Heads-up: SpaceStation keyboard amp is apparently back

[zaj58]

I have a couple of questions / observations.

 

Will the SSV3 be an upgrade to my Motion Sound KP500 SN ?

I am still very pleased with that amp , but gaining interrest in the SSV3 after people claim it is the best thing that ever happened to them sonically on stage and to the audience.

 

What I don't understand at all is the many remarks that ''the other band members can hear me better since I use the SSV3''

 

This begs more questions than it answers questions.

Is your whole band playing on spacestations and were you the last one who switched amps so now everyone can hear eachother better ?

If the guitarists plays on a ''normal'' guitar amp, can you hear him ? Or should he replace his amp so that the rest of the band can hear him better also ?

Are keys the only instruments that suffer from : ''we couldn't hear you that well'', ''but

now you have turned to the spacestation we actually hear you better''.

 

What is ''better'' supposed to mean ? Louder ? more redifined ? Better stereo separation ?

 

Maybe because i play on a KP500SN, which can go very loud, onboard EQ, true stereo etc.i frankly don't have a clue what such observations are trying to implicate.. I make sure everyone hears me by creating superb patches, little or no effects, smart eq etc. and I hear the rest of the guys and girls because they take their job serious too.

 

It seems to me some posters had lousy amps to begin with or big gaps in their stereo set up when using two active speakers, before they bought a proper amp like the spacestation and therefor have such high praises....

 

 

 

Please elaborate...

The SSv3 will NOT be an upgrade to your MS 500SN as far as making your keyboards sounding better to you on stage...there is all the other nonsense about how good it sounds to somebody out in the audience 40 ft away, but that is not what we are talking about..Certainly my AP's sound better thru the MS and while using a pan rhodes patch the true stereo effect is more accurate, and then of course the extra power.. It's a different animal in my book ..If i would have tried out the SS before making the purchase, knowing how well my MS sounds I would have passed... at this point the only advantage of owning this amp is convenience of size and weight for gigs that i really want to remain compact..but im not sure if im keeping it..Bottom line is, if you own a MS500 ..you dont need this amp..IMHO.... Rather then start another thread i hope someone can answer me on this... the tone control knobs on the SS ...do they actually do anything.. i can only detect the smallest change in tone when I turn the Mids control the full spectrum and i hear absolutely no difference in sound when I turn the contour HFQ knob.. My units is only a few weeks old ..what should i be hearing when rolling off the full spectrum of these controls?

[Raymb1]

Sorry to hear that you don't like the SSV3. It is not nonsense though about how it sounds to people in the audience. After the testimonial of hundreds of musicians on this forum they can't be all wrong. My SSV3 fills up the stage with 3D sound without being loud and sounds just as good in front. Ray

[Doerfler]

Alright. I know I already have the Behringer, but c'mon - 150 bucks?! 27lbs? I just ordered the SA mini-sub.

 

Thamks BJ, I just ordered one but I had to pay $152.00. Anyway, I also read "Just Ed"s review. He is "sleepingbear" on this forum. Seems like a great "bang for the buck".

[B. J. Love]

I'm anxious to hear it. I doubt I have much use for it in my present band, but at some point I'll be solo again and I'm hoping it'll be useful. Anything to cut down on weight and keep it simple. Just seems like a handy thing to have around at that price. (Yeah, $151.99. So I rounded ) And much as I like the SS by itself, I really do prefer just a little more bottom than it can comfortably provide.

[zaj58]

Sorry to hear that you don't like the SSV3. It is not nonsense though about how it sounds to people in the audience. After the testimonial of hundreds of musicians on this forum they can't be all wrong. My SSV3 fills up the stage with 3D sound without being loud and sounds just as good in front. Ray

I never said i didnt like it.. I do think the MS500SN sounds better to my ears, sorry if that doesnt conform to the consensus of opinion over here, but thats is my personal opinion... Im also sorry that the fact that the SS sounds great to people deeply entrenched in the audience far from the stage just is not that important to me as 90% of the gigs I do i am going thru FOH... I usually give my sound guy a stereo feed directly from the MS XLR's out.. I cant tell you how many sound guys and musician audience members have told me they love the way my keys sounded thru their rigs, so i know the sound out front most times is plenty good.. What I care about most is how inspiring is the sound I hear and I have to play to.. That is the quest i have been on..probally why I currently have the MS500sn , SSV3, and two QSC K10's and i am still thinking i wish there was something better...of course these are very subjective matters..and i do think the SSV3 is a great little keyboard amp for it's size and price range..Im just not blown away by it..

 

[cphollis]

I haven't been sharing all the gig reports, but maybe I should.

 

I now play with my SSv3 100% of the time. Sad, I know, because I have all this other amplification gear (don't ask), but the damn thing works for me.

 

I plop my SSv3 on an amp stand with with the side-firing speaker facing down, and it just works, time after time. No sub, even though I own a few.

 

It may not be the ultimate sound, but it just frigging works, time after time.

[Bernie9]

I too haven't been sharing, as all are with the SSv3. I have used it in at least a hundred gigs of all sizes and types without wishing once I had my old gear back.

 

I must say, however, that I am coming from Bose mono, which might seem more of a difference than a conventional stereo rig.

[vanderSchoot]

The SSv3 will NOT be an upgrade to your MS 500SN as far as making your keyboards sounding better to you on stage...there is all the other nonsense about how good it sounds to somebody out in the audience 40 ft away, but that is not what we are talking about..Certainly my AP's sound better thru the MS and while using a pan rhodes patch the true stereo effect is more accurate, and then of course the extra power.. It's a different animal in my book ..If i would have tried out the SS before making the purchase, knowing how well my MS sounds I would have passed... at this point the only advantage of owning this amp is convenience of size and weight for gigs that i really want to remain compact..but im not sure if im keeping it..Bottom line is, if you own a MS500 ..you dont need this amp..IMHO.... Rather then start another thread i hope someone can answer me on this... the tone control knobs on the SS ...do they actually do anything.. i can only detect the smallest change in tone when I turn the Mids control the full spectrum and i hear absolutely no difference in sound when I turn the contour HFQ knob.. My units is only a few weeks old ..what should i be hearing when rolling off the full spectrum of these controls?

Thanks this has been very helpfull, I am continuing to enjoy my Motion Sound ......

[zaphod betamax]

There seems to be some difference of opinion in regards to the SS3 vs other 3D sound speakers. IMHO, and as someone who uses wavetable synths, rather than organs or EP, or AP sounds. I can say I have unlearned traditional stereo and learned to exploit the 3D coolness that comes with the SS3 with synths such as the uQ, Blofeld and Sledge II.

[Doug Robinson]

"there is all the other nonsense about how good it sounds to somebody out in the audience 40 ft away, but that is not what we are talking about."

 

 

Well, no one is actually saying you need to be 40 feet away to enjoy the benefits, but absolutely one of the huge benefits of the SS3 for me is that it sounds kickass (read: 3 dimensional) up to about 150 feet, even with a loud band and a P.A. grinding away--I've tested this and had excellent players take my place while I walked as far away as I could in outdoor venues (backyards of the rich and famous down here in MX) and it sounds terrific. As for what I hear onstage I've done fine with it 1 ft behind me but I prefer 3-5is that really surprising? Do guitarists typically like to stand 1 foot from their amps?

 

But since when is the quality of what the audience hears 'nonsense' on any level? I must be a freak or something but I want it to sound great to the audience. Not at the expense of sounding great to me, of course.

[MathOfInsects]

The 40-feet-away thing obviously over-states it. BUT...there is a downside to an amp that is designed to create an out-of-phase 3D "bloom." The first factor is that you need to be far enough from your amp to hear the bloom, that you can't adjust and play at the same time. Guitarists don't have this issue: they can just walk over to their amp and adjust it while they play. (Most keyboard amps don't either: you just set up close enough to reach.) I still say a remote could fix this.

 

And the second factor, related to the first: you're rarely able to set up far enough away that you hear what the audience does. Again, that's not the case with most guitar amps or traditional keyboard amps; it's specifically the out-of-phase design that contributes to this aspect.

 

Yes, you can set the amp up on its side to get it closer to you. I do this at most gigs now, in fact, regardless of stage depth. But it does dampen the 3D effect, which slightly compromises the reason to use the amp. In fact, the only time since I've started using it sideways that I've gotten that same cool "where is that coming from" effect, was when we played under a shallow wooden ceiling and I angled the top speaker up instead of down.

 

Don't get me wrong, it's still my favorite non-human child. But I just wanted to point out that in the poster's hyperbole, was a bit of valuable truth.

 

 

[Aspen]

"there is all the other nonsense about how good it sounds to somebody out in the audience 40 ft away, but that is not what we are talking about."

 

But since when is the quality of what the audience hears 'nonsense' on any level? I must be a freak or something but I want it to sound great to the audience. Not at the expense of sounding great to me, of course.

 

Right on Doug, great point!

 

Speaking as a member of the audience, more so than a player these days, I love the many comments and gig reports here confirming what I have experienced; how this little CPS box fills a room without offending the overall mix of the band.

 

Frankly spoken, I never dreamed it would be working so well in some of the larger (louder) venues I have had the pleasure of attending. From the Disney Hall with the LA philharmonic, to outdoor band concerts, to packed clubs with 200+ listening to a loud rock band....it just fills the room and fits right in!

 

In fact, I have listened to more KB players in live performance over the last year since I launched the SS3, than the 20 years before...albeit with a new motivation to better understand my end users. And I am always off stage, a member of the audience now!

 

Most my adult life I had been focused on playing, designing and perfecting guitar amps. But after 30+ years there wasn't that much more I could offer. (with the possible exception of live stereo guitar amps...and CPS may still offer some challenges for me there).

 

But these last few years focused on developing the ultimate stereo KB amp have been like a new lease on life for me, and the most exciting, and personally rewarding time EVER in my life. And, this time around, my reference is completely from the perspective of a "listener", a member of the audience! (trust me, you do not want to hear my KB chops!).

 

So, I heartily agree with your point Doug; Audience Lives Matter!

 

Speaking as an outside observer (and having watched some of your performances on those videos you have shared with us), your concern and respect for the listening quality and pleasure of your audience may be one reason why you seem to be working constantly!

[zaj58]

Quote from my last post.."Im also sorry that the fact that the SS sounds great to people deeply entrenched in the audience far from the stage just is not that important to me as 90% of the gigs I do i am going thru FOH... I usually give my sound guy a stereo feed directly from the MS XLR's out.. I cant tell you how many sound guys and musician audience members have told me they love the way my keys sounded"

 

Just to clarify, I am always concerned how well i sound in the mix in any room I play in, and as you might glean in my quote, I got that covered.. I am sorry the word nonsense upset a few and was misunderstood..I retract the word. I just wanted the focus to be how well the SS sounded to me onstage as my monitor..A poster asked if the SS would be an improvement over the sound quality HE was hearing out of another very good stereo KB amp.. Having both amps I felt entitled to give him my opinion to help him out..Would love for someone to answer the question I asked at the end of my post (on pg. 143) regarding the controls on the SS..

[Bill Spencer]

The controls work as represented for me- very easy to hear the tweeter being controlled by the High knob and the mids by the Mids knob. Did a duo gig Friday with the singer and I (Keys, Key Bass, 2 Mics) going through the SS, which was getting a huge bass boost by being on the floor in the corner. Turned up the Highs and Mids, compensated perfectly! SS sounded great everywhere, and there wouldn't have been room for anything larger.

 

I had just played a Jazz trio in the other room, same venue, so the bassist (acoustic upright) came in, and after listening said the Trillian/SS combination made him jealous- great low end sound in that application, even with no sub. But as I said, right in a corner.

 

I'm wondering if the MS works for this kind of 'mini PA' application? Don't think I'd want the vocals going through a 'Leslie' all night...

[Aspen]

Would love for someone to answer the question I asked at the end of my post (on pg. 143) regarding the controls on the SS..

 

Sure, I'll tackle that question, although I am certain I've covered this back in Season one, or in one of more of my instructional videos. But also I'll try to expand on this while I am at it (sorry, I really can't help myself)

 

The SS3 design is more like a sophisticated studio monitor, than a guitar amp with "tone controls". IMHO, tone controls area waste of expense (and your $) placed on a KB amp.

 

That's because unlike guitars, today's modern keyboards have extensive sonic "modeling" incorporated their various patches, and are "good to go" directly into the mixing console for recording or FOH PA. They sound best with a nice set of headphones. They do not NEED tone shaping! For example, you rarely see a recording engineer "change EQ" on your KB in a session. So IMHO, tone controls per se on a KB amps are not only useless, they can potentially do harm by adversely changing an otherwise perfect patch (to make it sound good from where you are sitting).

 

As I said; the SS3 is more like a studio monitor with 4 transducer components, each with it's own amplifier and level control...but only to allow it to be acoustically tuned to it's environment (like a tri-amp PA or a classic 3-way studio monitor).

 

The Front facing speaker has 3 components; a 8" poly cone foam suspended coax woofer that evenly covers the low end and starts to roll off around 2.4K Hz (as I recall), a 1" coax mid HF driver that covers 2.4KHZ up to 10-12K HZ or so, then a a Neo magnet ultra HF tweeter that kicks in around 10 K Hz and extends the SS3 FR range to 20K Hz. It also has a 4th amp driving the full range 6.5" Side facing speaker.

 

These 4 speaker components, each with it's own Class D amplifier, have been optimized for their cabinet environment with DSP phase and EQ modeling so that you will have an approximate flat response when the MF, HF and Width (Side) levels are set at 12 o'clock. Then the master level brings the entire system up and down as needed.

 

That said, if your signal source is full range (and many KB patches are NOT) each of these components will see some duty, just depending on the tonal spectrum of that patch.

 

But if you are running a Rhodes patch for example, which is a model of a soft tine dynamic design driving a 12" speaker that had no HF to begin with, you will not hear much rotating the MIDS level, and absolutely nothing from the HFQ level...just because there is nothing there to amplify!

 

If you want to test the MIDS and the HFQ levels of your SS3, as I have said MANY times before, just play a well recorded full range CD with some vocals and may be some some hi hat and you definitely wake up those components. I use Steely Dan cuts like Babylon Sisters as my reference when I design and/or QC a CPS amp.

 

Lastly on "tone controls" in general and why I excluded them from the SS3 project:

 

My first ever CPS keyboard amp was a licensed product to Fender, they did the design. See: http://support.fender.com/manuals/keyboard_amplifiers/Keyboard_200_SFX_manual.pdf

 

This 200 watt 12" w/ Pizeo tweeter KB amp had extensive tone controls, 3 on each of the 2 instrument channels and 3 more on the master section. Plus it had DSP for effects like chorus and such....making it a complicated mass of controls. It retailed at $1,000 amp (and that was 15 years ago!).

 

It was a bomb, didn't sell, and they never made a second run. I believe that was the last time Fender made a KB amp. It didn't sound THAT bad if you left the tone controls flat and turned off the DSP. But if they had spent more on the acoustic components, and less on the bells and whistles (as I advised them), it might have been a winner.

 

IMHO, all those tone controls could have contributed to it's early demise. Tone controls are made with coils and/or inductors that isolate a certain area of the response curve and amplify (or cut) that area...and in so doing disrupt the phase integrity of the signal (read; sounds honky). This can do great harm to your otherwise balanced and modeled KB patch. Also, tone controls can not make up for a crappy transducer (like a Piezo squeeze box tweeter)...although a user will try! Give a tone control to a user, he will naturally want to use it and/or "over use it". This ultimately sucks the tone out of your KB...and probably one reason why the SFX200 bombed.

[Bill Spencer]

....It didn't sound THAT bad if you left the tone controls flat and turned off the DSP.

 

...but it sure didn't sound good. I REALLY wanted to like that amp when it came out...

[HAMEGZ]

the RMT20 code does not appear to be valid anymore for the min tremor

[zaj58]

 

"But if you are running a Rhodes patch for example, which is a model of a soft tine dynamic design driving a 12" speaker that had no HF to begin with, you will not hear much rotating the MIDS level, and absolutely nothing from the HFQ level...just because there is nothing there to amplify!"

 

Thank you Aspen for the excellent explanation.. I was thinking i had a malfunction of those controls.. Fully understood now... and sorry I missed the already out there info on this back up stream of this post..

 

[zaj58]

The controls work as represented for me- very easy to hear the tweeter being controlled by the High knob and the mids by the Mids knob. Did a duo gig Friday with the singer and I (Keys, Key Bass, 2 Mics) going through the SS, which was getting a huge bass boost by being on the floor in the corner. Turned up the Highs and Mids, compensated perfectly! SS sounded great everywhere, and there wouldn't have been room for anything larger.

 

I had just played a Jazz trio in the other room, same venue, so the bassist (acoustic upright) came in, and after listening said the Trillian/SS combination made him jealous- great low end sound in that application, even with no sub. But as I said, right in a corner.

 

I'm wondering if the MS works for this kind of 'mini PA' application? Don't think I'd want the vocals going through a 'Leslie' all night...

Just FYI.. The MS500SN has no leslie sim.. it is a Bi amp straight ahead stereo KB amp.. i have not a clue how it would work as a PA. I never tried vocals thru it..I did see the vid where an entire band and vocals was going thru one SS and it sounded pretty darn good..

[Bill Spencer]

The controls work as represented for me- very easy to hear the tweeter being controlled by the High knob and the mids by the Mids knob. Did a duo gig Friday with the singer and I (Keys, Key Bass, 2 Mics) going through the SS, which was getting a huge bass boost by being on the floor in the corner. Turned up the Highs and Mids, compensated perfectly! SS sounded great everywhere, and there wouldn't have been room for anything larger.

 

I had just played a Jazz trio in the other room, same venue, so the bassist (acoustic upright) came in, and after listening said the Trillian/SS combination made him jealous- great low end sound in that application, even with no sub. But as I said, right in a corner.

 

I'm wondering if the MS works for this kind of 'mini PA' application? Don't think I'd want the vocals going through a 'Leslie' all night...

...The MS500SN has no leslie sim..

 

OK, cool- I'll check it out- I thought all the Motion Sound stuff used their spinning hoorn top end...

 

 

[Jazzmammal]

I used a MS500 one time on a gig. Hated it, too much coloration of the sound. Try Aspen's test and run a good CD through it, then listen with good cans. You'll see.

 

When I first got my SS the second thing I did with it (playing my keyboards through it was the first) was taking the output from my home studio setup and run some tracks through it. Sounded surprisingly good, not as good as my nice monitors but way better than any other PA or instrument amp I've ever had. Try that with some EON's for example. At a loud party they're good but at home listening to stereo mixes? Blah. The SS is better.

 

Aspens point about keyboard patches going direct into the console is of course correct as he always is. That has been my holy grail for years, to find a stage amp that gets fairly close to a flat response so it doesn't color those killer patches.

 

It's still not perfect, the SS is not a studio monitor but that's because we're not taking a set of multi-thousand dollar monitors to a gig. I can see it now, my Altec Model 14's get all scratched up, my Manta horns get damaged by an accidental peak caused by some kind of spike and they get trashed. Stage amps have to handle that kind of thing so even with this good design, there are compromises.

 

Bob

[vanderSchoot]

I used a MS500 one time on a gig. Hated it, too much coloration of the sound. Try Aspen's test and run a good CD through it, then listen with good cans. You'll see.

That is a harsh judgement.....this is what keyboard magazine wrote about the KP500SN

http://www.keyboardmag.com/miscellaneous/1265/motion-sound-kp-500sn/30794

It is very, very positive indeed....

 

I do not detect the coloration you mention...there is no mid frequency honkyness that other amps I used had incl. some EV's. In fact the KP500SN remains pretty much clean and has a flat frequency response at very loud volumes.

That is one thing I like about it....little coloration+loud volumes.

 

And I did use it as + a CD player in a garden party with friends.

To my surprise it sounded pretty well with everything I played that afternoon. Especcially the amount and kind of bass is to my liking.....I hate to much bass and dark coloration personally....

 

So again I do not completely understand your observations.....

[Dglavko]

MS is 48 lbs so a complete non starter for me. My acoustic image amps also got stellar reviews too but little attention on this forum. I still have them mind you, but the space station sees more use from me these days. But if it works for you then great!

[vanderSchoot]

MS is 48 lbs so a complete non starter for me. My acoustic image amps also got stellar reviews too but little attention on this forum. I still have them mind you, but the space station sees more use from me these days. But if it works for you then great!

Yes it works for me, but the praise the SSV3 receives made me wonder....it must be something special, i truly believe that, otherwise it wouldn't sell like it does and receive such great response from its owners.

 

What I do know is that some owners justify their purchase by exagerating their new toy by making everything else look obsolete by their raving comments.

I made the wrong purchase once or twice by simply joining the bandwagon to become utterly dissapointed afterwards, (Yamaha P120, Tyros 2 and Waldorf Blofeld).

 

So i am truly and genuinely interrested in the SSV3 and the developer deserves all credits by making something revolutionairy.

I do have a very expensive amp KP500SN (1750.00 euros) so of course I am curious about an amp that is relatively cheap, is revolutionairy and receives great feedback.

 

Since there are many musicians over here that have bought several amps, i'd reckon someone could have owned both of them the same time (KP500SN + SSV3). This was the case, so i thought it helpfull that these persons gave their own personal observations of those two amps.

 

What i do not understand is that some people sort of claim the SSV3's superiourity without knowing the other amps like the KP500SN (or those that you have ?)

[cphollis]

I actually had both the MS KBR-3D (the one with the spinning horn) as well as a brief romance with the KP500SN. The KBR-3D was much better than the Roland KCs it replaced, but what a top-heavy monster it was. Plenty loud and clean, though.

 

The KP500SN was great for what it was: a decent sort-of stereo keyboard amp. Again, plenty loud and clean, but very directional. A pair of QSC K10s or K12s sounded better to my ears, plus I had all sorts of placement flexibility. Since the KP500SN didn't add anything to my party, I sent it back.

 

The SSv3 is a different beast altogether. Also very loud and very clean. Biggest win: not directional. Everyone gets to hear you: band, audience, etc. And a much more convincing stereo effect.

 

If someone wants a classic form-factor directional keyboard amp, the KP500SN is pretty much top-of-the-line. From there, you're into self-powered PA units or similar.

 

The SSv3 plays an entirely different game: surround sound. So direct comparisons are not really useful -- each does different things.

 

 

[Doug Robinson]

"What i do not understand is that some people sort of claim the SSV3's superiourity without knowing the other amps like the KP500SN (or those that you have ?)"

 

 

I haven't seen anyone claiming superiority of the SS3 over an amp they've never heard. I bought and auditioned the Motion Sound KP500 a while back and I didn't really like the sound. It's true that I didn't keep it long enough to maybe get the most out of it, but the cost and weight just tipped the scales against it.

 

I've tried and enjoyed powered p.a. speakers as well, and they have their advantages--I loved positioning them around me so I sat in a sweet spot. But I was the only one who heard how great my keys sounded, at least to that degree.

 

No one has ever said that the SS3 is the perfect amp for every application, style or player. People just get sick of the enthusiasm so many of us feel for it. But what are we supposed to do, pretend we don't appreciate it as much as we do? I've been a pro all my life, and I've never been so at peace with my keyboards or keyboard amp setup.

 

 

"What I do know is that some owners justify their purchase by exagerating their new toy by making everything else look obsolete by their raving comments."

 

Everything I've used in the past, even the great stuff, just wasn't as good as my SS3. That's just me being honest. Again, what would you have us say? That it's good but not as good as our old systems?

 

When something better for my needs comes out, I'll lust after it and eventually buy it as well. i disagree with Aspen about keyboard amps not needing full eq controls--I'd love to be able to add a little 'air' in the high end from the amp on the fly, because I'm rarely sitting at my gigging keyboard rig with time to fiddle these days. But I wouldn't sacrifice the small footprint, the 3 dimensional sound and the power of the SS3 just for that. I wouldn't switch it for something unless it was quite a bit more satisfying to play.

[Electro Fan]

I had started another thread about choosing between a pair of Yamaha DXR speakers or the SSv3. I received some great feedback, but as expected, options varied. I am now leaning towards the Spacestation, but wondered if any of the SSv3 users have tried it in a gymnasium like you might find in schools, or as in my case, prison facilities? Will I be able to hear myself in a place with such open an reflective surfaces?

 

 

Thanks,

 

Bill

[cphollis]

I've used mine outdoors on several occasions with positive results. Just tilt it back on an amp stand with the side firing speaker facing down, and you should be good to go.

[Raymb1]

That MS review is 4 years old, way before the SSV3 came out. I do small to medium venues with no need to play at max volume. I have to depend on our vocalist to tell me how loud I am and most of time I have to turn down. With the 3D sound it's hard to tell how loud you are. I had K10s which were pretty good but I was the only one who could hear the stereo. With the SSV3 everyone can hear the 3D sound.

[cphollis]

That MS review is 4 years old, way before the SSV3 came out. I do small to medium venues with no need to play at max volume. I have to depend on our vocalist to tell me how loud I am and most of time I have to turn down. With the 3D sound it's hard to tell how loud you are. I had K10s which were pretty good but I was the only one who could hear the stereo. With the SSV3 everyone can hear the 3D sound.

 

Ditto on asking other band members "how loud am I?" So easy to toast everyone else without realizing it ...