Heads-up: SpaceStation keyboard amp is apparently back

[I-missRichardTee]

If you can't hear yourself well on stage, what's the point?

 

Give the Man an Amen. WE come first people not the audience or FOH . WE are the artists. I can't believe how backwards today's "logic" is.

[I-missRichardTee]

... also pondering the advice of the guys who recommend a speaker vs sub ...

 

However you do it, you're going to get the best results by splitting the lowest frequencies to a sub or bass amp/speaker and the higher ones (above 100 hz) to the SS3. That's not to say you won't get better results by just adding another speaker, but that won't give you the best bang for the buck. The benefit of most subs -- including the B1200 -- is the ability to filter what's coming into them and what's going out without needing a separate crossover.

But bang for buck is at odds with best ( better ) sound.

 

Has Aspen commented on comparing 2 SS3 versus 1 SS3 and the $300 chinese sub?

 

[Tombsalley]

He has to some extent. I am using two and two small EV ZXa-1 subs for my outside gigs.

So far things are going well. The hardest part is deciding where to position them.

I don't always have time to experiment for a gig. I am playing today at the 4:00

To 8:00 slot. There is another player before me and another after. My trial today is

To put this about 6ft behind me between us ( two players) basically in the middle back of the stage. Keep in mind I am using this as my full range system for a duo

That has a midi file playing along with two guitars and vocals.

So, I can't comment on the band situation other than to say,it's worth a try to use two

For keys if you think you really need it. But, I haven't found (based on discussion here) that a popular solution Nor a necessity unless the band really cranks. And in that case this might not be a full on/stand alone solution. so you might have to feed to foh and use as your monitor /stage fill.

 

[Al Quinn]

The past two nights I had my first two gigs with the SS. Results were mixed.

 

First gig was a jazz trio: organ (with LH bass), guitar, and drums. I used a Nord Electro 4D into the SS and B1200 sub. The SS was on top of the B1200 about 5 feet from me. Signal chain E4D -> B1200 -> SS. I setup at home and tried tweaking until it came close to my A100/Leslie 145. At home it sounded great. However, at the gig I struggled. It was at a bar/restaurant with terrible acoustics. My sound was just OK. Where I was sitting the LH bass lacked definition, was uneven across the frequency range, and the RH organ lacked crispness. The 3D sound was evident but the acoustics in this place are so bad, in total, it didn't sound great. For this gig I had previously used a chopped Leslie 145 with a small JBL home theater subwoofer which sounded a little bit better than the SS/B1200. I'm sure there was some pilot error involved (i.e., probably too much volume on the B1200 and not enough on the SS) as this was my first gig using this rig. I'll try it again next Thursday for another jazz trio gig at a different restaurant which has better acoustics. I'm hopeful it will sound better.

 

Second gig was a rock gig with two guitarists: 60's and 70's music at a yacht club private party, 95% piano, EP, and Hammond. Gear was CP4, Electro 4D, and SS on Gator amp stand. The setup was very tight. The SS was vertical, tilted back almost 45 degrees on the Gator stand, and just a foot behind me with the front speaker shooting at the back of my left arm. I used the hard cover from mixer to deflect the side speaker and protect the drummer who was to my left and very close. The E4D was connected to the CP4 aux input, the CP4 XLR outs went to the PA, and the CP4 1/4" outs went to the SS. I was concerned with this setup because I read on the forum that there should be some distance between the SS and the player but that just wasn't possible for this gig. To my surprise the sound was amazing! A guy from the audience, a stranger, said it sounded like I had a Leslie but was puzzled since I clearly did not -- he wanted an explanation. To the best of my recollection this is the first time in my 40+ years playing organ gigs that someone asked me if I was using a Leslie when I was not -- every other time I actually had a Leslie. The CP4 acoustic piano sounded great (very full) and the EP sounded great too. SS settings were HF 3:00, MF noon, volume noon, and width noon. Positive feedback from the band and audience was noticeably more than usual. Because I was inspired and comfortable with my sound I played better than usual. While playing I heard myself perfectly while also hearing everyone else perfectly; as a result band interaction was noticeably better than usual on tunes with improv (e.g., Allman Bros., Grateful Dead, Meters). The benefit of hearing everyone else so well was an unexpected surprise. All in all, it was a great experience in a less than optimal circumstance.

 

Thank you Aspen for creating this incredible technology at a reasonable price and weight! In my book, you've hit a grand slam and I sincerely hope you reap the rewards.

[Tombsalley]

If you can't hear yourself well on stage, what's the point?

 

Give the Man an Amen. WE come first people not the audience or FOH . WE are the artists. I can't believe how backwards today's "logic" is.

 

The funny thing is that this is actually one on the benefits of using the SS.

To hear what the audience is hearing.

[Jazzmammal]

Yes. Dave and Tee, don't misread some of the comments here. We all know some gigs are simply hopeless as far as acoustics are concerned but for the most part the SS really lets you hear yourself very well.

 

Bob

[HammondDave]

I have never had a problem hearing myself on stage with conventional sound systems. I just find it a bit strange that so many people report difficulty hearing themselves onstage with the SS3 but when they go into the audience they have no problems at all.

[I-missRichardTee]

The past two nights I had my first two gigs with the SS. Results were mixed.

 

First gig was a jazz trio: organ (with LH bass), guitar, and drums. I used a Nord Electro 4D into the SS and B1200 sub. The SS was on top of the B1200 about 5 feet from me. Signal chain E4D -> B1200 -> SS. I setup at home and tried tweaking until it came close to my A100/Leslie 145. At home it sounded great. However, at the gig I struggled. It was at a bar/restaurant with terrible acoustics. My sound was just OK. Where I was sitting the LH bass lacked definition, was uneven across the frequency range, and the RH organ lacked crispness. The 3D sound was evident but the acoustics in this place are so bad, in total, it didn't sound great. For this gig I had previously used a chopped Leslie 145 with a small JBL home theater subwoofer which sounded a little bit better than the SS/B1200. I'm sure there was some pilot error involved (i.e., probably too much volume on the B1200 and not enough on the SS) as this was my first gig using this rig. I'll try it again next Thursday for another jazz trio gig at a different restaurant which has better acoustics. I'm hopeful it will sound better.

 

Second gig was a rock gig...........

All in all, it was a great experience in a less than optimal circumstance.

 

Thank you Aspen for creating this incredible technology at a reasonable price and weight! In my book, you've hit a grand slam and I sincerely hope you reap the rewards.

 

"Bass lacked definition" now we are talking.

I would expect this would be the case... you split the bass between an indistinct sub ( all subs, by definition ) and a marvelous box designed for more above bass range than bass range.

Exactly the frequency area that is hard to pin down- mid bass.

Bose suck there.

Eon 15 G2 mid bass is excellent there

SS3- bass area, it's a bit much for this box.. likely almost there but not quite - educated guess.

KC550 likely is good in mid bass area

subs are below this sweet spot

 

[MotiDave]

well, i have 28 days to make up my mind. Another thing I noticed is some patches are basically mono, while others are either stereo or have stereo chorus and other effects. The latter voices seemed to jump out of the ss3, its beautiful but almost a step function in my perceived volume in my short experience last night. can't really be sure. i play some bands where everything has chorus or effects or stereo voices. and when I played AP patches thru the ss3, loved that difference.

 

but if my set is a mix of stereo and mono voices, and i dial down stereo voice volumes to be more "even" with more mono ones out of the ss3, what happens to those same voices summed to mono and sent to FOH? will the "stereo" voices be low? i can't be out in the crowd when I play, i don't even know how to tell this.

 

ss3 is a fascinating product, my band loved it last night. but i'm such a simple f-ing guy ... see a note, play a note, I'm not looking to earn a PhD in acoustic wave propagation theory here ...

 

i'm going to post a few scouts tonight with some specific instructions.

[Al Quinn]

Thanks. I have an EON 15 G2 and will give it a try.

[Brettymike]

I have never had a problem hearing myself on stage with conventional sound systems. I just find it a bit strange that so many people report difficulty hearing themselves onstage with the SS3 but when they go into the audience they have no problems at all.

 

Come on Mr Dave , it's a not uncommon problem with conventional speakers! Plenty of times I have had trouble hearing my keys with one monitor speaker.

Brett

[Brettymike]

...And I'll tell you something else , I had a gut full of sound problems raising their heads too often over my 35 years of music , and am glad to be giving it a rest right now - for how long I don't know , I don't know.... (the problem with not being famous with top sound cats on mixing desks and sweet monster FOH systems )

Brett

 

[I-missRichardTee]

Thanks. I have an EON 15 G2 and will give it a try.

Oh NO...Now I have to back my word up! It depends how loud your music is. On the louder side 2 Eons.

 

I also don't know the nature of your music. And I don't know if you play bass with keyboards.

 

From Manual

Eon 15 39 Hz - 18 kHz Freq. Response (+3 dB): 42 Hz - 17 kHz

[stillearning]

If you can't hear yourself well on stage, what's the point?

 

Give the Man an Amen. WE come first people not the audience or FOH . WE are the artists. I can't believe how backwards today's "logic" is.

I'm going to respectfully disagree with you. In the studio, at home rehearsing, or when setting up patches/programming, yes, I want good, accurate high-fidelity sound. But when on stage live, it's the audience that matters more to me. They paid to hear a quality, finished product with the best sound possible. All I need onstage, is to be able to hear myself along with the rest on the musicians onstage reasonably well enough to play my parts accurately. My own sound doesn't need to be hi-fidelity quality in order for me to accomplish that. The audience comes first. Sorry if my logic seems backwards.

 

Not at all suggesting my way is right for everyone, just presenting an opposing view is all.

 

And I'll be ordering an SS3 soon, as following this thread has convinced me it's a game-changing product for small to medium sized gigs, which in most cases seems like it will allow me to hear what the audience hears. I view that as a bonus, rather than a necessity for me to play well.

[Raymb1]

As Aspen has said, you'll hear what the audience hears if you're at least 6 feet away from the SS.

[Aspen]

[quote name=Dave Ferris Also don't mean to dampen the enthusiasm here. Just one guy's opinion being brutally honest. And thank you again Aspen for letting me try it out . You could not be more accommodating. [/quote]

 

No worries Dave, glad to accommodate and you are most welcome! I wish I could do that for everyone.

 

But as we discussed in reflection today, your usual set up has a high end preamp (read; mixer to set levels and better match impedances), as well as VERY expensive RCF Italian designer monitors. That package costing you North of $3,500 (on sale) SHOULD sound better to your ears!

 

Also, since you play ONLY jazz piano w/ all AP patches which were mostly mono with very little stereo content, the CPS technology can't really enhance what isn't there in the first place. No stereo, no Cps!

 

So, I really am not surprised...but it was worth a try and I am very grateful for your effort and your comments.

 

But your Palmdale gig reminds me of that old joke about the definition of a jazz musician...now with an added feature; That's a guy who loads a $3,500 and Italian designer PA, a $2500 piano, into a $300 (per mo.) car, then drives 110 miles (RT Burbank/Palmdale) for $50 (plus drinks I hope).

 

Seriously, after hearing you play in our APR studios that first day (Dave has serious game folks) it was a honor and treat to meet you and have you try out a SS3....even if it didn't quite measure up to your RCFs. And as we discussed, you are welcome to try one again in that larger auditorium for that Hillary Clinton fundraiser gig coming up. Perhaps as you mentioned, our compact size and big room sound may prove an advantage for that gig...plus you won't have to drive it to Palmdale...and I'm guessing THAT gig will be paying much better (hey, maybe Bill will sit in on sax)

[niven8]

Hi Aspen,

Just wondering how things are going with shipments to Europe, namely Thomann.de? I placed an order last week and they have posted the earliest delivery date to be in July. I've noticed that they've used the same date for many of their products......is there any chance yours could be earlier?

Oh, and by the way, they've got the SS under Aspen products?..Not such a good idea if you're searching for Spacestation? I had to phone up and ask if they were marketing it,otherwise I wouldn't have been able to find it.

Regards

Niven8

 

 

[Al Quinn]

I used the SS alone (no sub this time) again last night on a not so much fun gig up in Palmdale. Wow that place is far ! Someone shoot me if I consider driving up there again. It was a small bar/restaurant where no one gave two shits if we were there or not. On top of that it was a ridiculously tight setup area with , again, horrible acoustics. Sure made the drive up in rush hour /holiday get away traffic seem worth it.

 

So now that I've set the stage with all the positives : I'm basically not digging the tone of my CP4 with this. Especially for single note lines. Talking jazz not rock. It's seems to thin out in the higher registers along with the overall tone actually getting kind of boxy sounding. Where my RCF TT08As and JMK Audio JM-110 pre keeps the body and fullness of the sound intact, in all registers of the piano. I'm running direct into the SS with no mixer.

 

And yes I've experimented in my studio and at the gig with the stereo width and eq , but it's just not as a full sound as what I'm used to. In addition, I'm such a stickler for tone , it drives me crazy to have a sound that is even in the sonic vicinity of harsh and grating. Maybe something like the less bright RD800 would fare better with the SS, I don't know.

 

I started the night with the SS in the super tight quarters , on the floor slightly tilted up, with just guitar and upright bass, no drums. We were doing Standards and jazz tunes , the volume was a little louder then total background ambience. We were definitely "playing" , but not digging in with the same intensity of the other Quartet gig last Sat.

 

After the first set I was not feelin' the sound , mainly on my solos, so I went out to the car and switched out the setup on the break. I brought in my Ultimate speaker pole, one TT08a and the pre. Even though I was running mono on the CP4 , I was happier for the last two sets.

 

I want it to work , badly, but I don't think it's for me. I think I'm too spoiled (with the TT08As and studio quality preamp) and again, I'm picky too.

But as Aspen and I were talking about today after I returned the amp - you can't really honestly compare a $3500 system ($2500 for the 2 RCF cabinets & $1000 for the pre) with something that is at a price point of $750.

 

Also don't mean to dampen the enthusiasm here. Just one guy's opinion being brutally honest. And thank you again Aspen for letting me try it out . You could not be more accommodating.

 

Dave, thanks for the informative review. I haven't done an "acoustic" jazz gig like the one you described with the SS yet. Based on your experience maybe I'll have my TT08As in the car as a backup when I do.

[Al Coda]

I used the SS alone (no sub this time) again last night on a not so much fun gig up in Palmdale.

 

I understand you use your RCF TT08A(s) together w/ the JMK Audio JM-110 preamp always.

Is that correct ?

 

If yes,- did you try using the SSv3 w/ the JMK Audio JM-110 in between of your Yammi CP4 and the SSv3 ?

Just asking by interest.

 

Also,- what´s up when you remove the JMK Audio JM-110 from your Yammi CP4 / RCF TT08A(s) rig ?

 

A.C.

[TimA]

One thing to try is using one RCF as a mono signal to get the tone you like and use the SSv3 to provide some ambiance to fill the room. You would need to split the signal with the mono to RCF, and the same signal to something like an eventide H9 with mono in stereo out to the Spacestation. Set the RCF on top of the Spacestation. Pick a nice reverb program with maybe a hint of chorus. If the H9 lets you dial in the wet/dry level, you could tweak it to your satisfaction. It is essentially a wet/dry/wet configuration that guitarists like because it gives them the cabinet sound they like and they dial in the effects to their liking. I've experimented with this a lot and people with a high end cabinet like yours could still get that purer reproduction for AP and have that room filling ambiance we all love with the SS at the same time.I don't think the SS is a one trick pony, and I think there are different ways to incorporate it into different styles and scenarios. I've done the wet/dry/wet thing with my guitar cab and with AP sounds as well and I think it sounds great!

[I-missRichardTee]

Dave Ferris "No, I didn't try going from the JM-110 into the the SS."

Since you lose a considerable degree of "goodness" when skipping your JM-110 with your boutique speakers. I would hope you would try mating your pre with the SS3. Pretty please!

[wineandkeyz]

Here's a quick report from my gig last night using the SS V3. I play in a Journey tribute band and last night we played a large theater that has an open floor with a seated balcony. I'm guessing the capacity at 1000+.

 

I ran my Yamaha S70XS, Roland Fantom X7, and Hammond XK3/Vent combo into a Mackie 1202 VLZ mixer. I sent the mixer's main outputs to the PA and the control room outputs to the SS.

 

I set the SS on one of my road cases, which placed it about 8 inches off the floor. It was about a foot from the backwall of the stage, turned at a 45-degree angle to the wall. I was about 8 feet away.

 

The SS rocked!

 

I really dug the way it sounded -- like I was surrounded by stereo, with much more clarity and definition than the Traynor K4 I've been using. The Hammond sounded especially good -- the best I've ever heard it! (I use Jim Alfredson's tonewheel set.) I had no trouble hearing myself. I didn't use a sub or bass amp, although I may consider adding one down the road when fundage allows. Last night I had just a pinch of the keyboard mix in my wedge monitor, so I didn't miss any low frequencies.

 

I know I have more to learn about this little guy, but it's definitely a keeper.

[Al Coda]

No, I didn't try going from the JM-110 into the the SS.

 

Well, I wished you did.

To me, all-in-all it sounds like the JM-110 is improving your sound so much and on every soundsystem you use,- it might be worth a try in combination w/ the SSv3 too.

I really have the impression your ears are adjusted to the JM-110 pre-amp sound meanwhile.

 

I also imagine inserting the JM-110 between a line-mixer and the active speakers, regardless which, might do some magic.

It´s not a typical setup, but why not ?

We show creativity and enjoy experimentation in recording situations, so why not for the live scenario ...

 

Back on topic- I feel the SS is a unique and wonderful concept and again, really want it to work for me.

 

(...)

 

So while I say it's not me for me at this moment, I never say never.

 

When you decide for using the SSv3 in another venue next future, try it w/ the JM-110 and let us know what your impressions were, please.

 

A.C.

[Danny Linguini]

... also pondering the advice of the guys who recommend a speaker vs sub ...

 

However you do it, you're going to get the best results by splitting the lowest frequencies to a sub or bass amp/speaker and the higher ones (above 100 hz) to the SS3. That's not to say you won't get better results by just adding another speaker, but that won't give you the best bang for the buck. The benefit of most subs -- including the B1200 -- is the ability to filter what's coming into them and what's going out without needing a separate crossover.

But bang for buck is at odds with best ( better ) sound.

 

It doesn't have to be. It depends on the venue and what type of stuff you're playing. Not to mention that everyone's definition of 'best' is different.

[Brettymike]

I would bet money the SS3 gives that expensive speaker stuff a real hiding with the JM-110.

Brett

[Aspen]

Hi Aspen,

Just wondering how things are going with shipments to Europe, namely Thomann.de? I placed an order last week and they have posted the earliest delivery date to be in July. I've noticed that they've used the same date for many of their products......is there any chance yours could be earlier?

Oh, and by the way, they've got the SS under Aspen products?..Not such a good idea if you're searching for Spacestation? I had to phone up and ask if they were marketing it,otherwise I wouldn't have been able to find it.

Regards

Niven8

 

 

Hi Niven...so I just yesterday replied to another German musician who plays a Nord Piano2 with a similar question, and here's what I told him:

 

"Hi Bernd,

 

Thank you for your interest and inquiry.

 

I am a big fan of the Nord KB. FYI, the USA head technical support manager in USA, Pablo Mastodon, is also a big fan of our Center Point Stereo Spacestation v.3. Here's a recent article about Pablo....check out the SS3 in his amazing Nord shrine museum!

 

http://www.nordkeyboards.com/man-behind-nords-us-live-tech-support

 

When I first talked with Pablo, he told me he had "never heard a KB amp he liked". Then after I sent him one for a try out, he bought it and told me "Now I can't say that anymore!".

 

We also have many Nord demos thru the SS3 on out website, among dozens of other videos,. You can listen to theese (with headphones please!) Here's the link: https://www.youtube.com/watch?v=DC6mou0cL64

 

Now to your questions about price and availability.

 

Until recently the only way anyone could buy a SS3 from Europe was direct from our Aspen Pittman Designs headquarters here in San Fernando, California...or maybe some guys bought them from our exclusive USA dealer partner Sweetwater Sound and converted them to 230v (pretty easy). I do a special discount for my early Export adopters, but by the time they paid freight, duty and VAT to their door in Germany the cost was almost 1,000 Euros (while here in USA players buy for about $650 Euros!)

 

Still many really wanted this groundbreaking new technology, and so they paid the price (gladly) because we did not have a dealer partner in Europe.

 

But now "I can't say that anymore!"

 

I am very happy to announce that as of next month (or by end of next month anyway), our new dealer partner Thomann Musikhaus will be delivering the SS3 to all of our European friends and family...and for a greatly reduced price and risk for you; just 771 euros including VAT...so about the same than our US players are paying (or even less considering VAT (tax) and shipping!)

 

And most Euro guys I've heard from really like dealing with Thomann, they have a great reputation for treating customers right and still offering great prices! Much like Sweetwater, they are the Gold standard over there.

 

Here's the link: http://www.thomann.de/gb/search_dir.html?bf=&sw=spacestation

 

This is a limited quantity for our first delivery to Thomann...so I am pretty sure they will sell out fast and maybe even before they arrive in Germany. Sweetwater has been sold out and back ordered for 6.5 of the 7 months since we released it here! So I advise you to get your order in early...otherwise the next delivery will not be until late August!"

 

[Al Coda]

I am very happy to announce that as of next month (or by end of next month anyway), our new dealer partner Thomann Musikhaus will be delivering the SS3 to all of our European friends and family...and for a greatly reduced price and risk for you; just 771 euros including VAT...so about the same than our US players are paying (or even less considering VAT (tax) and shipping!)

 

And most Euro guys I've heard from really like dealing with Thomann, they have a great reputation for treating customers right and still offering great prices! Much like Sweetwater, they are the Gold standard over there.

 

Here's the link: http://www.thomann.de/gb/search_dir.html?bf=&sw=spacestation

 

This is a limited quantity for our first delivery to Thomann...so I am pretty sure they will sell out fast and maybe even before they arrive in Germany. Sweetwater has been sold out and back ordered for 6.5 of the 7 months since we released it here! So I advise you to get your order in early...otherwise the next delivery will not be until late August!"

 

When I follow your link above, it says EUR 773.-

 

No biggie ...

 

but "back in stock" it´s july 20 which is almost in 2 (TWO) month.

 

Now, when I go to the german site,-the price suddenly is EUR 799,- while estimated delivery is july 20.

Very often, when they annouce that, the item isn´t available that date.

Aspen Pittman Designs SSv3 (Thomann)

 

So,- now you say it will be available in june ?

 

A.C.

[MotiDave]

First Gig report ... wish I had a good story to tell.

 

We're the last band before the headliner Pat Travers, so I set up my sound first ... B1200 bottom SS3 top per

 

- 1/4" Keys out to XLR B1200 In

- XLR B1200 high pass filter out to 1/4" SS3

(all brand new quality cables)

 

I ask sound guy for 2 XLRs to connect to B1200 Thru outs. He gruffs he can give me a mono, but I get him to give me 2 XLRs. I connect the two lines he gives me, loud "wrong" buzz coming from SS3. I unplug his XLRs, SS3 is ok. I think its his XLR cables but this is a "line check and go" gig and they are already about 15 minutes off schedule (rock time, as we call it ).

 

He asks to take the SS3 mono out instead, I explain its a filtered signal as it came from the B1200. he threatens to just take a mono direct from my board, so I say F-it, I unplug the B1200, pull all those cables, and run two 1/4" out from my keys to the 1/4" SS3 inputs, get another 1/4" out as I figure the best option now is skip the suvb so he gets a full unfiltered signal from the SS3 out to run to his DI.

 

But he's getting nothing from his board. nada. I suspect its still his gear, but he's still not in the mood for lengthy trouble shooting (which I understand, there's a very large crowd watching and waiting for him). He says maybe its his DI, goes and grabs another, and brings it back. he unplugs one of my SS3 inputs and runs it into his DI then a DI signal out back to my SS3. so now he's just pulling one half of my two keyboard outs. but its before it goes into the SS3. now he's getting signal. I'm annoyed ... but its go time, I can hear myself, its one two three ... and we're off, its rock n f-in' roll.

 

Next Problem - he has large sidefill monitors just on the edge of stage, hung at ear level. I'm playing at stage right. Monitors are about a foot from my head and he has them fricken CRANKING!. My right side has mostly me and the lead guitarist next to me, can't hear the other side of the stage much at all. what a crappy stage mix, just horrible. I send our sound tech to ask him to turn them down, so at least it doesn't hurt my ears. But I can barely hear my SS3, as his sidefill is too loud.

 

We play our set, and the crowd just loves it. said the keys sounded great, clear, cut thru the rest of the mix. I don't really hear my SS3 and still don't know of the Berringer or his cabling etc caused the first major fail.

 

And as I'm playing the set, its dawning on me ... what am I doing? SS3 is a cool innovative concept, but I'm just a weekend gigger and I use my sound for a stage monitor only ... do I need this multi-box contraption that on its maiden voyage was an epic fail (for still unknown cause). The B1200 XLR ins don't even lock, they feel loose and could wiggle out. But beyond the multi-connection "fun", If I'm hearing something different than FOH, is that really a good thing for me to do? why do I want to hear something different than my audience? needing a second sub and still nearing max without a mixer to boost my signal ... now i'm looking at needing SS3+sub+mixer+all the interconnects between these devices ... when I could just run to a high quality powered PA speaker like Kx or ??? (whats our powered PA speaker of choice this week, KC?).

 

whats this forum think. I get the great value this psuedo-stereo innovation has for some guys in their situations ... but me ... I play loud obnoxious rock and always run to a FOH ... the crowd is never hearing my stage sound. I need simple and I need more power, I don't want the hassle or problem opportunities of a big sound rig just for my monitor sound ... I've got about $1300 in this total configuration and maybe in my specific case ... what would you do?

 

anyway ... my gig report boils down to --- epic fail due to house sound equipment and not sure about B1200 thru outs. In all respect and fairness, and to be clear - i don't think the fail was caused by the SS3 at all.

[mate stubb]

Sounds like a powered speaker stuck in your ear is more to your liking. I can't blame you, it's what I do. I am running mono these days, but can convert to stereo with a couple patch cables and bringing an extra speaker.

[Dave Osoff]

MotiDave - I feel your frustration. Nothing worse than a great gig like that with hellish sound, FOH situation. I can't speak about the Behringer sub as I haven't given in to that temptation (I have a few reliable old JBL EONs that give me the extra juice when I need it). But I still want and need my stage sound to inspire me. That's what the SS gives me. I can't control the FOH sound and unfortunately, more often than not the sound guys don't want to take more than a mono signal. So I just don't worry about it. I just try to get the best stage sound I can and grin and bear it when it sucks. :-) I know the SS doesn't work for some folks who need more output but it's been working for me very well with a little trial and error with placement, Gator amp stand, and sometimes adding my mixer to the chain to give me more headroom.