SP Studio Systems SP-12 manual 2B Erasing a Segment

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RECORDING SEGMENTS

2B ERASING A SEGMENT

Erasing a segment clears out all existing drum sounds, and automatically re- dimensions the segment to two measures of 4/4. Before erasing a segment, always check whether that segment already contains something you want to keep. To erase:

1.Stop the SP-12, confirm that you are in segment mode, and press ERASE.

2.The display helpfully mentions that you can erase either a sound or segment. Erasing a sound will be covered later; to erase a segment, enter the two-digit segment number. The display will replace the flashing cursor with the number you entered, and ask you to confirm that this is the segment you want to erase.

3.If this is the segment to be erased, press YES. If not, press NO and the SP- 12 will return you to step 2.

4.After erasing, the display will return to whatever segment you had keyed in prior to starting the erase process. For example, if you had first selected segment 01 but then decided to erase segment 51, after erasing 51 you would return to 01. If you want to continue working with segment 51, make sure you key it back in again so that 51 appears in the display.

2C “DIMENSIONING” A SEGMENT

(SETTING TIME SIGNATURE AND/OR BAR LENGTH)

“Dimensioning” a segment defines the segment’s time signature (from 1 to 99 beats per measure), and the number of bars and beats per segment (up to 99 bars and 99 beats; thus, you could have a segment that was, say, 2 measures and 3 beats long). If desired, each segment may be dimensioned differently. If you are not familiar with time signature notation, see Appendix B.

After erasing a segment, it assumes a length of two measures and a 4/4 time signature. If this dimensioning suits your musical needs, skip ahead to the next section. Otherwise, there are two ways to dimension a segment: standard dimensioning and real-time dimensioning. Make sure you are in segment mode, and then proceed with whichever procedure seems more suitable for re-dimensioning the segment.

© E-mu Systems, Inc. 1985

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Contents SP-12 Contents Part 3 Creating a Song Part 2 Recording SegmentsPart 5 Saving Your Data Part 6 MIDI, SYNC, & SmptePart 7 Mixing and Processing AppendixIntroduction What is ITIntroduction What is IT? SP-12 Ground Rules Accessing Functions Within the ModuleWhat’s a Default? Activating and De-activating ModulesLeading Zeroes Settings and ValuesEntering Segment and Song ModesRight Arrow/Left Arrow Buttons stepping and fast forwarding Transitory Nature of Segment ModeBeep Messages Current Song DisplayPart 1 Getting Ready 1A SetupGetting Ready 1A Setup 1B Instant Gratification 1C Background the Performance Module 1D Selecting Drum Sounds1E Adjusting the MIX 1F Tuning the DRUMS/CHANGING Decay SET-UP 1G Background Setting UP Additional Sounds1H ACCESSING/EXITING Multilevel SET-UP 12 1I ACCESSING/EXITING Multipitch SET-UP 11 Enter1J Accessing Dynamics SET-UP 1K Storing Defining a MIX SET-UP1L Auditioning Selecting a MIX SET-UP 1M Assigning Drum Sounds to Output Channels1N Playing Back Segments 1O Setting Tempo 1P Programming the Metronome Recording Segments Part 2 Recording Segments2A Recording a Segment Overview 2B Erasing a Segment Part 1 Standard Dimensioning Part 2 Real-Time Dimensioning 2D Understanding Auto Correct Recording Segments 2E Setting Auto Correct 2F Recording a Segment in Real TimeRecording Segments 2G Recording a Segment in Step Time 2H Erasing a Specific Drum Sound 2I Erasing a Specific Note of a Drum Track2J Copying and Appending Segments 2K Adding Swing 2L Swapping Drum Sounds 2M Copying Sounds2N Clearing the Memory 2M Check Remaining MemoryCreating a Song Part 3 Creating a Song3A Creating a Song Overview 3B Selecting a Song 3C Chaining Segments Together Segment #3D Ending a Song 3E Editing Songs STEPPING, INSERTING, Deleting 3F Using Repeats Song Step # 3G Changing the Song Drum Sound MIX 3H Setting Song Tempo 3I Programming Tempo Changes Within a Song Example3J Jumping to a SUB-SONG 3K Programming Trigger Outputs3L Starting AT a Specified Point in the Song 3M Efficient USE of Memory Sampling Your OWN Sounds Part 4 Sampling Your OWN Sounds4A Sampling AN Overview 4B Setting Levels Prior to Sampling 4D Setting the Sampling Threshold 4C Assigning the Sample4E Setting the Sample Length 4F Initiating and Stopping Sampling4G Deleting a User Sound 4H Modifying a Sample VIA Truncation and Loop Sampling Your OWN Sounds Mu Systems, Inc Enhanced by The Emulator Archive Saving Your Data Part 5 Saving Your Data5A Background Saving Data 5B General Care & Handling of Disks & CassettesLabeling Write-protecting disks and cassettesSaving Your Data 5C Hooking UP the 1541 Disk Drive or Cassette 5D Formatting Disks CASSETTE/DISK 5E Disk and Cassette Operations Load Sounds Disk Key in 2 then Cassette Key 1 thenVerify Sequences Disk Key in 2 then 7 Cassette Key 1 then MIDI, Sync & Smpte Part 6 MIDI, SYNC, & Smpte6A Midi Channel and Mode Select OverviewAfter selecting the desired mode, press Enter 6D Midi Sync Sync 6B Background Synchronization6C Internal Sync Sync 6E Smpte Sync Sync 6F Click Sync Sync 6G Writing Smpte Time Code on Tape 6H Writing a 24 Ppqn Click Sync Track on Tape Mixing and Processing Part 7 Mixing and Processing7C Creating Ambience 7A Mixing and Processing Overview7B Pseudo Automated Mixdown 7D Using Special Effects in the Studio Appendix AppendixGeneral Tips Appendix a the ART of SamplingPart 1 Taking the Best Possible Sample Dynamics Appendix Sampling from Tapes Part 2 Manipulating the Sample Mu Systems, Inc Enhanced by The Emulator Archive Appendix B Understanding Rhythmic Notation Appendix C Understanding Time Signatures What does Midi stand for? Appendix D Understanding MIDI/SMPTEWhat does the Midi cable do? How can information control a synthesizer or drum machine?What kind of words does the Midi language include? How does Midi differentiate between different instruments?Channels, huh? Sounds like a lot of patch cords to me Dealing With MlDlosyncracies SmpteAppendix E Tips on Creating Realistic Drum Parts Appendix F Tips on Using Cassette Interfaces Appendix Appendix G HOW the SP-12 Works Appendix H Special Functions SET-UP #23 Procedure Display Reads Press Appendix

SP-12 specifications

The SP Studio Systems SP-12 is a cutting-edge digital audio workstation that embodies innovation, versatility, and user-friendly design. Designed for both professional studios and home setups, the SP-12 sets a new standard in sound production and music creation. It combines advanced technology with an intuitive interface, making it suitable for both seasoned producers and beginners alike.

At the heart of the SP-12 is its powerful multi-core processor, allowing for seamless performance and efficient audio processing. This hardware design ensures that users can run multiple plug-ins and tracks without experiencing latency or lag, providing a smooth workflow that enhances creativity. Additionally, the SP-12 boasts a robust memory capacity, supporting extensive sample libraries and a vast array of sounds for diverse musical styles.

One of the standout features of the SP-12 is its advanced sampling technology. Users can import, edit, and manipulate samples with precision. The unit supports high-resolution audio formats, ensuring pristine sound quality. The intuitive software interface allows for easy navigation through samples, enabling users to chop, slice, and rearrange audio files effortlessly. This flexibility is a game-changer for producers looking to create unique tracks.

Another key characteristic is the SP-12's extensive connectivity options. It includes multiple USB ports, MIDI inputs and outputs, and analog connections, allowing for integration with various instruments and external devices. This versatility ensures that users can expand their studio setup according to their specific needs, whether they use it for live performance or studio recording.

Additionally, the SP-12 features an in-built sequencer that supports advanced MIDI functionalities, enabling users to create complex arrangements and orchestrate their musical ideas. Moreover, the workstation includes a comprehensive suite of virtual instruments and effects, allowing producers to shape their sound without needing third-party software.

Moreover, the SP-12's durable build quality and sleek design make it a stylish addition to any studio. Its compact form factor makes it portable, catering to musicians who need to produce music on the go.

In sum, the SP Studio Systems SP-12 is not just a digital audio workstation; it is a creative powerhouse. With its high-performance hardware, advanced sampling capabilities, extensive connectivity options, and user-friendly interface, it stands out as an essential tool for anyone serious about music production. Whether you’re composing, recording, or performing, the SP-12 is designed to inspire creativity and elevate your sound to new heights.
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