Heads-up: SpaceStation keyboard amp is apparently back

[Tombsalley]

That's something that Aspen told me to try. And I thought the same thing.

I tried outside this way and it sounded good to me.

I circled around and I thought it did well. I can't confirm

Your results fully because it was a very windy day. And it's really

Hard to tell. It may not be as even all the way across.

But. It filled and I heard everything I think the audience would

Want to hear. I originally had them stacked the same. It was Aspen

Who recommended it. So maybe he could chime in on this?

 

[garnermike]

The SS is my main kb amp, so I use it, without concern or question, at outdoor gigs. While it's possible the amp's stereo effect may be compromised to some degree without there being walls around to contain/resonate the sound (I am not really into the science or technology of sound), to my ears the SS still sounds better than playing through a mono amp or even playing stereo through 2 amps.

 

I can't find the exact words to describe the tonal advantages I hear, but there is a crispness, incisiveness, and fullness --even in an outdoor setting-- that I cannot achieve via my other kb amps.

 

Just sayin'.....

[spazzkey]

The SS is my main kb amp, so I use it, without concern or question, at outdoor gigs. While it's possible the amp's stereo effect may be compromised to some degree without there being walls around to contain/resonate the sound (I am not really into the science or technology of sound), to my ears the SS still sounds better than playing through a mono amp or even playing stereo through 2 amps.

 

I can't find the exact words to describe the tonal advantages I hear, but there is a crispness, incisiveness, and fullness --even in an outdoor setting-- that I cannot achieve via my other kb amps.

 

Just sayin'.....

 

+1

 

I'd have to concur - just played an outdoor gig running my nord, 3 vocal mics and an accordion mic through the ss with my AI ten2 underneath it as a sub - sounded great from my perspective as well as according to some of the party guests...

[lowerhodes]

I know this is probably a violation of KC protocol as this has already been addressed but due to the length of this thread I am going to risk the ire of the forum police. I just received my new SS v.3 and I notice a continuous and quite pronounced hum. I tried two different pairs of decent TS cables (Canare w/Neutrik gold connectors direct w/o mixer) and got the same result. Is this an acceptable set up and, if so, is there a concensus remedy for this or are those affected just living with it? On a positive note, it is incredibly light and compact and produces stereo and yes, for the uninitiated, the stereo does translate from one room to another!

[I-missRichardTee]

Forum police, is a phantom, don't concern self with it. I appreciate your question, and before I buy this SS I would like to know what's up with the tendency to hum, and the conditions that ameliorate it.

So hum aside, you really like the sound of this SS? You would generally prefer it to two e.g. K10's?

 

 

[I-missRichardTee]

For all of you following this great American novel and also considering a bass amp to use as the sub-woofer linked amp, FYI I have moved from a Promethean P3115 Combo bass amp (300 watts and 15" woofer, 39 lbs) to a Gallien-Kreuger MB110 bass combo (100 watts and 10" woofer, and 23 lbs).

 

The MB110 provides all the low grunt and additional volume that I need for 90% of my gigs.

 

Are the GK combo amps ( mainly for bass players right ?) still manufactured? Cost?

How is your signal routed to the Bass amp? ( likely an already covered question, but we don't all have time to rummage through a novel )

You send left and right out of keyboard into SS and then what, there is a dedicated sub out on the SS?

 

And this, I am a little hesitant with a single 10" for bass; how does the GK compare to the previous 39 lb amp?

[lowerhodes]

I prefer it to having to pack around two speakers. If you don't mind that and want to monitor YOURSELF in stereo them two cabs is the ticket. If you want something that your audience will hear then the SSv3 appears to be a good solution although I am not sure yet about its practricallity in large vuenues although there have been strong testimonials to it for that purpose on this forum.

[Aspen]

I stack them with one set upside down ...

Do you reverse Left and Right on the upside down one?

 

If not, your Side channels will be 180 degrees out of phase, and the spacer won't help much unless it's REALLY long. Forget time alignment!

 

Frankly, based on how the SS3 works, I doubt time alignment is important at all, since it depends on that side channel being bounced around the room, so time alignment with *what*?

 

Folks say they use them outside, but my guess is that one would sound mono outside, when you're directly in front of the front facing speaker. As you circle around to either side, the stereo image will build until you're about 45 degrees off center, and then begin to collapse, disappearing when you're 90 degrees off center. That's assuming nothing for the sound to bounce off of, but of course there's always something.

 

Put one alone in the center of a wide open space, play some recorded material, circle around, and tell me whether I'm right!

 

Chiming in here Learjeff. With all due respect, I strongly disagree with most your "guesses" here, pretty much all of your comments and (ouch!) your tone...lighten up bittercup!

 

Frankly spoken, your flippant dismissal of the benefits of CPS "time alignment", and even moreso of someone who is actually using the SS3 in live application and in so doing sincerely sharing his results with a large audience here who have an honest interest, leaves me a bit cold.

 

Tim has actually used one SS3 for some time with excellent results both indoor and out...and believe me it DOES work very well outdoors despite your "guesses" to the contrary. The CPS image does not collapse as you suggest (guess), indoors or out. Some of my users say it actually works even BETTER outdoors!

 

Once you hear a SS3, the first thing that comes to mind is; "will two sound even better?" (thinking in stereo of course). My usual reply is that 1) it is not necessary, save your money, and 2) if this is not done just right it can actually be counter productive. That said, I have never said "no" flat out, and IMHO two can work well in certain applications...as I have described elsewhere in detail.

 

So now, Tim is trying two SS3 in a large outdoor area with an audience that is 300 degrees, wrapping around to his left and right at an outdoor winery. He asked me for some setup advice, and I gave him my best. But as I have never "done that", I also encouraged him to "try some different setups", see what he finds, and educate us!

 

I don't pretend to know it all, and I am still learning, but I have tried multi SS3s, spaced and stacked, and outdoors as well as in traditional venues. IMHO...I have thought stacked works the best, probably just because there is still a center point of transmission (BTW, that is another way of saying "time aligned"), and stacked upside down to each other works better than not stacked upside down...I hear no issues with L&R signals "cancelling", as they are still aligned "in phase" with each other, although that was a nice theory.

 

So in the end, Tim's findings confirm my extensive experience over 15+ years, as I have been working with this technology longer than anyone alive (obviously, since my partner Drew Daniels and I discovered it, and patented it so many years ago, may he RIP).

 

Don't mean to brag,but I have spent countless hours testing and measuring 100s of various combinations of transducers over 15+ years....all of which has led to my best embodiment yet with the SS v.3.

 

Lastly to your comment "time align to what". Say what? Well, to each other, obviously! One reason traditional spaced in phase L&R stereo transducer arrays do NOT work for maintaining image and/or clarity (outside of a very small sweet spot) is partly because they are (by design) NOT "time aligned" (obviously).

 

CPS technology is VERY different, and I believe one contributing factor to CPS transmitting and maintaining a consistent stereo image over (at least) 300 degrees, as well offering as extreme clarity and intelligibility of multi-source signals, is LARGELY because the various transducers are positioned "close together" and so these "out of phase" waveforms (Front/Side) transmit from a single, "CENTER point". The technical term of this is "time aligned"...so they reach your ears at the same time!

 

But now we have some new gig reports from Tim, who has actually tried using dual SS3 amps in several ways; spaced and stacked variations. As I suspected, he is getting best results and great stereo image results by stacking them, upside down.

 

This is REAL input, based on actual USE, and not theoretical "guessing"....which frankly I find distracting to the conversation. I think I can speak for most here; we prefer "Gig" reports, not "Guess" reports.

 

Look, you are probably a real "smart feller", and I mean no disrespect...but trust me, CPS is just different that anything you have used before. For one thing, it sounds better as you move farther away! So, like anything new, we are ALL still learning more about it's possibilities (and it's limitations) every time we use it in a new environment. Many of those posting here now have more gigs under their belt than I have had over so many years, and collectively there is a wealth of experience that has been invaluable for me, the proud poppa of CPS, as well as first timers.

 

So before you just cannon ball into a pool of real CPS "experts" here who have actual knowledge, and who are sharing actual results, I'd suggest you first read and learn from the dozens of pros who have posted their "gig reports" here.

 

Then if you get the chance, go listen to one in performance. FYI, there are several threads here and even a CPS picnic Facebook page alerting and promoting gigs where anyone can hear a SS3 live at a gig near them. My "guess" is, once you actually hear a SS3, you might just like what you hear.

[I-missRichardTee]

Aspen Bravo, if you gave me 100,000 dollars American, I could not have written a reply like yours. Talk about talent and how it is surely unevenly distributed. "Beautiful", without losing your cool.

 

If this has been addressed before I missed it. For a heavy left hand bass ( I try to emulate the energy of a bass player , no pussy footing here )

Which configuration would you guess was best for that purpose? Moderate to semi loud volumes using an organ clone...

2 SS

or one SS and a bass amp

or?

And the question I asked earlier: I send both sides of my organ clone into the SS and there is a sub out on the SS for the bass amp, correct?

What is the fixed crossover point on the SS, assuming my earlier guess is correct?

Thank you for this creation.

[Tombsalley]

Thanks Aspen.

 

[HAMEGZ]

For all of you following this great American novel and also considering a bass amp to use as the sub-woofer linked amp, FYI I have moved from a Promethean P3115 Combo bass amp (300 watts and 15" woofer, 39 lbs) to a Gallien-Kreuger MB110 bass combo (100 watts and 10" woofer, and 23 lbs).

 

 

 

Another lightweight bass amp is the TC Electronics BG250-112, 35 lbs, although it doesnt feel that heavy,,250 watts one 12 inch speaker, I picked up up at a pawn shop for 175 bucks, although this amp seems to be only available thru Guitar Center.

[rickp]

If this has been addressed before I missed it. For a heavy left hand bass ( I try to emulate the energy of a bass player , no pussy footing here )

Which configuration would you guess was best for that purpose? Moderate to semi loud volumes using an organ clone...

2 SS

or one SS and a bass amp

or?

And the question I asked earlier: I send both sides of my organ clone into the SS and there is a sub out on the SS for the bass amp, correct?

What is the fixed crossover point on the SS, assuming my earlier guess is correct?

Thank you for this creation.

I play heavy left-hand bass as well, usually with a separate dedicated board routed to bass amp and FOH independent of main keyboards, but have had good results playing heavy acoustic bass in a single-board set-up from a split CP4 running R/L 1/4's into a SS3 with a GK MB210 (2 neo 10's and a horn, 350w@8/500w@4ohms, 33lbs.) connected via the SSv3's sub-out, with the GK eq'd high and high-mid off.

 

Also have had good results in large outdoor settings running an Ampeg SVT410HLF/SVT4 from the SS3 instead of the GK, with the XLR's from the CP4 running to FOH and having the FOH crossovers pull the bass into subs. Even though the FOH guys don't have a separate bass feed for volume control that way, they've told me they still essentially had separate bass volume control by controlling the sub volume.

 

There is no crossover in the SS3, but there is a nice gradual roll-off for low freqs that I think works extremely well when paired with a bass amp - there are no abrupt changes in signal direction as you move up and down the keyboard, and the SS3 does its thing while seeming to ignore the low-end heavy stuff as the low-end juice is bumped up.

 

[Aspen]

Which configuration would you guess was best for that purpose? Moderate to semi loud volumes using an organ clone...

2 SS

or one SS and a bass amp

or?

And the question I asked earlier: I send both sides of my organ clone into the SS and there is a sub out on the SS for the bass amp, correct?

What is the fixed crossover point on the SS, assuming my earlier guess is correct?

Thanks for the kind words, now to your questions in order:

 

1) My preference would be one SS3 and one sub OR bass amp for typical venues and band situations. Both LF additions are great solutions for a LH Bass application as you describe. Either will get the floor shaking. But if you use the bass amp, then I'd roll the MF and HF off and listen to the SS3 in that range. Also stacked or not w/ the bass amp or sub really won't matter...it just depends on how you want your dispersion...many like elevating the SS3 but decoupling it from the floor will lose bass...but of course that is no issue if you've got a powered LF device.

 

2) Yes, good guess as most "SUB" outputs would seem to infer "Low pass filter". And, in the first version of the Spacestation (and SFX100 w/ hall reverb) I used to have a low pass filter on the sub out. But my thinking changed in the SS MK2 and now SS V.3, and I decided to leave the sub out "full range" so it could alternatively be used as a mono FOH send. So, the SS3 sub out is simply L+R, or "summed to mono" like any FOH mixer would do anyway. Everything is there and it's full range, but mono.

 

So that's why I suggest rolling off competitive frequencies IF you use a bass amp. But with most subs you already have a low pass xover filter..which I recommend setting around 125Hz.

 

Now some subs have a high pass filter, such as the Berhinger B1200 with it's 500 watt Class D amps driving a 12" woofer ($299 shipped via Sweetwater). This basically "passes thru" the stereo L&R of your organ to the SS3, but only for frequencies above 100Hz. So signal path; your KB into the B1200, then out of the B1200 to your SS3. And everything just gets louder and cleaner (and you can now use the SS3 sub for FOH send if needed, although now rolled off at 100Hz).

 

Assuming you will not be using a small format mixer, which I prefer for signal structuring and other cool options, this is probably the optimum system for you. It's a simple quick set up. That said, many here who have that are finding for smaller gigs they can leave the sub in the boot (aka: trunk : >) Cheers!

 

[I-missRichardTee]

Aspen Thank you

So, leave the sub home, eh? And just a single SS can handle the bass?

 

Note this, a lot of guys talk about routing the left hand to a dedicated bass speaker

But having tried this, I find myself preferring the sound of just two stereo speakers

2 eons, or 2 k10's etc. The separate bass thing, while it seems it would be better, somehow I lose something with it.

[Danny Linguini]

2) Yes, good guess as most "SUB" outputs would seem to infer "Low pass filter". And, in the first version of the Spacestation (and SFX100 w/ hall reverb) I used to have a low pass filter on the sub out. But my thinking changed in the SS MK2 and now SS V.3, and I decided to leave the sub out "full range" so it could alternatively be used as a mono FOH send. So, the SS3 sub out is simply L+R, or "summed to mono" like any FOH mixer would do anyway. Everything is there and it's full range, but mono.

 

I think it would be a huge asset if a 'next gen' SS had a switchable hi-pass filter on the sub out. My opinion, the best set up here for the SS and a bass helper is what's on the Behringer sub -- stereo inputs with a high-pass filter going out to the SS. The next best thing would be putting that intelligence in the SS, where you have the option to route 100hz and below to an external device and process the summed signal either full or only 100hz and up through the SS. That takes the low bass load off the SS and gives you all kinds of flexibility for the supplemental bass handling (i.e., anything from a little extra help like the G-K MB110 to a monster shingle-shaker).

[I-missRichardTee]

sleepngbear What I am hoping for ( as a lover of all kinds of bass tones ) is a variable crossover in that critical area between 80 and 250 hz. I had a little trouble understanding what you said about the Behringer- is that behringer a VARIABLE high pass filter?

 

Depending on the room, and the volume of the band, I would like the option of control over just how much of the bass frequency goes to the bass speaker and how much to the SS.

 

[drawback]

Tee, check out the specs on the Behringer B1200D. Combined with the SS.3, you will get everything you're asking for, with flexibility for any situation.

 

[url:http://www.sweetwater.com/store/detail/B1200DPRO]clonk[/url]

 

 

 

[Danny Linguini]

sleepngbear What I am hoping for ( as a lover of all kinds of bass tones ) is a variable crossover in that critical area between 80 and 250 hz. I had a little trouble understanding what you said about the Behringer- is that behringer a VARIABLE high pass filter?

 

Depending on the room, and the volume of the band, I would like the option of control over just how much of the bass frequency goes to the bass speaker and how much to the SS.

 

Yeah, a variable crossover built-in would be the ideal solution -- I'm just trying to not blow Aspen's mind all at once.

 

The Behringer B1200D has a fixed 100hz hi-pass filtered output and a full-signal output, both stereo XLR's. But it also has a variable cut-off for what it will process itself (I believe 80-150 hz), that does not affect the cutoff point of the hi-pass filter outputs (in other words, whether you have the sub process everything up to 80 hz or 150 hz, 100hz and up would still go out to your mains).

 

What I think would suit your needs would be a separate 2-way crossover in between your mixer and speakers; most of them give you a variable crossover point and total control over what frequencies get routed where.

[Jazzmammal]

So, leave the sub home, eh? And just a single SS can handle the bass?

 

Knowing you and how you've written about how you play over the last couple of years, I would say no. The SS is a very nice full range amp and I've played bass through it at softer volumes but for club volume kickin organ pedal bass? No way. I wrote earlier that on my last gig we called Cold Duck during the third set (tends to be the loudest set) and the bass player wasn't ready to start it for some reason so I did it and overdrove the SS woofer. This is using my SK1's manual bass setting. That was too much for the SS by itself in that setting. I did use that same setting at Aspens studio but that was just me, not with a 5 piece band in a loud bar. But with a bassist in the band I've yet to feel the need for another sub or full range PA cab. For my first bar gig I brought along my EV 112P in case the SS wasn't strong enough. It stayed in the car. Without heavy bass going through it the SS can really crank. Much more than you would think by looking at it or reading the spec's.

 

As an aside you've been thinking of visiting Aspen at his studio, I'm right on the way in Redondo, you can stop by and try it at my place if you want.

 

Bob

[JeffLearman]

I stack them with one set upside down ...

Do you reverse Left and Right on the upside down one?

 

If not, your Side channels will be 180 degrees out of phase, and the spacer won't help much unless it's REALLY long. Forget time alignment!

 

Frankly, based on how the SS3 works, I doubt time alignment is important at all, since it depends on that side channel being bounced around the room, so time alignment with *what*?

 

Folks say they use them outside, but my guess is that one would sound mono outside, when you're directly in front of the front facing speaker. As you circle around to either side, the stereo image will build until you're about 45 degrees off center, and then begin to collapse, disappearing when you're 90 degrees off center. That's assuming nothing for the sound to bounce off of, but of course there's always something.

 

Put one alone in the center of a wide open space, play some recorded material, circle around, and tell me whether I'm right!

Frankly spoken, your flippant dismissal of the benefits of CPS "time alignment", and even moreso of someone who is actually using the SS3 in live application and in so doing sincerely sharing his results with a large audience here who have an honest interest, leaves me a bit cold.

Sorry, but my understanding (based on what I read at your website) is that indoors, it works thanks to reflections. When reflections come in, time alignment (between center and side) goes out. But that's a generalization, and certainly time alignment between frequencies in the same signal (front or side) do matter, and getting the drivers close together is definitely a good idea. But only if you reverse left and right; otherwise the upside down one will be sending R-L right next to the rightside up one sending R-L. If the two were perfectly aligned, that'd be R - L + L - R = 0. So, the closer together, the less result.

 

Tim has actually used one SS3 for some time with excellent results both indoor and out...and believe me it DOES work very well outdoors despite your "guesses" to the contrary. The CPS image does not collapse as you suggest (guess), indoors or out. Some of my users say it actually works even BETTER outdoors!

I'd really like to try that and see. I'm not saying I know. I'm saying what the theory suggests to me.

 

 

I don't pretend to know it all, and I am still learning, but I have tried multi SS3s, spaced and stacked, and outdoors as well as in traditional venues. IMHO...I have thought stacked works the best, probably just because there is still a center point of transmission (BTW, that is another way of saying "time aligned"), and stacked upside down to each other works better than not stacked upside down...I hear no issues with L&R signals "cancelling", as they are still aligned "in phase" with each other, although that was a nice theory.

I strongly suggest you (a) discuss it with an engineer, and (b) try reversing L and R in the upside down speaker.

 

to your comment "time align to what". Say what? Well, to each other, obviously! One reason traditional spaced in phase L&R stereo transducer arrays do NOT work for maintaining image and/or clarity (outside of a very small sweet spot) is partly because they are (by design) NOT "time aligned" (obviously).

OK, I'll buy that, thanks. However, I wonder how we're hearing the side channel, outside, when directly in front of the front-facing speaker. Without any reflections, it has to be relatively quiet, and coming from almost the same point source as the front speaker, and therefore providing little image. That's just thinking through it; if I'm wrong I'd sure like to know why!

 

we have some new gig reports from Tim, who has actually tried using dual SS3 amps in several ways; spaced and stacked variations. As I suspected, he is getting best results and great stereo image results by stacking them, upside down.

 

This is REAL input, based on actual USE, and not theoretical "guessing"....which frankly I find distracting to the conversation. I think I can speak for most here; we prefer "Gig" reports, not "Guess" reports.

Absolutely. But it's also very easy to fool oneself. Well I remember when several very highly respected audiophile reviewers claimed that CDs sound better if you use a green magic marker on the ring. (I'm not equating results here with that: I'm just showing how easy it is even for very careful listeners to make mistakes.) So, when experience contradicts what I'd expect from theory, I'm interested. It's a learning opportunity, one way or the other.

 

Mid-side is a time-honored technique and a lot is known about it. But applying it to speakers rather than mics or intermediate processing is brilliant! I wish SS3 all the luck. I respect the judgment of the guys here who give it high marks, so clearly it's very well designed and put together, in addition to being a great idea.

 

Regardless, when something doesn't seem to make sense, I'm going to point it out. Sometimes I'll be right; sometimes I'll be wrong. Nothing new there, either way!

[cphollis]

All I can say is that there is no way you can understand the SSv3 until you've actually used one during a live gig. Even when you have one, it takes a while how to use it best.

 

I had one set of perspectives prior to owning one, and a completely different set of perspectives three months after starting to use it.

 

Like most disruptive technology, it's not at all obvious.

 

It's that different.

[JeffLearman]

Good point, but physics is physics, and if the side speaker is L-R, and you put one atop the other upside down, then you really want to reverse left and right in the upside down one.

 

Someone prove me wrong on that.

[timwat]

Like most disruptive technology, it's not at all obvious.

 

A small point, but because I teach business strategy in the SF Bay Area, I would suggest this is not the case.

 

Successful disruptive technology is generally pretty obvious - just not to the incumbents in the marketplace. In addition, at the risk of being labeled a heretic, the SS is a really nice keyboard amp solution. But, yes, I'm the guy who is still saying it is still just an amp.

 

Albeit, a very nice one, and one that does some really great things to expand keyboard projection and presence. But still very consistent with the category of "musical instrument amplifier".

 

Disruptive innovation is a marvelous thing for many (not so much for incumbent dinosaurs). Personally, because of my work and teaching experience, I wouldn't quite label the SS as one. It's a wonderful amplifier, and Aspen knows I want nothing but the very best success for him and his company.

 

But disruptive innovation has been well studied and documented (for example, confer Clayton Christiansen's fine The Innovator's Dilemma). I for one would like to be careful with hyperbole and blurring of distinctions. That probably places me in the decided minority here.

[16251]

Good point, but physics is physics, and if the side speaker is L-R, and you put one atop the other upside down, then you really want to reverse left and right in the upside down one.

 

Someone prove me wrong on that.

I have no right to enter a debate about physics but, I think the side speaker has the same information coming from both sides; it's just the back of speaker is exposed. So, if you put one upside down, the side speakers will have same information except the open part of speaker changes sides, but the information is the same. I can't even imagine how you'd reverse something that's not reversed.

[wannjl]

Timwat, I mean no disrepect. I have made my career out of spotting the pivitol technologies and embracing them. While generally I agree with your commentary, allow me to slightly differ. I bought an Apple Lisa the week the Mac shipped in 1984. The Mac changed the world. However, the components were not disruptive, after all "it was just a computer." It was the innovative way it was all put together in a unique way. They sold like hot cakes ... Amid huge controversy from the "real" computer green screen dweebs. The iPhone, as it "just another cell phone," changed the our everyday life... And again it was the innovative assembly that changed our world. I remember sitting with Cisco engineers in 1997 and drawing on a restaurant napkin how to use that "best effort" protocol "IP" to build a bullet proof network as Federal Reserve CTO and seeing IP begin to be used in "real" financial networks (FYI, the basic design is still on Cisco's web site). My point is that a technology not need fit the textbook definition of "disruptive" to totally change the game. Not all disruptive technology is obvious to all. As a matter of fact most disruptive change is met with resistance and doubt. I have many battle scars on that front. So, disruptive technology is obvious to some, but not all. Who in this forum does not agree the the Neo Ventilator has dramatically changed the Leslie market? Yet, there were many Leslie clones before it... and significantly improved clones now. The SS3 has all the makings of a "game changer" for typical gigging musicians in small/medium clubs, but as with all potential game changers... time will tell. And speaking of that, I will review by new SS3 when it arrives and is put to the test in our 1400 seat auditorium. I have my powered sub awaiting its mate! I have great respect for game changing technology. While the SS3 may not change the world, I think it could significantly impact what we see on stage at the local pub. As we used to say when I taught college in Jamaica, "respect mon." Timwat, good commentary.

[spazzkey]

Good point, but physics is physics, and if the side speaker is L-R, and you put one atop the other upside down, then you really want to reverse left and right in the upside down one.

 

Someone prove me wrong on that.

 

 

 

maybe you could buy one, enjoy it, or not, (in which case you could return it) and report back...

[Raymb1]

The signal going into the side speaker is Left minus Right. One signal, not two. Shouldn't that mean that the side signal is the same on both sides?

[wannjl]

Maybe I missed something,but I thought it was the sum of the same material of both left AND right out the front, and the different material out the sides (driver pointed one way, open back the other). So, turning it upside down would not matter.

[mate stubb]

The signal going into the side speaker is Left minus Right. One signal, not two. Shouldn't that mean that the side signal is the same on both sides?

 

It is the same, but out of phase. The sound comes off the front of the speaker for one side and the back of the speaker from the other.

[cphollis]

Like most disruptive technology, it's not at all obvious.

 

A small point, but because I teach business strategy in the SF Bay Area, I would suggest this is not the case.

 

Successful disruptive technology is generally pretty obvious - just not to the incumbents in the marketplace. In addition, at the risk of being labeled a heretic, the SS is a really nice keyboard amp solution. But, yes, I'm the guy who is still saying it is still just an amp.

 

Albeit, a very nice one, and one that does some really great things to expand keyboard projection and presence. But still very consistent with the category of "musical instrument amplifier".

 

Disruptive innovation is a marvelous thing for many (not so much for incumbent dinosaurs). Personally, because of my work and teaching experience, I wouldn't quite label the SS as one. It's a wonderful amplifier, and Aspen knows I want nothing but the very best success for him and his company.

 

But disruptive innovation has been well studied and documented (for example, confer Clayton Christiansen's fine The Innovator's Dilemma). I for one would like to be careful with hyperbole and blurring of distinctions. That probably places me in the decided minority here.

 

You and I have similar experiences. I work in tech, do strategy for a living, etc. Google "chuck hollis blog" if you're interested. We could probably have a long and satisfying discussion around disruptive tech.

 

In the albeit constrained bubble of "small stereo amplification systems for live performers", I'd argue the case that the SSv3 is disruptive. Here's what we used to do, here's what we do now -- and how it's changed our perspectives. No, it's no iPhone or similar -- granted -- but if you live in the world of smaller amplification systems, it deserves a bit of cred.