SP Studio Systems SP-12 manual 4H Modifying a Sample VIA Truncation and Loop

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SAMPLING YOUR OWN SOUNDS

4H MODIFYING A SAMPLE VIA TRUNCATION AND LOOP

Truncation shortens a Voice’s length by trimming off parts of the beginning and/or end. This allows you to cut off unneeded portions of a Voice to save memory, change instrument characteristics (i.e. remove the attack from a plucked string note), cut off a long decay (which is great for simulating noise- gated reverb effects on drums), or isolate a particular section of a sample.

As mentioned in the introduction, the SP-12’s standard memory capacity is 1.2 seconds. Since each second requires 27,500 samples, this works out to a total available memory space of 33,000 samples. All truncation and looping times are referenced to samples, not seconds. Example: If you truncate the beginning (start) of a sound by 2,750 samples, you have cut 1/10th of a second from the start of the sound (27,500 samples 1 second, so 2,750 samples = 1/10th of a second).

To truncate a sound:

1.It is good practice to set Sliders #1 and #2 all the way down, and Sliders #3 and #4 all the way up, before beginning the truncation process.

2.Activate the SET-UP module and key in 19. The display’s top line will show the User Sound to be truncated. If this is the desired User Sound, press ENTER. If not, key in the desired User Sound with the keypad and then press

ENTER.

3.The display’s top line will now show the Start point (which defaults to 00000) and the User Sound being truncated. The display’s bottom line will show the End point of the sample (which defaults to the sample length) and Loop Length (which defaults to NONE). Example: If the End display shows 27500, then the sample is exactly one second long.

4.Slider #1 gives coarse control over the amount of start truncation, while Slider #2 gives fine control. Moving the sliders upwards increases the amount of truncation.

Example:

Adjusting these sliders so that the bottom line indicates E=2750 means that you have cut 1/10th of a second from the beginning of the sample.

Note that you cannot truncate a sound one sample at a time, but rather, in groups of samples (even with the fine truncation slider).

5.Slider #3 gives coarse control over end truncation, while Slider #11 gives fine control. Moving the sliders downwards increases the amount of truncation.

Example: With a 27500 sample length sound, setting these sliders so that E=13750 means that the end point now occurs halfway through the sample (27500 divided by 2 = 13750).

As with start truncation, samples are truncated in groups rather than one at a time, even with the fine truncation slider. As you change truncation, press the appropriate Play button to hear the results.

© E-mu Systems, Inc. 1985

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Contents SP-12 Contents Part 2 Recording Segments Part 3 Creating a SongPart 6 MIDI, SYNC, & Smpte Part 5 Saving Your DataAppendix Part 7 Mixing and ProcessingIntroduction What is ITIntroduction What is IT? Activating and De-activating Modules Accessing Functions Within the ModuleWhat’s a Default? SP-12 Ground RulesSegment and Song Modes Settings and ValuesEntering Leading ZeroesCurrent Song Display Transitory Nature of Segment ModeBeep Messages Right Arrow/Left Arrow Buttons stepping and fast forwardingPart 1 Getting Ready 1A SetupGetting Ready 1A Setup 1B Instant Gratification 1D Selecting Drum Sounds 1C Background the Performance Module1E Adjusting the MIX 1G Background Setting UP Additional Sounds 1F Tuning the DRUMS/CHANGING Decay SET-UP1H ACCESSING/EXITING Multilevel SET-UP 12 Enter 1I ACCESSING/EXITING Multipitch SET-UP 111K Storing Defining a MIX SET-UP 1J Accessing Dynamics SET-UP1M Assigning Drum Sounds to Output Channels 1L Auditioning Selecting a MIX SET-UP1N Playing Back Segments 1O Setting Tempo 1P Programming the Metronome Part 2 Recording Segments 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 2F Recording a Segment in Real Time 2E Setting Auto CorrectRecording Segments 2G Recording a Segment in Step Time 2I Erasing a Specific Note of a Drum Track 2H Erasing a Specific Drum Sound2J Copying and Appending Segments 2K Adding Swing 2M Copying Sounds 2L Swapping Drum Sounds2M Check Remaining Memory 2N Clearing the MemoryPart 3 Creating a Song Creating a Song3A Creating a Song Overview 3B Selecting a Song Segment # 3C Chaining Segments Together3D 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 Example 3I Programming Tempo Changes Within a Song3K Programming Trigger Outputs 3J Jumping to a SUB-SONG3L Starting AT a Specified Point in the Song 3M Efficient USE of Memory Part 4 Sampling Your OWN Sounds Sampling Your OWN Sounds4A Sampling AN Overview 4B Setting Levels Prior to Sampling 4C Assigning the Sample 4D Setting the Sampling Threshold4F Initiating and Stopping Sampling 4E Setting the Sample Length4G Deleting a User Sound 4H Modifying a Sample VIA Truncation and Loop Sampling Your OWN Sounds Mu Systems, Inc Enhanced by The Emulator Archive Part 5 Saving Your Data Saving Your Data5B General Care & Handling of Disks & Cassettes 5A Background Saving DataWrite-protecting disks and cassettes LabelingSaving Your Data 5C Hooking UP the 1541 Disk Drive or Cassette 5D Formatting Disks CASSETTE/DISK Load Sounds Disk Key in 2 then Cassette Key 1 then 5E Disk and Cassette OperationsVerify Sequences Disk Key in 2 then 7 Cassette Key 1 then Part 6 MIDI, SYNC, & Smpte MIDI, Sync & SmpteOverview 6A Midi Channel and Mode SelectAfter 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 Part 7 Mixing and Processing 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 How can information control a synthesizer or drum machine? Appendix D Understanding MIDI/SMPTEWhat does the Midi cable do? What does Midi stand for?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 Smpte Dealing With MlDlosyncraciesAppendix 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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