can "learn" what happened and design better systems to make my APD products even better. Also, I can give immediate feedback to my Vendor partner (Eminence Speaker Corp...amazing folks too) and so incorporate these "fixes" into the next production run. I can think of several items I have made better in the SS3 from this kind of direct feedback, and also from listening to comments here on this AMAZING forum. Dealing directly with my end users in this manner has been a blessing for me, as a small business owner with limited human assets. So I am most grateful for your continued support and patience as I continue to "perfect the product".

Just chiming in here, although I am 100% +1 on sleeping bear's excellent explanation. (thanks SB, a CPS t-shirt is in the mail, PM me w/ mailing address and size). Also a good question and intuitive comment by MathOfInsects. So let me expand on this a bit; this "backwards technique" is more about shortening the DISTANCE of the bloom without changing the BALANCE b/w Front and Side, which is largely unaffected by this repositioning. But the upper range of the "sonics" from the Front system will be negatively affected somewhat, and can be corrected with some slight level adjustments. In fact just turning your SS3 toward a corner or wall will not really result in much level difference the Front/Side balance and/or the stereo "effect". That's because the bulk of the SS3 frequency response (say 100Hz to 8KHz) is carried by the Front woofer and Side full range speaker. And also, the Side speaker is never facing forward anyway, and so this reversed position won't affect the Side speaker sonics or level much. But as sleepingbear rightly points out, the more narrow polar patterns (or dispersion) of the higher frequency components, IE: the APT 1" compression driver and Neo tweeter (which have physically smaller sound waves) will lose a bit of level balance in relation to the 8" woofer, whose larger sound waves are largely unaffected. The more reflective the surfaces of the wall or corner, the less loss...but there will always be some HF level loss. Therefore compensating with a bit more MID and HFQ level gets you back to where you started, sonically speaking. So while turning up the Level and/or down the Width, will also result in more MID and HF level...that will also add more level from the 8" which carries the strongest and widest part of your Front system's frequency response. And that will change your overall CPS balance, resulting in less stereo effect. So if you decide to try this for those closer quarter gigs to enhance and shorten the bloom, so you are better monitoring what folks 8+' away are hearing...I heartily endorse what cphollis suggests; "season to taste". Add a bit more level to the MID and HFQ levels and you can't go wrong.

Hmmm, now THAT'S a new one on me. You say "went out", so I assume it was fine and then suddenly had this loss of bass issue. The 8" coax woofer has it's own amp (and master level control). so perhaps the Master level pot was damaged, or the 8" speaker...but so hard to diagnose from here. I'll PM you my direct email and we can go thru some check lists, whatever has happened. it is for sure we can fix it.