Heads-up: SpaceStation keyboard amp is apparently back

[Doug Robinson]

Danl, that stand approximates the angle and closeness to the floor I'm getting using a guitar stand on its side, and I'm really happy with the sound.

[DanL]

I think I will fabricate a couple wedges or something to approximate that to see how it works for me. Have a gig with the one band that I always use the SS3 with this weekend, 4 piece blues band, nothing in the PA, etc.

[TomKittel]

Looking into an amp stand to try the "aim the side speaker sideways" trick. Anyone using something like this one? Seems like it might work, keep the SS3 closer to the floor but give room for the side speaker to fire down.

 

On Stage Stand

 

I have both, the earlier mentioned Gator stand and this one. I prefer the higher position of the Gator amp stand. It seems to space out the 3D sound of the SSV3 better. But it's all a matter of taste of course.

[Bernie9]

Interesting observation, maybe the Gator stand is fine after all.

[Raymb1]

I've been using the Gator amp stand for almost 6 months now. The SS sounds great using the floor as a reflecting surface for the side speaker. I don't think the angle of the front speakers is critical. The surround sound is still there. Ray

[Slats8]

Here's my dilemma - I play in an 11 piece blues band with horns, two guitars and a VERY loud drummer. I've had the chance to gig with my SS3 4 or 5 times now. The highs sound great and cut through, but as soon as I go to the lower range on any patch I'm playing, the distortion overwhelms - I feel like I'm going to blow the speakers out. Consequently, I am ready to pull the trigger on the Behringer b1200D - however, most posts I have read encourage users to run KB Mix>SS3>BehringerSub to get the best results. It seems to me that this would work fine in lower volume settings, but in my case with such a loud stage volume, I would still need to have the volume up pretty high going into the SS3 and, therefore, will still be maxing out the smaller speakers of the SS before going into the sub.

 

So, my dilemma is this - I want to run my chain as KB Mix>Sub>SS3 basically to protect the speakers in the SS (cut out the lows), but will I compromise sound quality running it this way? Does anybody out there "voluntarily" chain their gear this way? Will it adequately meet my desire for quality highs AND lows at a loud stage volume?

[drawback]

Slats8: I run my chain Keys>B1200D>SS3 for the reasons you cite. Lots of clean headroom, plus I can output stereo from the sub's thru's to FOH when necessary.

[Al Quinn]

I have mentioned in the past that SS3->Sub worked best for me but that was a special case. I was playing jazz organ left hand bass at low to medium volume and found that this setup provided better definition of pitch for the LH bass. In this situation I have much more volume then is needed. For your situation, where volume is needed, I would go with Sub->SS3. In this situation you won't have the LH bass pitch issue I had. I've heard others say that when configured this way they get more volume out of the SS3 which makes sense since the B1200D filters out the low-end frequencies which are likely causing the issue you experience.

[Aspen]

For your situation, where volume is needed, I would go with Sub->SS3. In this situation you won't have the LH bass pitch issue I had. I've heard others say that when configured this way they get more volume out of the SS3 which makes sense since the B1200D filters out the low-end frequencies which are likely causing the issue you experience.

 

I ditto Al's comments here Slats8, for higher volume gigs that will let the SS3 play louder and cleaner. There is a small gain reduction, and not just because of the Hi Pass filters, but that is easily made up with the SS3 Level...we have lots of gain there.

 

Two more things I have mentioned before, and which bear repeating (because who's gonna review 122 pages!), is your comments about the distortion you hear when you have your SS3 maxed out, and your fear of blowing speakers.

 

Blown speakers: These speakers are extremely well rated and balanced to this amp design, and as such, so far (knock wood) we have had no blown speakers! We did have one 6.5 Side that had a buzz but we believe that was defective unit from the start.

 

This reliability rate is also due to the Tri-amp design. The electronic crossovers (as opposed to passive crossovers) provide additional protection because each speaker only sees signal in it's useable frequency range. Additionally, our use of 4 Class D amps, which actually get cleaner as you turn them up, provide a comfortable sine wave signal for speakers, as opposed to a distorting square wave signal that hammers speakers and causes wear and damage.

 

Distortion at higher levels: Most any amp can be driven into distortion, and the SS3 is no exception. However the SS3 is a really clean amp and the distortion issues I have seen so far with the SS3 have been input signal based, that is, the signal is distorting BEFORE the SS3 input. In every case, this was easily corrected by use of a mixer between the KB and the SS3. This allows for optimum impedance matching and better gain management as you will have a "peak" indicator and several gain stages that allow for optimum gain management.

 

You may not need a mixer for every application, but it sure helps for most those higher SPL situations, and it also gives you the ability to "match" several KBs and also have convenient mixing features at your fingertips, as you can locate the mixer close to your KB.

 

It also doesn't have to be a big bulky expensive mixer, there are several small format quality mixers with these gain management features AND have some cool stereo FX (for that sit in vocalist or guitarist) available for under $300. There are even some "mini mixers" under $99 can work fine too if it's just gain management you are after.

 

That said, there is one Achilles heal to the SS3 that may be the source of that distortion you are hearing; the sub jack.

 

The SS3 is a sealed system, that is, it is a non-ported design with no "vents" to allow air to escape as the speaker moves and pushes air. However, the Sub jack has a 1/4" outlet so when not in use there is a tiny amount of air that can escape thru this hole, and it produces a small "farting" sound (for lack of a better word, sorry..last time I mentioned this we had a page of farting jokes...let's not go there again please!).

 

This "escaping air distortion" is only heard at higher volume levels and only if you are within 5-6 feet, so the audience isn't hearing it, and it doesn't really hurt anything.

 

The "fix" is pretty easy; just plug in any 1/4" phone plug into the Sub jack and "seal that hole". Problem gone.

 

Any old plug from a bad cable with the wire cut off at the head works fine for this. Of course when you use a sub (or small bass amp as many are using), that also seals that rear Sub hole and eliminates the problem too.

 

Again, this "escaping air distortion" is only heard at very high sound levels, so many of you may never notice this. But in the case you do, now you will know how to "fix" it.

 

[garnermike]

"The sound, footprint & weight of the SS just makes it a no brainer to me. Sk1 + SS = ~55lbs of pure playing pleasure. I feel very mobile these days, toss them in the car at a moments notice & roll."

 

Doug, this has been my very same thinking for going on 5 years now, first using the SSv.2 and now the SSv.3 with my SK1. At 65 years old and with a bad back, I find this gear tandem to be a gig-saver. That the SS has reduced lugging size and weight while IMPROVING my SK1's sound is a pure win-win.

[garnermike]

DanL: I have used that little amp stand, but found that regardless of whether the SS is laid horizontally or vertically on it, the bars of the stand tend to get in the way of making easy dial adjustments.

 

I have use this one...

http://www.musiciansfriend.com/accessories/gator-combo-amp-stand?rNtt=gator amp stand&index=3

...which is OK but doesn't give you a very forward facing "lean" before it destabilizes. It does fold very flat and is light however.

 

I have also used this one....

http://www.musiciansfriend.com/accessories/musicians-gear-deluxe-amp-stand

...but it really disallows positioning the SS vertically, and it's just a bigger stand all around..

 

I am now using this one.....

http://www.sweetwater.com/store/detail/RS7500?adpos=1o3&creative=55281441601&device=c&matchtype=&network=g&gclid=CMK6g4aS0cYCFZKRHwodQ4UJVQ

and prefer it. Accommodates using the SS vertically or on its side; gets the amp about 8 inches off the floor; folds very compactly; is lightweight; and is relatively cheap ($29).

 

[Slats8]

For your situation, where volume is needed, I would go with Sub->SS3. In this situation you won't have the LH bass pitch issue I had. I've heard others say that when configured this way they get more volume out of the SS3 which makes sense since the B1200D filters out the low-end frequencies which are likely causing the issue you experience.

 

I ditto Al's comments here Slats8, for higher volume gigs that will let the SS3 play louder and cleaner. There is a small gain reduction, and not just because of the Hi Pass filters, but that is easily made up with the SS3 Level...we have lots of gain there.

 

Two more things I have mentioned before, and which bear repeating (because who's gonna review 122 pages!), is your comments about the distortion you hear when you have your SS3 maxed out, and your fear of blowing speakers.

 

Blown speakers: These speakers are extremely well rated and balanced to this amp design, and as such, so far (knock wood) we have had no blown speakers! We did have one 6.5 Side that had a buzz but we believe that was defective unit from the start.

 

This reliability rate is also due to the Tri-amp design. The electronic crossovers (as opposed to passive crossovers) provide additional protection because each speaker only sees signal in it's useable frequency range. Additionally, our use of 4 Class D amps, which actually get cleaner as you turn them up, provide a comfortable sine wave signal for speakers, as opposed to a distorting square wave signal that hammers speakers and causes wear and damage.

 

Distortion at higher levels: Most any amp can be driven into distortion, and the SS3 is no exception. However the SS3 is a really clean amp and the distortion issues I have seen so far with the SS3 have been input signal based, that is, the signal is distorting BEFORE the SS3 input. In every case, this was easily corrected by use of a mixer between the KB and the SS3. This allows for optimum impedance matching and better gain management as you will have a "peak" indicator and several gain stages that allow for optimum gain management.

 

You may not need a mixer for every application, but it sure helps for most those higher SPL situations, and it also gives you the ability to "match" several KBs and also have convenient mixing features at your fingertips, as you can locate the mixer close to your KB.

 

It also doesn't have to be a big bulky expensive mixer, there are several small format quality mixers with these gain management features AND have some cool stereo FX (for that sit in vocalist or guitarist) available for under $300. There are even some "mini mixers" under $99 can work fine too if it's just gain management you are after.

 

That said, there is one Achilles heal to the SS3 that may be the source of that distortion you are hearing; the sub jack.

 

The SS3 is a sealed system, that is, it is a non-ported design with no "vents" to allow air to escape as the speaker moves and pushes air. However, the Sub jack has a 1/4" outlet so when not in use there is a tiny amount of air that can escape thru this hole, and it produces a small "farting" sound (for lack of a better word, sorry..last time I mentioned this we had a page of farting jokes...let's not go there again please!).

 

This "escaping air distortion" is only heard at higher volume levels and only if you are within 5-6 feet, so the audience isn't hearing it, and it doesn't really hurt anything.

 

The "fix" is pretty easy; just plug in any 1/4" phone plug into the Sub jack and "seal that hole". Problem gone.

 

Any old plug from a bad cable with the wire cut off at the head works fine for this. Of course when you use a sub (or small bass amp as many are using), that also seals that rear Sub hole and eliminates the problem too.

 

Again, this "escaping air distortion" is only heard at very high sound levels, so many of you may never notice this. But in the case you do, now you will know how to "fix" it.

For your situation, where volume is needed, I would go with Sub->SS3. In this situation you won't have the LH bass pitch issue I had. I've heard others say that when configured this way they get more volume out of the SS3 which makes sense since the B1200D filters out the low-end frequencies which are likely causing the issue you experience.

 

I ditto Al's comments here Slats8, for higher volume gigs that will let the SS3 play louder and cleaner. There is a small gain reduction, and not just because of the Hi Pass filters, but that is easily made up with the SS3 Level...we have lots of gain there.

 

Two more things I have mentioned before, and which bear repeating (because who's gonna review 122 pages!), is your comments about the distortion you hear when you have your SS3 maxed out, and your fear of blowing speakers.

 

Blown speakers: These speakers are extremely well rated and balanced to this amp design, and as such, so far (knock wood) we have had no blown speakers! We did have one 6.5 Side that had a buzz but we believe that was defective unit from the start.

 

This reliability rate is also due to the Tri-amp design. The electronic crossovers (as opposed to passive crossovers) provide additional protection because each speaker only sees signal in it's useable frequency range. Additionally, our use of 4 Class D amps, which actually get cleaner as you turn them up, provide a comfortable sine wave signal for speakers, as opposed to a distorting square wave signal that hammers speakers and causes wear and damage.

 

Distortion at higher levels: Most any amp can be driven into distortion, and the SS3 is no exception. However the SS3 is a really clean amp and the distortion issues I have seen so far with the SS3 have been input signal based, that is, the signal is distorting BEFORE the SS3 input. In every case, this was easily corrected by use of a mixer between the KB and the SS3. This allows for optimum impedance matching and better gain management as you will have a "peak" indicator and several gain stages that allow for optimum gain management.

 

You may not need a mixer for every application, but it sure helps for most those higher SPL situations, and it also gives you the ability to "match" several KBs and also have convenient mixing features at your fingertips, as you can locate the mixer close to your KB.

 

It also doesn't have to be a big bulky expensive mixer, there are several small format quality mixers with these gain management features AND have some cool stereo FX (for that sit in vocalist or guitarist) available for under $300. There are even some "mini mixers" under $99 can work fine too if it's just gain management you are after.

 

That said, there is one Achilles heal to the SS3 that may be the source of that distortion you are hearing; the sub jack.

 

The SS3 is a sealed system, that is, it is a non-ported design with no "vents" to allow air to escape as the speaker moves and pushes air. However, the Sub jack has a 1/4" outlet so when not in use there is a tiny amount of air that can escape thru this hole, and it produces a small "farting" sound (for lack of a better word, sorry..last time I mentioned this we had a page of farting jokes...let's not go there again please!).

 

This "escaping air distortion" is only heard at higher volume levels and only if you are within 5-6 feet, so the audience isn't hearing it, and it doesn't really hurt anything.

 

The "fix" is pretty easy; just plug in any 1/4" phone plug into the Sub jack and "seal that hole". Problem gone.

 

Any old plug from a bad cable with the wire cut off at the head works fine for this. Of course when you use a sub (or small bass amp as many are using), that also seals that rear Sub hole and eliminates the problem too.

 

Again, this "escaping air distortion" is only heard at very high sound levels, so many of you may never notice this. But in the case you do, now you will know how to "fix" it.

[DanL]

DanL: I have used that little amp stand, but found that regardless of whether the SS is laid horizontally or vertically on it, the bars of the stand tend to get in the way of making easy dial adjustments.

 

I have use this one...

http://www.musiciansfriend.com/accessories/gator-combo-amp-stand?rNtt=gator amp stand&index=3

...which is OK but doesn't give you a very forward facing "lean" before it destabilizes. It does fold very flat and is light however.

 

I have also used this one....

http://www.musiciansfriend.com/accessories/musicians-gear-deluxe-amp-stand

...but it really disallows positioning the SS vertically, and it's just a bigger stand all around..

 

I am now using this one.....

http://www.sweetwater.com/store/detail/RS7500?adpos=1o3&creative=55281441601&device=c&matchtype=&network=g&gclid=CMK6g4aS0cYCFZKRHwodQ4UJVQ

and prefer it. Accommodates using the SS vertically or on its side; gets the amp about 8 inches off the floor; folds very compactly; is lightweight; and is relatively cheap ($29).

 

Thanks! I ordered #3. I looked at that one as well but wasn't sure.

[Slats8]

As you can tell, I am having extreme difficulty figuring out how to use quotes, etc. to respond to posts - sorry about that. I wanted to say thanks to Aspen, Drawback, and Al for your helpful replies. I also wanted to get a little feedback from Aspen or others for recommendations on good/quality small mixers for keyboardist - I have a Mackie 12 channel mixer, but it's pretty huge - what's out there these days that is reliable, portable, and gets the job done?

[hardware]

I'm just a cheapskate as I prefer a small footprint.

2 x Miner's wedges I hacked out of a 2 x 4 in my garage, then coated with black polymer rubber sealer I had leftover.

 

Maybe there's a scientific formula of polymer + wood absorption I got lucky with.

 

I hear it just fine but bought this so my mates could hear across the stage over the cannon like sounds of 18' bass and 30" inch kick drums.

 

Instead of self appeasement, I thought of others since they had to tilt their head to hear my dual 1000watt K12's.

Little ssv3 beats them in every category.

 

So if anyone has issues of the perfect sound, ask your band mates what they think too.

 

 

[jmolino]

As you can tell, I am having extreme difficulty figuring out how to use quotes, etc. to respond to posts - sorry about that. I wanted to say thanks to Aspen, Drawback, and Al for your helpful replies. I also wanted to get a little feedback from Aspen or others for recommendations on good/quality small mixers for keyboardist - I have a Mackie 12 channel mixer, but it's pretty huge - what's out there these days that is reliable, portable, and gets the job done?

 

there is a Mackie PROFX12 12-Channel Compact Effects Mixer with USB on Amazon for $199 (if you don't need that many ports, there is a smaller one too)....but since Mackie came out with a V2 version, the price on this model was reduced by almost $100 (the new model just has newer looking knobs as well at VITA mic input ports that are supposed to be "quieter" - however since you aren't going to be using the Mic ports (the V1 ones were just fine and quiet anyways) its probably better to save the $). Anyways, Sweetwater has better support, but Amazon has the same mixer for $80 less.... This is what I'm using in my home studio and its great.

[jmolino]

Oh and one more thing, I'm running my mixer's main outputs to the B1200D > the Spacestation inputs (make sure you check to get the right connectors, you'll need XLR female to XLR male from the mixer to the sub, then XLR female to TRS (male) to the SS. It sounds great for organ leslie sims. Closest thing to my 147 (which is right next to it) that I've ever heard. both from the mojo and the HX3.

[drawback]

As you can tell, I am having extreme difficulty figuring out how to use quotes, etc. to respond to posts - sorry about that. I wanted to say thanks to Aspen, Drawback, and Al for your helpful replies. I also wanted to get a little feedback from Aspen or others for recommendations on good/quality small mixers for keyboardist - I have a Mackie 12 channel mixer, but it's pretty huge - what's out there these days that is reliable, portable, and gets the job done?

 

Slats8 how many keyboards are you running? And if you quote, just do a return after the /quote] before beginning your reply.

 

 

[Daddyg3042]

I also wanted to get a little feedback from Aspen or others for recommendations on good/quality small mixers for keyboardist - I have a Mackie 12 channel mixer, but it's pretty huge - what's out there these days that is reliable, portable, and gets the job done?

 

Slats....I run from 1 to 3 boards depending on gig/stage space. I also bought a SSV3 about 6 mos. ago. Obviously, with more then 1 board, you need a mixer. I was using a Eurorack 802, bought very cheaply. but it sorta makes everything sound thin. I picked up a Behringer XR12:

XR 12

What a very cool little mixer. Plenty of channels, with very nice pre-amps, EQ/Comp/gate per channel, and 4 efx. Much fuller sound with many more options, for $300. I also use it on our duo gigs, and in rehearsal. Great sounding little mixer, super lightweight, and really small footprint. You run it off your PC/Mac/android phone/iPad. Since most have at least one of those, it wouldn't be another expense. Software is free.

 

Good luck

[cphollis]

As you can tell, I am having extreme difficulty figuring out how to use quotes, etc. to respond to posts - sorry about that. I wanted to say thanks to Aspen, Drawback, and Al for your helpful replies. I also wanted to get a little feedback from Aspen or others for recommendations on good/quality small mixers for keyboardist - I have a Mackie 12 channel mixer, but it's pretty huge - what's out there these days that is reliable, portable, and gets the job done?

 

I've used the Yamaha MG06 and like it for its small size, clean sound and bare-bones design. Also pretty cheap. Link

[rickp]

As you can tell, I am having extreme difficulty figuring out how to use quotes, etc. to respond to posts - sorry about that. I wanted to say thanks to Aspen, Drawback, and Al for your helpful replies. I also wanted to get a little feedback from Aspen or others for recommendations on good/quality small mixers for keyboardist - I have a Mackie 12 channel mixer, but it's pretty huge - what's out there these days that is reliable, portable, and gets the job done?

Slats8, here's Aspen's post regarding his mixer recommendation from a few months ago:

 

OK, chiming in again on this "mixer decision".

 

Yes, that Mackie 802 is a great solution, and a proven workhorse. And I highly recommend using a mixer w/ gain trim, and channel levels to balance your KB and get the right signal chain structure. The SS benefits from a good gain structure, so many guys who initially complained about some distortion eliminated that issue by adding a mixer (so the distortion was in the gain chain structure, not the SS)

 

All that said, IMHO for the same money (or even less), I'd go for the Mackie ProFX8. Or actually any similar stereo mixer with some form of built in stereo FX. I will explain that reasoning in a minute. It may add a bit of size to your set up, it's a few inches wider and deeper, but it may be well worth it for the additional options it offers.

 

Comparing just the "mixer features" between the 802VLZ4 ProFX8 we see they are basically about the same; same 3x stereo channels and mic/inst inputs inputs, with same EQ and signal path controls. So that's a "push".

 

However, the ProFX adds a master graphic EQ, albeit just an 8 channel. So IF you wanted to boost the overall LF on the SS v.3...this would work for that, or it could help tame an overly live room that was too "hot" in the upper mids. Rarely have I seen a room that couldn't benefit from some acoustical compensation.

 

But perhaps for me the most attractive feature the ProFX8 offers over the 802 is stereo FX! I admit I love most any stereo engine. And why not, I make the only live stereo transmission that actually works!

 

So why do I suggest adding stereo FX to a KB that has near perfect stereo modeling already? Actually, I do not. If you like your stereo patches, you can keep your stereo patches...no harm done here.

 

However, if you ever would use a mono KB, like a synth or early analog KB (Rhodes, Clav, Whirly) adding a touch of stereo Verb will really wake up the SS and give you a great new "width"...BTW, we usually we record them that way!

 

OK, so you don't use any of those, cool. But what about the KB player doing a single (or duo) who might have a vocalist sitting in, or an acoustic electric guitar player sitting in (or part of the group)? The SS v.3 is an amazing AE guitar amp and also sounds great for vocals. And having one point source for 2-3 instruments and voice really enhances your natural ability to "mix" your performances (all players hear the same mix balance). And again, having a touch of stereo FX on guitar or voice is wonderful. And heck, if you ever use a mic in these smaller venues, and want to leave the PA home, then YOUR voice will sound fuller, richer (Heck, everybody can use a bit of Talent Enhancement on their vocal).

 

Lastly, even if you are just doing KBs, adding a touch of Hall verb to your overall mix can liven up a really dead room, and give the Side speaker some "width" content to "bloom", right along with the stereo content of your KBs.

 

So how much more is the ProFX8 as compared to the 802? Actually, the ProFX8 is currently selling on the Sweetwater site for $20 LESS @ $179!

 

http://www.sweetwater.com/store/detail/ProFX8

 

But really most companies today are making mixers w/ builtin stereo FX. So if all mixing features being equal, I'd be glad to pay a bit extra to have that stereo FX option, for all of the above stated reasons.

[Slats8]

Thanks all for the input on mixers - it looks like the Mackie ProFx now has a v2 after the name and a little bump up in price - may go with that one. Although I own 4 boards and some modules, I usually will only take one or two boards to a gig. I've been real pleased with my SK1's ability to cover AP, EP, and of course, organ, so I've been getting by with just that board for most gigs but I've been itching to start bringing my Korg SV1 as well and my Ventilator - thus the need for multiple ports (mixer). I also own a rack mount line mixer which works great, but not real practical, small footprint and no effects (but I generally prefer not to use effects on my keys anyway, so not a big deal). Well, I'll probably think on this a bit more, but I am going to go ahead and order the b1200d. Cheers all!

[zaphod betamax]

I've had my CPS for a week now, and I am quite impressed with the spacious stereo surround sound.

For keyboards such as the Blofeld, that can be programmed for stereo pans on the wavetables, for example, it is quite the treat.

 

It even beefs up the oomph on older gear such as a JX-3P, as long as the stereo chorus is turned on.

 

It was everything it was advertised, and more.

 

Good show, CPS!

 

Mark Pigott

Sarnia, Ontario

Canada (ehh)

 

[jpst]

Good news for us in Europe - looks like the first batch of SSv3s have hit Thomann! Just had email saying mine has been despatched - can't wait...

[jimkost2002]

Thanks all for the input on mixers - it looks like the Mackie ProFx now has a v2 after the name and a little bump up in price - may go with that one.

 

Keep your 1202 in use if you use all 4 and get a mixer carry bag

 

If you only use 1 or 2 boards get the mackie 402 vlz $99 at Sweetwatwr

 

The build quality of pro FX is inferior to VLZ

[Aspen]

Good news for us in Europe - looks like the first batch of SSv3s have hit Thomann! Just had email saying mine has been despatched - can't wait...

 

Wow, thanks for that good news! I've been waiting to hear this...it has been a long time coming.

 

Thanks again "jpst" for the report, and please let us know how long the delievery time is from Germany, and also we'll be loooking forward to your first gig report. We already have 4 SS3 amps I sent into UK, but now with he ease of purchase and lower pricing I believe your SS3 family members will be growing.

 

I also would like to remind you that we have a "CPS family page" on Facebook for announcing SS3 upcoming gigs. This is an excellent way for curious players to actually hear one since I have no plans for doing a general distribution business model on our CPS Product line for music stores.

 

It still amazes me how the vast majority of SS3 owners have bought one solely based on just recommendations and gig reports from other players, mostly those posting on this thread...for which I shall be eternally grateful. Without you guys, and CPS fans like Tim Acomb and Michael Boddicker (who have EVERY CPS amp I ever made!) encouraging me to do this Version 3, and also my old friend Chuck Surack from Sweetwater Sound who "backed my play" (and now thanks to Hans Thomann too who has opened up Europe for CPS), I could never have relaunched this "bucket list" product of mine. Bless you all!

[JPerry]

Hi all - new to the forum but have spent a bit of time lurking around this thread. Based on the excellent input here, I've ordered a Space Station from Sweetwater. Mostly small venue jazz gigs for me - still using my old Yamaha P120 and a Nord Electro 2 for Hammond. I've got a buddy, also a jazz pianist - between us we have an assortment of amplification devices: Bose compact, Fishman SoloAmp, Mackie, Yamaha and JBL powered PA speakers. Both of us have used and rejected various keyboard amps from the usual manufacturers over the years and have settled on the powered PA speaker approach as being the best. My buddy is in the mono camp, while I have always wanted some sort of stereo solution that would work well live and not be too cumbersome. I'm confident that the EPs and Hammond will be great but like many here I need a convincing AP sound as well. As soon as my Space Station arrives we're going to assemble all our gear and geek out for a weekend trying it all out. Thanks to all on this forum and a special shout out to Aspen and cphollis. I'll post our impressions after the weekend and a few gig experiences.

[TimA]

 

"It still amazes me how the vast majority of SS3 owners have bought one solely based on just recommendations and gig reports from other players, mostly those posting on this thread...for which I shall be eternally grateful. Without you guys, and CPS fans like Tim Acomb and Michael Boddicker (who have EVERY CPS amp I ever made!) encouraging me to do this Version 3, and also my old friend Chuck Surack from Sweetwater Sound who "backed my play" (and now thanks to Hans Thomann too who has opened up Europe for CPS), I could never have relaunched this "bucket list" product of mine. Bless you all!"

Thanks Aspen! I still get a thrill when I turn the width from zero to 12 o'clock and hear the 3D sound expand out into the room in the process. It seems magical.

By the way, to be mentioned in the same sentence as Michael Boddicker is a thrill as well. Now if I could only magically play as well as him I'd be good to go!!

[Danny Linguini]

After last night's solo gig, I'm seriously considering the SS3 again. The two DBR10's were just overkill for this place and the dinner crowd. Had to continually turn them down to the point that, being on either side of me, I could barely hear anything coming out of them. Once I got used to the volume, things got better; but by the time I was done, I couldn't help but wonder if the SS3 would be a better solution for such locations. Not to mention the improved schlep factor of only toting one (albeit heavier) box instead of two and their pole stands.

 

Volume is not the issue -- but being solo, depth of sound is. So again I have to throw the question out there: is there anybody in a similar situation, either solo or with a small combo, using this amp with no sub, does the SS3 alone provide sufficient bottom? And by 'sufficient', I mean, if you're playing AP's, for example, does it provide similar depth to an actual acoustic piano? Will it adequately handle a drum machine without sounding like banging on cardboard boxes, plus vocals?

 

It obviously doesn't have to be bone-shaking bass. The DBR10's were just about right, even at that low volume, with the on-board DSP completely off, and just a nudge up on the highs and lows on the mixer EQ for the piano and drum machine. If I can get any indication that the SS3 with it's 8" woofer is up to this, I'll be placing the order today. My finger is just about on the button now, even got the ok from my better half, so it's not like I'm going to need much convincing.

 

 

[Al Quinn]

sleepngbear,I had a restaurant/bar gig last Saturday night. We played pop/rock tunes in "unplugged" style. It was a trio: piano/melodica, guitar/vocal, sax/flute. I used just my CP4 and SS V3. It was a bit of an experiment for me leaving the B1200D subwoofer at home but I figured I would be mainly using acoustic piano sounds and it would be fine. The SS V3 was vertical in a corner leaning back against the wall. Acoustic piano samples sounded very good. The sound of piano filled the room, which for this gig was more important than getting achieving the highest audio fidelity (i.e., I left my RCF TT08As at home). To my surprise I often ended up splitting the CP4 keyboard using AP on the right and a variety of basses on the left. While the bass wasn't thumping is sounded very good. Hope this helps.