Aspen

Thanks, can you find me the right guy to speak with? I would love to get L&M on board for Canada, I was friends with Jack Long in the old days, and spent more than a few days training in their shops...it's a great company. I live in Calgary and know a number of people at the main Long & McQuade store here. I'd be willing to demonstrate the SSv3 to them locally if that would help. I could get you in touch with the store manager if that would help - because they're a national chain I don't know how much sway he would have regarding buying, etc.. Regardless, PM me if I can help. Jamie Thanks SO MUCH Jamie, I will definately follow up w/ a PM and will take you up on that demo for the Calgary store if they are open to it. Actually I have already had a email exchange with a L&M KB manager who heard the SS3 (a customer bought one and brought it in for him to hear), Frankly, he wanted to carry the SS3...and he tried to introduce me to "corporate". I did my best, but it was a dead end. Doesn't mean we can't wear them down if enough guys called up and asked why they are not carrying Center Point Stereo and/or offering them for rental. I know SW and A&A are selling a fair # of them into Canada, and those sales should be theirs! God willing, it will come to pass...it seems like a natural fit.

Yes, I am living the dream...just another day in paradise!

God willing, that will happen...you are welcome here at APR studios if you (or any of my many CPS friends anf family here on KC) are EVER in or near SoCal.. Maybe come out for the NAMM show (I will arrange passes). And while I am at it; THANK YOU ALL for ALL the great birthday wishes guys...deeply appreciated!

Thanks, can you find me the right guy to speak with? I would love to get L&M on board for Canada, I was friends with Jack Long in the old days, and spent more than a few days training in their shops...it's a great company.

CP, yes, being the first on your block with color TV creates "gear envy". Better them, than you! And with regard to CPS imaging, yes...it's true; as the old saying goes; distance makes the heart grow fonder. And so it is with CPS. The SS3 is deceptively "big", which is a positive when you consider YOU are the entertainer, and THEY are the audience. When you placed it away from you on that gig, that was an optimum position to judge your mix. Again, I say; you have a light bulb, and everyone else is using flashlights. It may take months (years ?) until everyone else in the band is mutually "enlightened?, as you have become. But don't let that worry you too much, they will come around (NOTE: they already say they can finally hear you like never before, which will only make them better musicians too!) So this is a good thing, but takes some adjustment until the rest of the band catches up to you. "Be patient grasshopper; wax on, wax off". Regarding loss of limb (knob)...rest assured...a PM to me here w/ your direct address will result in a new knob in your mailbox before the week is over...along with a surprise for your birthday, whenever that is. FYI, mine is tomorrow...and I am a great believer in giving others a gift on your birthday, heck, who would have believed I'd make it to 67 and have a hit product on my hands! You guys on this thread are the best present a guy could ever have. So THANK YOU (again) CP for your candor on this thread, for 133 pages and for joining the CPS family. Your support, and that of your many colleges here, has not gone noticed, thank you again....from the bottom of my heart!

Guys, as we approach page 133, 600,000 views, and 4,000 posts...many of these gig reports...I am BLOWN AWAY and so grateful to ALL of you for your sharing and participation in this epic thread for one small amp. I have never been a part of something like this, and can't imagine anything will ever top this for me. It's hard to believe this amp has only been in the market for about 10 months (and most of those months it was back ordered and in short supply). Again, I am humbled and so grateful to the hundreds of musicians who bought a CPS Spacestation v.3 based solely on the many rave reviews posted here, and on a few other internet sites. The Spacestation v.3 has been an amazing success story, especially when you consider nearly all our sales have been sight unseen (or maybe sound unheard), but based on a leap of faith alone born out a desire for a truly game changing amp that could produce a 3D stereo image in a live venue....and not break your back, or your bank. We did no advertising, paid no rock stars for their endorsements, and decided to go without any brick & Mortar stores carrying it for an in store demonstration. So, the only way to hear one was to buy one! But that may change, starting this next week. I have often regretted musicians have not been able to hear CPS before they risk their money on this crazy little amp. So lately I have been working on a solution. I am going to roll this idea out next week, but I thought I'd give you guys a first peek; I call it the "CPS Rental Rebate Program. And, I'd appreciate your thought and comments...maybe I am crazy. (no, not maybe!) The concept is simple; rent one from a participating rental house in your area for a gig or a rehearsal and I'll rebate that expense (up to $50) on a purchase of a SS3 from our website at Aspen & Associates. We have started this program with just a few key rental companies in Southern and Central California, and also another in Nashville. They each now have a SS3 in stock and are ready to rent you one to try CPS out on your next gig or rehearsal. (NOTE: We want to add more rental rebate partners. So if you have a favorite backline rental company in your area, please be sure to have them give me a call and I'll them set up....there is no up front investment for them to participate, I am loaning them an SS3 amp on a 90 day rotating loaner program.) My very first participating rental companies are: SST - Synthesizer Systems Tech (Michael Boddickers world reknown keyboard rental company) Contact: Alex 10907 Magnolia Blvd, North Hollywood, CA 91601 Phone:(818) 907-7780 Speeda Sound Contact: Mike King 4740 N Sonora Ln, Fresno, CA 93722 Phone:(559) 275-7197 Backline Nashville Contact Mark Thompson 2127 Utopia Ave, Nashville, TN 37211 Phone:(615) 210-2120 Because each participating rental partner has their own rates and terms, which we do not want to circumvent, we can not set a precise rental rate for this program. For example; Backline Nashville will rent a SS3 for $25 per day, then offer 50% rate for day 2 and/or $75 for a whole week. Speeda Sound in Fresno will rent theirs for $50 a day which is what they charge for an equivalent Roland KB amp. SST will charge $35 per day. So $50 could cover one day, or several just depending on their rental rate. As we add more cities (hopefully soon!), the rates will vary but we are pretty sure our $50 rebate will cover you for one gig or rehearsal no matter where you live. So if/when you rent a SS3, then later decide to buy one from us, just save that receipt and we will apply that to your purchase (up to $50).

John still don't know if this is just happening at your home, or does it make noise elsewhere...like on a gig? Regardless, I want to help. So let's not wait for Christmas....let's make you happy right now. I have just PM you with an action plan.

This sounds more like AC noise, which is is very common in home environments. The newer generation flat screen TVs and modern Class D audio amps seem to be more sensitive to this EMI (Electro Magnetic Interference) and RF (radio Frequency) noise that quite often comes in on the AC line (SS3 had 4 Class D amps). But the good news is there are a bunch of low cost EMI and RF "noise filters" for sale CHEAP at the mega stores like Best Buy. Here's a few suggestions: At $30, Best Buy sells this Rocketfish 8 outlet power surge strip w/ 58dB EMI/RFI noise filtering: http://www.bestbuy.com/site/rocketfish-8-outlet-surge-protector-black/5709663.p?id=1218686499486&skuId=5709663 Or the also have q $10 Rocketfish 2 outlet (on sale now) w/43dB noise filtering": http://www.bestbuy.com/site/rocketfish-2-outlet-flat-panel-surge-protector/1879296.p?id=1218299151670&skuId=1879296 Best Buy has several in between, I just picked up a new model Rocketfish 4 outlet w/ 47 dB filtering for $20. Many homes have "add on" hum; a basement or addition taken off the same panel (or worse a new panel with little or no grounding (NOTE: water pipe grounding is NOT perfect!) So when outlets have a poor ground potential, they are like antennas for EMI and RF fields. So these different doggy ground potentials with stray currents can/will cause hum in Class D switching amps (different that most SS amps which are less sensitive to these higher frequency noises). So AC ground noise in the home wiring have popped up from time to time...but these seem to be room specific (hums in the basement add on, but not in the living room). So to test this out, try it in different rooms and see if it hums the same. The SS3 has 4 Class D (HF switching circuitry) amps and extended FR too, so these designs are more sensitive than your average audio amp. Best thing is to try the amp out at a rehearsal hall or on the gig where the wiring meets commercial codes and tends to be more stable. If the SS3 still hums or has AC hash noise, and the AC filters I mentioned do not reduce it...then we'll talk about an advance replacement directly from me (it's just easier and much faster that way. Please PM me if the hum reducers and such don't help. \I'll take care of you, the SS3 is not a noisey amp...and you should be 100% happy (or I will be 100% miserable!) FYI, we have very low return rate, under 1%. But when we do get an amp back, about half the time they are are quiet and function perfectly normal. I check these out and usually resell them at a discount as a "refurbished" amp for, and have had zero complaints about any of those.

I know this company, GREAT products for reasonable prices which is owned and operated by another one man company founded by Hank Landsberg. Hank makes everything here in So Cal, USA. It's not easy today to compete with the imports, but he's found success making problem solving products that really help interfacing our various audio sources. Hank is top notch engineer and a fellow member of the Hollywood Sapphire Group (founded by audio engineering legends like Les Paul, Harry Olsen and Bill Putman back in 1946 (I was Chair of Sapphire Group for about 7 years, retiring this year to focus all my energy on CPS.) I can endorse anything that Henry Engineering makes, to do exactly what he says it does. I have several of his boxes in my APR Studios. Highly recommended!

Personally I like the SS3 on the floor in FRONT of the sub. Subs are non directional, so it doesn't mater if you place it sideways and used it's flat side as a "wall" for the SS3...you can even lean and tilt the SS3 against it if you want more projection for out of door events. Otherwise to "tilt it", and in the case I do not have a wall to lean it up against (best), I use a common trailer tire chock, that rubber wedge shape thing used to keep a trailer from rolling. Available at any Pep Boys. Place it under the front bottom edge and move it back and forth to change the angle. But most anything will do, I used to have a small scrap 8" piece of common 2x4 covered in rubber, and that worked well too.

Tom, reading your message here, I wanted to chime in; I remind everyone that the SS3 is NOT a traditional speaker (thankfully) so traditional pole mounting or raised positions may not have the same benefit, and they can actually be a detriment in some cases (like yours apparently). But the solution may not have been to raise it more, but instead return it to the floor and tilt it for more projection (if actually needed). Just because you have a sub, and therefore do not "need" the floor LF coupling that increases the bass response of a SS3, it does not mean you can also elevate the SS3 without losing something more. As I have mentioned MANY times; leave the SS3 on the floor, or at least very close to the floor on that amp stand when using it horizontally (as was recently discussed several episodes back in the current season. (see DB's photos and comments on this technique he sometimes uses). The reason is the Side speaker really needs a strong and close reflective surface...and frankly IMHO it just sounds better on the floor. Raising it up on that sub to "front row ear level" changes everything, and it is understandable that those folks sitting front row and on axis to the Front speaker may have been overpowered taking an unreflected a direct hit (and because the side speaker is raised off the floor, there would be less Side speaker influence too). That problem positioning is not unlike the typical L&R club PA speakers have; killing the first rows of the audience that sit on either side (as Hammond Dave mentions in his reply to you). Of course your wife and the rest of the audience get a more diffused SS3, so it sounds great most everywhere else...like a good L&R PA does too. Therefore if you are running a sub, I suggest you try placing the SS3 back on the floor in front of the sub. And for those outdoor gigs when you need more projection, try a small wedge in the front of it to tilt it back, or even better just leaning it back on the sub would work well too. For more outdoor projection (and increased "bloom") some guys have made "corners" out of two upright guitar cases set at right angles behind the SS3, or some guys have fashioned a couple of small panels taped together (just high enough for the side speaker, maybe 12" high and 18" wide) to form a "V" corner placed behind the SS3. (See Season 3, Episode 4...maybe 50-60 pages ago) Remember, when placed on the ground, against a wall or best in a corner the SS3 improves it's natural efficiency and balanced 3D stereo image. With it's Center Point coax speaker and CPS technology, the SS3 can achieve a 300 degree dispersion like a light bulb; gently filling the room with sound but not killing anyone's ears. But lifting it up, or pole mounting will decrease that effect (but some do like it on a pole, and have commented as such here in this forum...so this is a mater of taste too) But conventional PA cabs w/ radial horns act more like beamy flashlights; most of their SPL power is focused directly in front (on axis). So they are typically piercingly loud directly in front, but their energy falls off quickly to either side. They do have throw, and they are louder on axis, but as compared to a SS3 they lack the ability to "fill" the left and right of the audience sitting up close, they lack "balance", and of course...they are usually run in mono (for obvious reasons). Also more importantly for KB Players and other performers who have a stereo instrument to reproduce; traditional stereo PA cabs are not able to reproduce a stereo image except for a VERY small "sweet spot" where their flashlite like beams first meet. But on the down side, they produce a much larger "sour spot". On the contrary the SS3, when properly positioned, will produce an even sound level everywhere in the room, and a powerful 3D stereo type of image that will be consistent no matter where you are sitting, will never "collapse" and it will have no "sour spots". Of course positioning of the SS3 is going to be different than conventional speakers you may be accustomed to using. So quite naturally there is going to be a small learning curve. But you may find the results will be most rewarding for you, and your audience who will (for the first time) actually hear what you stereo patches can sound like in a live performance; just like the record! Just my 2 cent opinion, worth exactly what you paid for it.

Hi Don, this is a most unusual reaction to say the least, so as I read it, there are 2 possibilities; 1) You are doing something wrong, many here have chimed in, but basically if your KB is stereo, and you have good cables (try substitutions), and you have the Width, MK and HF set around noon...the SS3 should sound VERY clear and clean, plus have a great kinda 3D style stereo dimension. It is best to judge it 5-7 feet away, and off axis, so you can hear the Font and Side speaker blended. 2) You have a faulty unit, this is rare but it happens...I do not check every speaker (but the factory does). But nothing is 100%, and some slip thru QA and/or can become damaged in transit. Best way to check this is play a CD that you know thru the SS3, just for a known reference. Then start with all 4 level controls (for the 4 amps in a SS3) fully off. Then bring up the Level to about noon, this should activate the 8" woofer...it will sound muffled (that's normal). Next bring up the MF to max so you can hear it and be sure it's working...then back it off to noon. Next the same for the HF, fully on so you can hear the Hi Hats, and back it off to noon. Last turn up the Width (the side speaker) and again to max so it will sound way too "much" (but at least you know it's working) and then back it off to noon. This is a basic test to be sure all 4 amps and speaker components are working well. If you hear a good level reaction from all 4, and it still sounds weird, leave it as is w/ the CD playing and try unplugging just the Left cable jack, then plug it back in and unplug the Right input signal. With either side of the CPS sum/difference network disconnected, you will interrupt the balance of the stereo signal and the SS3 will collapse to mono and weaken the signal...but also it will sound weird. But, it should be a similar level drop both ways. If you hear no big difference b/w the level drop (in otherwirs a similar result), then every thing wold seem to be OK with the CPS network. But if the L or R seems "stronger" in level, that indicates an unbalanced signal to the CPS matrix... usually caused by a poor quality connection....so try substitution. If nothing seems to help, and it still sounds like "an AM radio", then I am pretty sure you have a faulty unit. In that case, and before you send that unit back to SW, please let me send you an advance replacement, and after you get it I'll take yours back here for research (I want to know what happened as much as you do). I will pay UPS shipping both ways..so no out of pocket for you. Then If you still do not like your SS3 replacement, you can always return it to SW for full credit and I'll pay your return freight. I am pretty sure there is something wrong here. My SS3 is a pretty darn good sounding powered monitor...I use it for playing background music at out APR studio parties all the time and folks love it. It defiantly does NOT sound like an AM radio! If you'd like to discuss this more, just PM me here and if needed I'll get your shipping address.

...there are a ton of mono LF options from uber cheap to mid to uber expensive, the market is flooded with these options. Could he compete in that flooded market of low margin LF options? be tough imo. Good idea Bear, I thought about that for a second, then sat down until the thought went away. As Dave said, too many much bigger companies in that market and it would take my focus off the SS3, and any future plans for developing a "SS-XL" as some have requested (yes, I hear you Bear). There's a great movie line in City Slickers where the old cowboy Curly (Jack Palance's last roll) enlightens the City Slicker Billy Crystal who asks "what is secret of life"? Curly says "It's just 'One Thing' " (and THAT'S what you must find out...for yourself). Well, at this point in my life, Center Point Stereo is my One Thing. And, I am focused on that!

I always add a little reverb in the mixer, so I'm expecting that will be enough to 'liven up' the L/R mix to let the SS work its magic. I might mess with the pan a bit, too, and see if it makes any difference on the sound width. Sleeping Bear is on the right track here; a bit of verb (I like Hall reverb for vocals) activates the side speaker, which in turn manipulates the Front system and the 3D image is created. However if no reverb available then the vocal is mono, and simply comes thru the front speaker alone....but still sounds good. Remember the SS3 is a tri-amp front system, so you have level adjustments on both the MF and HF components...so you can dial it in to be very "flat". Speaking to the question above of feedback...yes, that is always the issue in reflective venues, less so in those carpeted rooms...but I have found the SS3 is not very prone to squeal unless you are really cranking. The softer, wider 300 degree dispersion is a double edge sword here; less "beamy" means it's energy is spread softly to fill the room and so mic placement relative to the SS3 position is less critical, but on the other hand it's wide pattern will reach the mic no matter whee you are...but that doesn't always mean feedback. Every mic has a point of feedback based on the physical layout and the SPL level of the speaker. The SS3 is no exception to that rule; it can be made to squeal at some point. However in practice (and I'd have a BUNCH of that) it is amazingly tolerant to feedback issues, and I have many CPS Family users doing solo and due gigs w/ vocals for years with the MK2, and now the sonically "flatter" and improved SS3 with amazing success stories. Some have shared those gig reports here on this thread; Season 2, episode 22. That said, you can optimize the conditions to reduce feedback propensity by following a few CPS rules (or should I say; CPS Rules!): 1) do not have your mic directly facing into the Front speaker coax, that coax MF driver is rather powerful and you don't want to temp it by setting up squarely on axis. You can position the SS3 behind you, but try and achieve a 45 degree angle to your mic placement...that will minimize the issue. 2) They say "distance makes the heart grow fonder". It's the same with a mic and a speaker...distance is your friend. The SS3's Omnidirectional dispersion "softens the blow" and the mic is far less likely to feedback if you can place 5-7 feet away at a minimum....the farther away equates to the louder you can crank it. Be creative, remember you'll like your KB image better too if your 10-12' feet away and off axis. Take a look again at those videos on the CPS site, many have vocals and they are fairly hot in that big room, certainly "lounge level loud". Specifically, listen (with headphones please...not laptop speakers!) to Chamberlain Trip (The Weight), Rich & Shawn, Sara Routh, Andre Berry, and the CPS Big and Wide band in that large hotel hall. Notice the performers are using the SS3 behind them or to the side "off axis" to their mics, and also the mics are at least 7+ feet away. In this position they can crank the system up pretty loud and get a great monitor benefit. In the case of multiple singers doing harmony, this is a dream system because they can naturally adjust their mix and hit their harmonies because they have a real time perfect monitor; the mix is the same for every performer! There is no place to hide, you hear every note (and every clunker!). But even in a solo situation, KB + you thru a single Center Point Stereo speaker, you hear a perfect 3D stereo deep image mix every time, and you know that is EXACTLY what the audience is hearing. Believe me, for a solo gig or a full band with 3-4 vocalists...that makes for a real comfortable performance experience! And because our system is fairly "flat", you can get amazingly loud before you hit that dreaded feedback threshold.

+1 :>)

Well yes, the design choice I made was when using the sub post SS3 It would obviously be subject to, and in harmony with, the Master Level control. In this "Sub post SS3" application, we recommend adding just an audible level of sub by adjusting the sub level to compliment (and not over shadow) the SS3. Once that balance is achieved, then the "balance" is maintained as the Master Level is changed...up or down. Of course also there is a KB and a mixer BEFORE he SS3, and those level changes will (obviously) now change the SS3 system volume...but the correct balance b/w SS3 and sub will be maintained. Using the sub output as a FOH send would again mean the sub's FOH send would also be subject to the KB volume changes, and the various Mixer level changes, as well as the SS3 level changes...no way to get around that really. And, I do not see any "new" issue there...that's the way a FOH send usually goes and the FOH mixer just deals with it. Of course if the KB has separate outs, or if your are using separate sends from your mixer...then the SS3 level changes would not affect the FOH (but the KB level changes still would!) And, BTW, the sub source is exactly as described on our site; " The SUB output is an unfiltered full frequency range signal that is a combination of both the Left and Right signals (or the mono mix). It is a line level signal suitable for driving a powered sub woofer, sending as a "mono" signal to the FOH mixer, another to drive an additional stage monitor (e.g. to the far side of a stage)." So you see, "it's 3 mints in one!"

I think I'd rather it keep the small footprint it currently has and use two 10" vertically mounted speakers instead of a single 12. It would be almost the same size as now, just 12" or so taller. Just my 2 cents worth! Aspen seems PLENTY busy keeping up with demand at the moment though... Does anybody have TWO of these? What happens when you stack them? Also, has anybody tried playing a binaural recording through one? What does that sound like? Interesting suggestion, but stacking 2 transducers creates phase cancellation issues, and a hollowed out MR character...so a single driver is always a purer tone to start with, they just work better and are flatter. But a stack pair can give a bit more horizontal dispersion (not really a problem with our 300 degree design). And yes, there are several guys using two SS3 amps stacked (and spaced apart for more coverage in weird shaped or long rooms), Their reports are located maybe 40+ pages back, and there are several pages devoted to this topic back in season 4, episode 6...not sure what pages those are on...ut maybe one of our volunteer archivists can chime in with page and verse. Synopsis: (assumes same L&R signal to both) Stacking w/ the top SS3 inverted is best, also OK to angle them and even have one at 180 if you need 360 coverage. Spacing is OK too IF They are well away from each other, best on opposite sides or corners of the room, not like a typical L&R wide stage PA set up. Also, several have used 2 stacked normally IF these are amplifying different material. Specifically the dual SS3 application can be the total bomb if the bottom one does the instruments and/or backing tracks while the top one does all the vocals.. And what a treat for the performers who hear the same mix no matter where they are positioned and also KNOW it is the same mix the audience hears. This is one area where we are still experimenting, and learning, but the potential is huge for a 3D live performance experience...I would like to see a musical done this way.

I think I did read that email Doug, sorry if I forgot to reply...but frankly I was scratching my head. As I recall, you said it could not be recreated in following gigs, so it's really hard to find and fix ...what cannot be seen or heard when you are looking for solutions. Maybe that Eb tech unit may help...if it's coming in on the AC leg. I think it probably adds a capacitor to the grounding leg of your 3 way AC supply (kind of a soft ground lift)...which cannot hurt anything...but it would be hard to tell what fixes this without knowing the actual cause. Many venues have funky AC wiring, so the ground potential is all over the place and everything becomes an antenna. I sent this to Duke, our design engineer and Yoda of all trouble shooters...he sent you a email today with some detective approaches, a few simple cheap tools that can help you trace the source of the noise...which must be external to the SS3 (or else it would do it all the time). Once we find the culprit, then we can take steps to eliminate him.

Well, of course you're right about that Dave. I wish there were more incentives to keep manufacturing here instead of driving it off shore (all I'll say on that). But I should point out that with the SS3, I think I hit a good "balance" (pun intended). FYI, at least 50% of the cost of the SS3 Bill of Materials ARE manufactured in the USA (Kentucky), then shipped half way around the world to a USA partnered and owned company's factory (Eminence) who is competing in a world of 100% Chinese made audio products...and doing very well! This adds a lot of cost, and I could shave off at least $100 from the MAP price of the SS3 if I used all Chinese components (like earlier Spacestations and the later SS MK2) But these USA speakers kick ass, and so I believe they are worth the extra investment. Earlier versions of the SS used Chinese speakers...which were "OK", but the SS3 is at a whole new sonic performance level and I believe the USA speakers are a big part of that technical achievement.

I will keep your excellent suggestions in mind, if and when I bring out a larger CPS amp. But meanwhile, my focus is keeping the SS3 production line flowing and increasing to meet the demand. Frankly that's got me real busy....thanks to you guys here and all my early adopters I am delivering larger and large orders to Swwetwater and Thomann. My immediate goal is to find dealer partners in Australia, Mexico, Japan and South America. Meanwhile I am supplying all those countries directly from here...and THAT'S keeping me jumping too. We even have 3 amps in Israel now...but eventually I'd like to have dealer partners in those countries to make CPS more accessible for my growing CPS Family. This technology has appeal for all types of music in every culture...we all love stereo!

Hey Hammond Dave, just noticing your excellent vintage array of gear on your tag: "'55 and '59 B3's, Leslies 147, 122, 21H, Motif XS7, Mellotrons M300 and M400, Wurlitzer 200, Gibson G101, Vox Continental", So....I apparently AM supplying "the jacks you are accustom to using" as none of these are balanced, or use XLR cables.

Great question, thought you'd never ask..and the answer is YES! I really like this approach for permanent club or bar installs, and also church style venues. I recommend inverting them and hanging them as close to the ceiling as possible. Thereby using the ceiling as the reflecting plain...it REALLY works well, filling the room, but not "blaring" at anyone. The club can easily shift from background music during the days, to a great little all in one PA in the eves and weekends...and it saves floor space where the PA would usually be. if you look close at our big room at Aspen's Place Recording (in the big tracking room shots), you will see an inverted SS3 hung from a pipe in the ceiling. We use this as a monitor for video shoots and also for live playback during live recordings w/ audience. We have also used it as a simultaneous room "reampping" device to "grow" the sound of the instrument we are recording.

Sorry no,- many of today´s keyboard instruments come w/ balanced outputs,- 1/4" TRS and/or XLR. Some come w/ both, balanced and unbalanced outputs, but not all and there are still plenty of unbalanced ones out there too.[quote} OK, I get your point Al, please excuse my perhaps too casual remarks about "balanced" signal paths and the benefits of same. I think I need to explain my position on this in more detail so you guys don't think I am being a cheapskate about all this. But I frankly don't like to waste money where no benefit is derived....so let me explain my position on this issue, hopefully a little better than I did last time. And of course you are correct, certainly many KB are balanced out today, which is beneficial for longer FOH runs...I grant you that. But KBs do not NEED to be run balanced for driving a SS3 20+ feet away from where you are set up...at the most. And in this most common application, I still maintain "balancing" is not required for connecting your KB (any KB) a short distance to either your mixer or my SS3. Balanced runs will NOT improve anything. However they can prevent hum and other noise issues when running lower level signals (-10dB) very long distances. Balancing ONLY provides common mode rejection. (that is, the cancellation of stray electromagnetic interference that could possibly penetrate the cable's shield, by phase reversing and canceling these out at the receiving end). But that is ONLY a benefit IF there is something to "reject"! As for shielding...this is a function of the "shield" around the internal wire conducting the signal, and most good quality TS and TRS cables have adequate shielding that prevents both electromagnetic and RF signal interference. Of course on longer runs of 100+ feet, the accumulated interference from minor penetration thru the shield can build up and become "audible"...so balancing your longer KB runs to the FOH has a real benefit in this case. But balancing the signal is not required for short cable runs to a localized KB amp, or KB mixer. It just doesn't buy you anything. [quote} Sorry, I doubt it´s ZERO sonic benefit because w/ the hotter +4dB of a balanced signal you´ll have at least better S/N ratio.[quote} Nope, must disagree here Al. Now you are comparing apples and oranges. "Balancing" has nothing to do with adding gain. You can just as easily balance a +4dB or a -10db signal....and the higher the signal level, the LESS benefit balancing provides. Using a mixer to optimize gain structure, as well as to add GAIN (inhaling a -10dB signal HiZ from your KB, and exhaling a +4dB LoZ signal), is also a good thing. The SS3 would rather see a strong +4db signal (balance or unbalanced...makes no difference), and optimized by a good gain structure management a mixer can provide. And hat has NOTHING To do with balancing the signal...or not!. Also balancing (or not) has little to do with degrading the signal to noise ratios...that is more affected by proper (or improper) gain chain management. Not understanding proper gain management can seriously degrade your signal to noise ratios...and again, this has nothing to do with balancing. FYI, all mixers you mentioned above (and 99.9& of all mixers including the most expensive studio mixers) are NOT "balanced signal path electronics" (shockingly!). The just have balanced INPUTS an OUTPUTS! But between IN/OUT (which is where the action is...the active electronics) they are single ended UNBALANCED (usually Class A) electronics. Maximizing your SN ratio is all about gain structure management, and nothing to do with "balancing". That is perhaps the least understood process and a subject of another discussion...maybe later. Of course, more gain is a GOOD thing, and a hotter +4dB signal is typical of a mixer's output...regardless of balanced or unbalanced...it's +4db either way. Many KB have a lower signal levels, closer to -10dB...and many are somewhere in the middle. That is why I often recommend using a mixer BEFORE the SS3, to optimize gain management and feed the SS3 a stronger signal. This will also improve the SN ratios...and it can also improve the improve the tone of the KB by better impedance matching b/w devices.

I prefer shaken, not stirred...and I do recall this was discussed in Season 2, episode 3...but I digress... But seriously folks, it was a simple decision; line level unbalanced signals do not NEED 3 wire "balanced" connections. Keyboards are unbalanced, and most mixers exhale unbalanced line level (low Z) output levels. These types of signals can go 100 feet without loss...so they are not usually "balanced". And if needed, a simple DI box can and will use a transformer to balance these signals for longer runs. So, as it was not needed, I stayed with industry standard for line level mixer or KB instrument output signal protocol; 1/4" TS unbalanced jacks for plugs & jacks of the same type. Three prong plugs & jacks (XLR or TRS) for "balanced" transmission are several magnitudes more expensive than two way 1/4" plug & jacks. That may be just a few dollars more in total, but as a rule of thumb every $1 more I spend on a component translates to $5-6 dollars for you, and that's multiplied by 3 jacks...so this could add another $20+ for ZERO sonic benefit. And also, if I am trying to keep my box compact...the XLR dual connectors take up more space! But thanks for the comment, and your confidence that I DID have a good reason. I hope that covers my reasoning. BTW, I do spend several more magnitudes of $ on our primo USA made 8" CX2008 speaker & coax mid driver APT50 that our pals at Eminence custom build for me, not to mention the extra cost of shipping thes from Kentucky to their Dong Guan assembly factory (near Hong Kong), ....but that extra cost translates to several more magnitudes of better SOUND...and I'll always spend more for better sound!

My thing is, I'm solo -- I've got CP4, drum machine and vocals through a TC Helicon all going through the SS. I know it can handle it volume-wise, but too many sound sources coming out with not enough bottom is not good. For keys alone I'd probably be fine. My next gig is inside in a small-mid-sized restaurant/lounge, and I'm going to try the SS alone there and see how it does. But I just ordered one of these. Wow, I like this Sub, nice size, nice power, nice $189 price, and simple w/ a 1/4" input, a LF range selector (40-150Hz, careful to keep this under 100Hz) and a gain control...all you need. Should sound great, and it's travel friendly (unlike my Best Buy $99 Sony). It's 250 watts is more that enough to match the SS3 280 (total of all 4 amps)...so it should be a dream. Be sure to set the FR rool off control about center (under 100Hz), then set the gain conservative at first, try unpluging it and then repluging it in to find that sweet spot...not over powering. Too much Sub can produce a large sucking sound...and bass player will frown at you. Now waiting for your review.