Heads-up: SpaceStation keyboard amp is apparently back

[MotiDave]

I could send the new rig back and all the special 1/4" to XLR cables I needed just for it, and the really cool sem-hard case I got for the SS3 (which is pretty cool - I'd recommend it to guys who love their SS3), and just about bring home a pair of K10s.

 

still looking for the seasoned loud rock show giggers out there in KCville.

[MathOfInsects]

Man, sorry.

 

As you (may) know, I have not been convinced that this was the best option for you, based on your description of the gigs you play and the kinds of patches you use. Once you ordered it, though, I was hoping it would turn out to be right.

 

I have some gripes with this amazing box, primary among which is that it's needy. It requires a lot of attention. If I have a mixer at my board, I want that to be where I make my adjustments. But this box needs additional adjustments at the source, and incidentally it also only works best if the source is a decent distance from you. This means, Play...walk over...walk back...play...walk over...walk back...Rinse and repeat. And that's ALL separate from anything you do on whatever mixer you're using right next to you. I can find this annoying.

 

Also, while the thing does pump, I personally rarely want it to, since pumping brings out the (IMO) weakest aspect of it, which is too-focused-mids out of the 8-inch front speaker. So there are times where, while I'm glad I can be heard, I don't always like they way I'm sounding.

 

Now don't get me wrong, I LOVE playing through this box. Owning it has changed the way I think of my sound in both rehearsal and performance. But I also do not think it's for everyone. And I'm not surprised that this thread might have had the result of putting into a couple more hands than it needs to be in (not that I mind Aspen reaping the reward of this great thing).

 

As far as the "why am I listening to something different from FOH"...well, you always are. The real question is whether you're getting the on-stage sound you need to play your best. Since the monitor mix is always a wildcard, you might as well control whatever factors you can to get a good stage ref for yourself.

 

If the SS3 isn't providing that, it's no crime. The salient feature of the box is the side-vs-mid "throw." If you're running mostly in mono, or don't value/need/hear that as part of your stage ref, it's just not the right box for you, and that's fine.

 

Sorry it was rough going. The good news is Ramona is a fun, true listeners' venue, and the crowd probably got a good show either way.

[cphollis]

I'm thinking this thread is turning into a philosophy discussion around stage sound.

[MathOfInsects]

still looking for the seasoned loud rock show giggers out there in KCville.

 

Well, it's not my whole living, but it's certainly part of it. Played one last night. I used the SS3, but turned the width down and put it close to me. I only wanted control over my ref mix; everyone else could have whatever they wanted through their monitors. Plus for most of those synth patches, subtlety is not the salient feature. All that matters is the FACT of the sound.

 

Today, by contrast, I played a funk gig. Lots of organ, vintage keys and joysticking. My ref was not only for me, but for the rest of the stage as well. So I set the ss3 up in a magically convenient corner facing the stage (the only option in this case), set width to supplement the monitor mix with that great swirl of reflections, and used the SOUND of the sound to drive the performance.

 

An aside: Soundman was balancing FOH and trying to get mix right. He asked me to turn down. I'm pretty good by this point at leveling my stage volume, but I kept pulling back farther and farther until finally I just pulled the volume off on the CR send to the SS3 (facing the stage, but in a corner). I figured I'd let him get FOH right and take it from there. I told him that's what I'd done.

 

"Wow," he said. "That thing really carries."

[Dave Osoff]

Gig report: First off, a big thank you to Aspen for getting my SS up and running again after a mishap in my vehicle that broke off the width control knob and thus disabled the side speakers... We swapped out the rear panel and it works beautifully. I just bought a Gator rolling mixer case for it which is a great solution for transport. The dimensions are almost perfect for the space station, all it needs is an extra piece of foam to tighten the fit.

 

3 gigs this weekend, 2 with an original / cover southern flavored rock band - electric and acoustic gtr, bass drums, 2nd keyboard player, one indoor club gig and 1 outdoor. Overall the space station has been a big hit with this band. Organ is a big part of the band sound and the SS has made a huge difference, especially in that area.

My setup this weekend: HX3 organ expander > DMC-122 controller >Ventilator 1 and my Nord Stage 2 73 > Samson S10 mixer > SS V3. I have been running the organ through the Nord's monitor input (or my Kronos' audio inputs at other gigs). to simplify the set up and bypass using the mixer but my Nord's Monitor input isn't working too well right now. The Mixer gave me more head room, and the organ just sounded huge today! I got tons of compliments about the organ sound, both the space station and HX3 / Crumar. Even though bringing a mixer is more work I may start bringing it more often because the extra headroom allowed me to ride the expression pedal and use the drawbars more creatively, without the subtleties getting lost in the mix.

 

The other gig was outdoors with an 11 piece horn band - they also loved the organ and fullness of the SS. FOH and stage mix today was excellent, last night the stage mix was boomy and loud.

Nord EPs and clavs sound great through the SS, the Nord acoustic pianos are tough to dial in though. My Kronos K Sounds pianos sound much better through the SS.

[Aspen]

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.

 

Since this is the first shipment to a new dealer partner...I can't really say when they will actually arrive.

 

The shipment will be ready to leave the Eminence factory next Friday, the 29th.

 

It takes about 3-4 weeks to make it to USA, so I am guessing about the same for Germany...but frankly I have no experience with this so it's just an educated guess.

 

I am sure Thomann doesn't want to promise late June, then disappoint...so they are probably playing it safe.

[Al Coda]

...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!)

 

Sorry, no.

 

EUR 799,- is end user price and equivalent to USD 894.23 today.

 

Nothing against Thomann, I buy there often,- but gear in germany is much more expensive than in the US and Thomann won´t change that.

 

A.C.

 

[DanL]

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.

 

Sorry about the sound guy... I bet he had phantom power turned on on the xlr channels he tried to take from the Sub aux outs... That setup should work just fine and the aux outs should be able to be used with no problem like that.

[garnermike]

MotiDave:

My low-tech suggestion? Simplify. Try leaving out the Behringer. Run your keys directly into the SS, and then send its sub-link to FOH. Put the SS behind you (at least 5 feet) of you can. Have FOH give your monitor and the stage main speakers deeper low response.

 

[garnermike]

Dave: You may be misinterpreting what the majority of SS users/posters are saying? They are not saying they can't hear themselves with the SS; they mostly are saying that, at first, they can't hear the difference, i.e., the stereo effect, that the SS is touted for. Once they learn various distancing, positioning, and/or side-speaker deflecting options, the SS's effect is better heard.

[Raymb1]

You can hear the difference up close also if you turn the side speaker down then up.

[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.

 

Sorry about the sound guy... I bet he had phantom power turned on on the xlr channels he tried to take from the Sub aux outs... That setup should work just fine and the aux outs should be able to be used with no problem like that.

That actually makes alot of sense ... could of been it. dude was not super pleasant during the fire of battle. he should know not to send phantom power to an (any) amp cabinet line out. alas, we'll never know.

 

Attempt 2 - first time he plugged into the 1/4" SS3 out, after I took the sub out of the rig, he got nothing. switched DI, still got nothing. Took the line out of my keys into his DI, and it worked. the whole thing was just odd and off-putting. fortunately the crowd didn't know nor care. what really bugged me is it devolved to the point I didn't know what he was actually taking for FOH ... one channel of a two channel signal, i had no idea if that would completely suck. turns out most of my signals were mono Wurly, Moog or poly synth so it was fine from FOH/audience perspective. my B3 already sucks coming out of my Motif (lets not swerve into that discussion ) but I only use it on a few songs, and thats the entire set for UFO's Strangers In The Night live album.

 

The SS3 does make a cool sound, if it had a 10 and 500W, i woudn't even be pondering a change, I'd just let it do mono when mono and bloom when blooming. I talked to several keyboard players from hard rock bands at the show both before and after who were all curious about this intriguing SS3 with the unusual side-firing bi-directional secondary speaker, they all just use a basic powered pa speaker. alas, they didn't get to hear the SS3 produce magic, there was just no way they could hear it over FOH, as I couldn't even hear it over the side fill monitor. I'm concluding its a cool box for either more intimate set contents (e.g. jazz trios, etc) playing at lower volumes in more intimate venues, or for rehearsals as standalone.

 

so i'll call Sweetwater ... am thinking K10 ... whats this crowd advise?

 

FYI - I got that same gator rolling case someone else mentioned (its actually made for a PA rack or someting module) - the SS3 fits really nice inside of it, turned sideways so if you lay the case on its back the SS3 knobs won't be compressed. its top loading, works well with SS3 top handle

[WWW]

To solve all of these problems, I do what many users do. I use a small mixer where are my keyboards are plugged in. I send the stereo headphone feed to my Space Station. I also send a separate master feed to a stereo direct box for the front of the house. This way, I can control my local volume separately from the volume that goes to the FOH. I use a good direct box and I have never had any problem whatsoever with this set up. It also makes it extremely clear and obvious where any failure in the chain might be.

[J. Dan]

What you experienced pretty well sums up why I run mono with my own high quality radial DI, along with the fact that I monitor my vocals as well. Most gigs I wouldn't even be able to tell that it was stereo....I'm lucky to hear it over the snare cracking in my left ear. I'm happy to hear the notes I'm playing and singing.

 

However, if you'd like to use your SS3 (with or without the sub), I'd still run DI's prior to your rig so that you don't run into ground loops, phantom power, cable questions, etc. Sound guy gets his direct isolated signal, you get yours....no finger pointing and no questions. Of course in that case, you're still sending him 2 lines.

 

I use a single K10 set to "ext sub" because there's plenty of bass coming from half dozen 18's in FOH and it cleans it up.

 

IEM's if I can get my own mix.....still mono though,

[MotiDave]

J Dan - thanks, i think this is my solution. For the SSv3 lovers, I get it, I heard that spacial magic at general room volumes you don't hear in a mono device. I was swayed by this mancrush, but I'm a different cat in a different musical space. I'm a simple rocker, not a nuanced jazz impressario. Loud and proud, we kick ass and have a blast, nuance isn't much part of my equation.

 

The only set I do that would benefit from stereo is my Bowie gig that has extensive AP (all of the best AP sounds are always stereo design, which is an annoyance for us mono players - i digress).

 

For a single box mono solution ... K10, K12, ... other? I do not want a sub, I don't want extra anything.

 

DI recommendations? Most musicians I know recommend Radial Pro's - whats the thought on D1 vs D2? $50 difference isn't important to me.

 

I still believe my problems were the FOH, not this rig. but maybe its a blessing for my situation as it makes me rethink wtf am I doing.

[cphollis]

 

so i'll call Sweetwater ... am thinking K10 ... whats this crowd advise?

 

 

I've had K8s, K10s and K12s for years. No complaints. Plenty loud, reasonably clean, built like a tank. Weight not an issue, K12s. Something a bit lighter but not really a compromise, that's a K10.

 

Get'em used on eBay or Craiglist -- or negotiate hard with the online outfits like ProAudioStar for B-stock or similar. Just don't pay list

[Tombsalley]

If you go that route,why not the Yamaha DXR series? DXR10 light and portable.

The are pretty nice for the $ with Nexo help design.

I think they hold up better on the loud side of things vs the QSC

[Dave Osoff]

For DI box I use a Radial D2. The sound guys like it and the stereo option is always there. The rolling Gator case for the SS that MotiDave and I bought is The GPA-720. I just got a great deal on it from B&H - 95.00. It's 149.00 or 159.00 at other places.

[MotiDave]

yes, GPA-720, its a great top loading case for the SS3. all your cables will fit in the front pocket. I paid $145 at Sweetwater, $95 is almost criminal

 

I posted a couple of my "SSv3" gig clips in shameless plugs, but as mentioned you won't hear this interesting invention. you may hear why I'm wondering if its relevant to my particular nitch, as well as a few classic UFO songs (which is a decided nitch and may not appeal to most)

[Danny Linguini]

If you go that route,why not the Yamaha DXR series? DXR10 light and portable.

The are pretty nice for the $ with Nexo help design.

I think they hold up better on the loud side of things vs the QSC

 

I'd have to second this. I've got the DBR10's and love them -- the DXR's have even more grunt. I can't say I'm a huge fan of the K12's that I've heard.

[Tombsalley]

Before the SS pair I've used the DSR 112's with a QSC Ksub

And a couple of monitors.

[Al Quinn]

If you go that route,why not the Yamaha DXR series? DXR10 light and portable.

The are pretty nice for the $ with Nexo help design.

I think they hold up better on the loud side of things vs the QSC

 

I had K8s and K10s. I don't have them anymore. On both the audio quality tanked when they were pushed on acoustic piano samples -- they became honky and unclear. Synths, organs, and EPs didn't suffer as much.

[Al Quinn]

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

 

I tried the SS and JBL EON15 G2. It didn't sound good. The EON15 lacks the proper low-end tone (even when I fiddled around with the tone controls) and it contributed too much sound to the mids even when its treble control was turned all the way down. Not a good pairing of powered speakers for organ with LH bass.

 

I spent more time with the SS / B1200 combo and the bass lines lack clarity. My 30 days are almost up. Pretty sure I'll be returning the B1200. The quest for better low end reinforcement for jazz organ w/LH bass gigs continues...

[MotiDave]

If you go that route,why not the Yamaha DXR series? DXR10 light and portable.

The are pretty nice for the $ with Nexo help design.

I think they hold up better on the loud side of things vs the QSC

 

I'd have to second this. I've got the DBR10's and love them -- the DXR's have even more grunt. I can't say I'm a huge fan of the K12's that I've heard.

 

DBRs eh? How do they compare to the DXRs? gotta say I like the price and weight alot, I'd grab a pair of those, might only get a single of the DXR or K10

[timwat]

Prior to the SS, I used a pair of DXR8s. I still have them, kept cosmetically pristine in their QSC K8 bags.

 

The DXR series is really hi fidelity, light and powerful for their class (as you might presume, nothing in this price bracket competes with the top-of-line RCF or Fulcrum stuff which is more than 5X the price...).

 

Yamaha also has a 7 year warranty period, which was painless and quick for me when I fried one on a 106 degree outdoor gig.

[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

 

I tried the SS and JBL EON15 G2. It didn't sound good. The EON15 lacks the proper low-end tone (even when I fiddled around with the tone controls) and it contributed too much sound to the mids even when its treble control was turned all the way down. Not a good pairing of powered speakers for organ with LH bass.

 

I spent more time with the SS / B1200 combo and the bass lines lack clarity. My 30 days are almost up. Pretty sure I'll be returning the B1200. The quest for better low end reinforcement for jazz organ w/LH bass gigs continues...

 

Hmm, returning the bargain priced sub? As capable a player as Jim Alfredson uses sub(s)? My gut, is still biased against a sub for the kind of bass I like. I have issues with bass amps and a bass, let alone a left hand bass!

And Bob Jazzmammal said there are subs and then there are subs, like a $2000 Infinity. He says no comparison.

Keep me apprized of your journey towards bass nirvana.

Reminder: many of my heroes never used a sub in their heyday.

Larry Young, Jimmy Smith, Ray Brown, Ron Carter, Paul Jackson, Pino uses multiple SVT"S. I am not sure about Marcus. But Jamerson never did. Those low, exaggerated frequencies are not natural to bass from my era.

 

[J. Dan]

I got the K10 before the DXRs were put. I like mine, but I heard a DXR at Tonysounds' place and really liked it. To be honest, so far my favorite is the line6 (I think L3r or something...the 3 driver one..,,pricey, but sounded nice).

 

But the K10 has worked great for me in non-ideal settings, loud rock bands, mono.

[Tombsalley]

And then theres the Spacestation...

Sorry,just thought I'd Try to get back to that topic.

[cphollis]

So, a relevant thread might be "when does the SSv3 make sense?" vs. "when do one or two self-powered PAs make sense?".

[Danny Linguini]

So, a relevant thread might be "when does the SSv3 make sense?" vs. "when do one or two self-powered PAs make sense?".

 

Almost kinda have one along those lines going here:

https://forums.musicplayer.com/ubbthreads.php/topics/2675911/Re_Need_help_suggestions_with_#Post2675911