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SP Studio Systems SP-12 manual 7A Mixing and Processing Overview, 7B Pseudo Automated Mixdown

Models: SP-12

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MIXING AND PROCESSING

7A MIXING AND PROCESSING: OVERVIEW

Sure, the SP-12 sounds astonishingly realistic...but it doesn’t necessarily sound like the drum sounds you hear on records. Why? Because when recording engineers record acoustic drums, the drums become part of a stereo acoustical space (“ambience”). Also, special effects may be added to various drums to make them punchier, brighter, fatter, and so on.

The SP-12 can benefit from these same techniques. While you can simply plug the MIX OUT jack into a tape track or amplifier, a better approach is to plug the different drum sounds into a stereo mixing board (see Section 1M for information on how to assign different drum sounds to different output channels). This lets you place the drums in the stereo field, add special effects, and vary equalization (tone).

Don’t forget that you can also mix one drum sound subtly behind another drum sound. For example, mixing the low torn sound in behind the snare at a lower volume level results in a fuller sounding snare, while mixing the open hi-hat in with the ride cymbal results in a different ride sound.

7B PSEUDO AUTOMATED MIXDOWN

Remember that you can change the song drum mix whenever desired (Section 3G). By using this feature to change drum levels as required, you can create a sort of automated mix down effect. You won’t believe how handy this is until you actually try it.

7C CREATING AMBIENCE

In most cases, you’ll plug the drum outputs right into the mixing console, and pan these sounds across the stereo field. While that will give you a good, clear sound, some people may find it too clear and clinical. The solution is to add ambience -- a feeling of acoustical space -- to help give a more “live” sound.

You may synthesize an acoustic space using delay lines, reverb, acoustic techniques, or any combination of the three. The author recommends adding at least one channel of acoustic ambience. The easiest way to do this is to consider the signal coming from the MIX OUT jack as a sort of “ambience/reverb send” jack -- after all, it contains all the drum sounds mixed in their proper proportion. Feed this output to an amplifier/speaker combination inside an acoustical space (preferably a large, “live” room with fairly hard surfaces), and turn the sound up pretty loud. You might also want to cut back on the bass as much as possible to keep the bass drum out of the ambient mix. Next, put a good quality mic in the same room. This mic should be at a distance from the speakers, and pointing away from the speakers towards one of the hard surfaces. Feed the mic output back into the board to mix some of this ambient sound in with the direct drum sound.

It’s very helpful to have someone who can move the mic around as you listen to the results of these changes on headphones. You might want to mark the floor with chalk or tape if you find some particularly sweet spots for mic placement.

© E-mu Systems, Inc. 1985

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SP Studio Systems SP-12 manual 7A Mixing and Processing Overview, 7B Pseudo Automated Mixdown, 7C Creating Ambience
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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.