SP Studio Systems SP-12 manual Appendix B Understanding Rhythmic Notation

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APPENDIX

APPENDIX B: UNDERSTANDING RHYTHMIC NOTATION

This extremely brief overview is intended solely as a refresher and memory jogger; for a detailed description of rhythm notation, see any good book on music theory.

Measures: A piece of music is divided into measures, and each measure is divided into notes. The number of notes, and rhythmic value of the notes, depends both on the composition and the time signature (see Appendix C).

Note values: With a measure written in 14/11, there are four beats per measure, with each beat representing a quarter note. Thus, there are four-quarter notes per measure of 4/4 music.

There are two eighth notes per quarter note. Thus, there are eight eighth notes per measure of 4/4 music.

There are four sixteenth notes per quarter note. Thus, there are sixteen sixteenth notes per measure of 4/4 music.

There are eight thirty-second notes per quarter note. Thus, there are thirty-two thirty second notes per measure of 4/4 music.

There are also notes that span a greater number of beats than quarter notes. A half- note equals two quarter notes. Therefore, there are two half notes per measure of 4/4 music. A whole note equals four-quarter notes. Therefore, there is one whole note per measure of 4/4 music.

Triplets: The above notes divide measures by factors of 2. However, there are some cases where you want to divide a beat into thirds, giving three notes per beat. Dividing a quarter note by three results in eighth note triplets. The reason why we use the term “eighth note triplets” is because the eighth note is closest to the rhythmic value that we want. Dividing an eighth note by three results in sixteenth note triplets. Dividing a sixteenth note by three results in thirty-second note triplets.

© E-mu Systems, Inc. 1985	Page 88
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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? Accessing Functions Within the Module What’s a Default?SP-12 Ground Rules Activating and De-activating ModulesSettings and Values EnteringLeading Zeroes Segment and Song ModesTransitory Nature of Segment Mode Beep MessagesRight Arrow/Left Arrow Buttons stepping and fast forwarding Current Song DisplayGetting Ready 1A SetupPart 1 Getting 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 6C Internal Sync Sync 6B Background Synchronization6D Midi 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 Processing7B Pseudo Automated Mixdown 7A Mixing and Processing Overview7C Creating Ambience 7D Using Special Effects in the Studio Appendix AppendixPart 1 Taking the Best Possible Sample Appendix a the ART of SamplingGeneral Tips 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 Appendix D Understanding MIDI/SMPTE What does the Midi cable do?What does Midi stand for? How can information control a synthesizer or drum machine?Channels, huh? Sounds like a lot of patch cords to me How does Midi differentiate between different instruments?What kind of words does the Midi language include? 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