MIXING AND PROCESSING

So far, that’s one channel of ambience. You could add a second channel, but another approach is to split the mono ambient signal into two feeds. One of’ these would be panned left, while the other would be delayed by about 15 to 80 ms and be panned right. This gives a uniform ambient sound, yet one that covers the full stereo field. Connecting more time delay effects (chorusing, flanging, pitch transposers, etc.) in parallel with the drum sounds adds very pleasing subliminal effects, assuming that you mix any of these effects in at a relatively low level.

Another popular ambience effect involves noise gating the ambient signal, and triggering this noise gate from the snare drum and toms. Thus, every time you hit the snare or a tom, the ambience cuts in; but when the snare and toms aren’t happening, there’s no spillover or noise from the ambient signal.

7D USING SPECIAL EFFECTS IN THE STUDIO

Here are some special effects that are very useful with electronic drums:

Reverb is a common special effect. Unfortunately, spring reverbs (which are common in smaller studios) have some limitations, one of which is an inability to handle sharp bursts of energy -- like drum beats. To minimize this problem, try limiting the drums before going into the reverb unit. A better choice is to use plate or digital reverbs.

Splashing is a technique used with reverb. If you want to reverb specific beats, advance the reverb send control just before the beat, then turn it down after the beat. That one beat will be sent to the reverb and reverberated.

Echo units, when synched as closely as possible to the tempo of the song, can add interesting synchro-sonic effects. For example, try feeding the SP-12’s snare output into an echo unit whose echo time equals a quarter or half note, and whose regeneration (feedback) is up part way. You can also add double time effects easily by setting the echo time equal to an eighth

Equalization can perk up the sound of individual drums. Actually, the quality of the SP-12 sounds is superb, so in practice little equalization is needed. However, a little extra bottom on the bass drum, some extra sheen on the high hats, and an upper midrange boost on the snare drum can do for a SP-12 what a little tasteful make-up can do for a face.

Noise gates, in addition to enhancing ambient effects as described above, can also clip the decay of drums for a more percussive, clipped sound.

Ring modulators give great outer space and gong-like effects.

Pitch transposers can fatten up a drum sound by adding harmonics or sub- harmonics to the drum sound. They are especially effective with handclaps.

Chorus units can really enhance handclaps. Drum unit handclaps tend to sound unrealistic, since after all, no group of humans are going to clap their hands in exactly the same way every time. One way around this is to set the chorus for maximum delay (usually around 20 ins), and use modulation to vary the width. As the amount of delay changes, the handclaps tend to sound thinner or thicker.

© E-mu Systems, Inc. 1985

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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.
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