NosPup

It looks like I can buy that. The olive oil worked for my problem, but this probably good to have on hand.

I didn’t have any lighter fluid, so I tried Popeye’s girlfriend and it worked great! Thanks for the idea!

Does anyone have any good way to clean sticky synth keys? I had gotten a bad cut on my finger, but had a gig yesterday so I wrapped it in a bandaid and played the gig. The gig was outdoors in 90+ degree temperature. It looks like the heat melted the bandaid adhesive and now it’s stuck all over the keys. I tried a damp cloth using water and a bit of dishwashing soap, but it didn’t do much. Google seems to suggest vinegar and water, but I’m not sure if this could damage the keys. Does anybody have any tips to remove the sticky substance without damaging the keys? thanks In advance for any input.

That was a smart way to do it! I've been trying to find a way to clamp something on the end without much luck.

Thank you. That makes sense.

I picked up a YC61 and have had 2 jams with it so far. I really like the sound, but its been a bit cumbersome finding sounds as I'm scrolling through using that rocker switch. Does anybody have any good tips for navigating through the YC? Or is this the type of board where you really need to set everything up in the live sets before you play?

I just listened to my first episode and it was fantastic! Great job CowboyNQ and Dr Nursers. I am definitely subscribing and will keep listening. Thank you for this.

I still have my brown DX7 from the 80's. I excitedly replaced the battery about 5 years ago when nostalgia set in. Unfortunately, i have barely played it since. The keys still play great, but i guess my ears no longer dig the sound. That said, if you can grab it for $200, its probably worth having a nice piece of history.

I play in these situations pretty regularly. I like organ the best, but sometimes it sounds "too bluesy". In those cases I either go with distorted wurli or rhodes like most people have mentioned. Occasionally I can use the clav which can be tons of fun. We have done ZZ Top's Just Got Paid and its great with clav! I have accidentally punched up a regular piano sound with the distortion engaged, and didnt really like the sound. Its very harsh. Th wurli or rhodes seem to fit much better.

I would definitely agree with ajstan on this. In addition, I swapped out the nuts for knobs, so i can make changes in a pinch if needed, but i think i have only done that once.

Hello all. I've been happily using my SSv3 in a "traditional" setup for over a year, but i recently had a few new experiences based on comments here that i thought i would share. First, I sat in with another band at a bar gig with an extremely cramped stage. We were in a corner and my back was basically against a wall. I remembered the comments about facing the SS backwards and decided to give it a try. It worked really well and a guitar player i know said "the keys sound REALLY good tonight!" The next afternoon i had a charity gig with my blues band which was to be outdoors. Unfortunately it rained, so they moved us inside a historic home built in the 1700s. The "ballroom" was very small, no more than 25' x 30', so I said "lets put vocals and keys all through my little amp and leave the PA in the truck". We set it up and had an awesome little quiet gig. A few friends said it was the best this band has ever sounded. Separately, I was asked to record some keys for a friends original project. It was done in a semi-professional studio with great acoustics into Pro Tools. He was looking for a "live" sound and asked me to bring the space station. We recorded organ from a nord electro with 2 mics. One was about 5ft from the front speaker and the other was about 5ft from the side speaker. The songwriter was amazed with the sound and said he never thought he could ever capture an organ sounding better than that. I have an outdoor gig tomorrow and picked up a little bass amp. I'm going to try the line out trick with the SS on top and see how that goes. Thanks to everyone on the board for all of your great comments and ideas. I am definitely benefiting from your experiences.

Thanks for this! I was not familiar with Bernhoft, but this is fantastic.

I've been using this stand for a few months with SS3 sideways and side speaker facing down. I've had tons of complements in both indoor and outdoor environments. How do you prevent the stand from toppling over as mine did during a sound check? I think I have the tilt adjusted to kick it back a bit. With the SS3 sideways mine seems very stable with the weight low to the ground. Was your stand physically knocked over or did it just fall down ?

I've been using this stand for a few months with SS3 sideways and side speaker facing down. I've had tons of complements in both indoor and outdoor environments.

I had another great SSv3 gig this weekend. Sound was clear and loud with plenty of headroom. Many of our "regulars" said they could hear the keyboards better than ever and thought everything sounded great. I'm interested in some new high quality cables after reading all these posts. Does anyone recommend any particular brand or type of cable that they are really happy with?

I've had it up against the wall at an angle facing towards me and the band and it sounds good .. again YMMV but you do need to place it and play through it and see how it sounds depending on the room and adjust as necessary (as much as possible with sometimes limited room) ... Since the speaker is recessed some (maybe 4-5" or so) the sound does get dispersed and gets the stereo effect going when up against the wall - you'll also need to adjust the width control to compensate for the close proximity otherwise it can overwhelm the center speaker and sound "off" ... just my 2 cents ... as other has already said, let your ears be the judge and make adjustments accordingly ... What I've found is you'll be able to get a good sound pretty much anywhere you put it with a little tweaking ... Thanks. I guess the key (as others have mentioned) is to get to the venue a little earlier than usual and spend a little time to work out the placement.

I've had my SS3 for less than three weeks and have had 1 gig and some basement time so far. For those with much more experience like ChrisDespo and TomKittel, can the side speaker be "too close" to a wall? We tend to play in tight spaces so i'm a little concerned if the side speaker is facing directly at a wall or the bass player's cabinet. What have you been noticing?

Here's my experience after 8 days with my new SSv3, for what its worth. Overall I am very happy with it and i'm excited to continue to use it. I received mine on Thursday afternoon at work. I set it up in the garage (our building is an old fire house with a 3-bay garage with very high ceilings) and connected a CD player. It sounded awesome at all volume levels using all different types of music. We walked around and it sounded great. We also noticed as many have discussed, that even at high volume, we had no problem holding a conversation without even raising our voices. The only thing that sounded a little bad was when i cranked the width knob. At that point it had a very odd echoey sound. This is not a defect, just fooling around to see what happened when i overdid the width setting. Friday night I played my first gig with the SSv3 using my Nord Electro 3 and MOXF. I played through a Whirlwind/US Audio rack mounted stereo mixer. I thought the sound was very good, but I was a little surprised that I had to crank all my levels to really hear well. I think I had the mixer channel gains and main output both around 9 out of 10, and the SSv3 near 2 or 3 o'clock. From what i read here i was expecting to be running the SS volume much lower. Once I tweaked my piano EQ, I was very very happy with Acoustic Piano sound. I was very pleasantly surprised by this. Since my rack mixer does not have any input trim pots, I decided to do some experimenting at home. I pulled out a Yamaha MG mixer and very carefully adjusted my gain settings. WOW! HUGE difference in volume output at much lower levels on the SS. I guess the rack mixer doesn't have much gain. I had the SS volume throttled way back to 9 o'clock and was really impressed with the volume. Needless to say, the MG mixer will be gigging with me from now on. Once I had this dialed in, I started experimenting with all different kinds of voices. Since I had adjusted my mixer input trims to a level just before clipping, when i switched patches i found that some were much louder and started to clip on the mixer. My one observation is that the SS is EXTREMELY sensitive to a clipped signal. Any time i slightly hit red on the input channel, I heard a very loud, almost popping noise. Dialing it back from clipping completely eliminated the noise. I'm wondering if some of the posters with distortion were experiencing something very similar. I also tried the channel EQ on the MG to roll off some of the 100hz and below. I could cut from a neutral position down to 10 o'clock, and i thought it sounded good with just enough low end. Any more cut and the sound was a little thin. Here's my summary: 1. I love the SSv3 and think it sounds fantastic. I also really like the way my piano sounds much better than through my QSC K10. 2. I think the SSv3 is very sensitive to input level, so I plan on being very careful with my mixing and levels. 3. With proper gain staging, i think i will have tons of clean volume for my next gig.

Fedex tracking says 1/29 for me. That still makes it in time for my Friday gig! I'm upgrading from mono, so its going to be great!

We are so close I can almost taste the SS! But now Mother Nature is dumping snow on those of us in the Northeast, so delivery may be delayed a bit. Arggggg!!!

Dear New Old Stock Puppy...IMHO, you would be crazy if you did NOT take it to the gig first chance you get...after waiting what, months? I'd advise placing it on the floor with a slight upward tilt (I use a tire chock, but anything will do). And, place it as far away as convenient....several feet at least, this baby "blooms" with distance. It actually works best when placed against a wall or in a corner...the more reflections the better. Don't set it too high off the ground or you will lose bass coupling. Perhaps the best placement I ever heard was under an old upright piano in a club, about 6' away from the KB...that old piano acted like a Klipsch horn and just resonated..it was amazing. I have noticed that the worse your room acoustics, the better it works...although if very live maybe less WIDTH level. I usually start by "tuning" the Front speaker alone, in mono (this Front speaker system is a tri-amp affair), so I set all controls fully down (left)...except level of course. This means you will hear just the woofer and it's own amp...so it will sound a bity muffled (as it should w/ no MF or HF content) but now you can "season to taste". Next, and best if you have a auto play song mode (as many KB do), set it on "play" and begin the tuning of the Front speaker in the mono mode by 1) cranking up the "Mid Level", that is the co ax compressions driver, driven by it's own amp. I designed MF to be "normal" around 12 o'clock....but if you want more "punch" 1-2 is maybe better but be careful, you do not want "harsh". Then 2) bring up the HF control. I like using strings or synth for setting setting this level, as you won't hear much HF on a Hammond/Leslie or EP patch. IMHO, maybe 2-3 o'clock is the right spot for HF. But as the HF component is quite "high", silky territory, so it will not really offend if set too high...certainly not nearly as much as compared to the MF component if set too high. Now once you have the Front sounding the way you like, 3) bring up the WIDTH, maybe around 12 o'clock (again, whee I placed it for a normal stereo patch) and if possible, stand back...literally. The fun starts now. This box had a 3D image that really blooms at 6-10 feet, when the Front and Side systems begin to "intermix". The CPS stereo (3D) image really doesn't change much after that. If you tune this standing too close, it may deceive you. Once you get the width set, it should be like a "WOW" moment. If you can walk around the room during sound check with the auto mode in play, and even walk into the next room or down that hallway that always leads to the head...you will notice the image never collapses. That is perhaps CPS's best feature, along with the 300 degree dispersion and extremely low distortion! You will also notice how easy it is to talk at normal levels even when it's pumping out 100dB+, another benefit of CPS technology, and one we never expected (frosting on the cake of discovery). But most off all, once set..just relax, forget everything I have said, and just enjoy the ride. You may feel 20 years younger, or if you are 20 year old now, you may graduate to that "vintage moment" when you FINALLY get that tone Jimmy Smith got on "The Cat", or what Booker T got on Green Onions. And, you will have graduated without lugging a Hammond w/ two 122's to the gig (not that anyone does THAT anymore) So by all means; BRING IT (in more ways than one : >) Thanks Aspen. This venue should work very well as it will be easy to set the SS about 6ft back and against the wall. Sweetwater said they are anticipating shipping on the 27th or 28th, so it will be close!

Thanks Endless. I'm 95% sure i'm taking it to the gig unless someone with experience tells me i'm crazy. I saved a copy of Aspen's setup tips and tricks, and i plan to follow those instructions.

I'm in the same boat as many here. A gig next Friday night. For those who already have the SSv3, is there a big learning curve to tweak the SSv3 to be ready to play a gig, or do you think I could take it right to the gig if it is delivered on Thursday or Friday? Thanks!

Good point. I already have the amp150, so when the SS arrives I will try it out and report back.