Custom Ultra Bright Blue Screen. Excellent Condition!
E-mu SP1200 in immaculate working condition. All buttons, sliders, outputs and drive were recently tested and serviced. Everything is fully functional. Includes custom ultra-bright blue lcd screen. All service and work was done by Bruce Forat of Forat Electronics. With purchase you will also receive 5 new floppy disks pre-loaded with BeatBox Pros Drum Kits! International Shipping: Please contact us direct for accurate shipping quote.Listing includes:E-mu SP1200Power cableBeatBox Pros Drum KitsOwner’s manual (digital) About the SP 1200: From Wikipedia, the free encyclopedia E-mu SP-1200 is a classic drum machine and sampler released in August 1987 by E-mu Systems, Inc. as an update of the SP-12, which was originally created for dance music producers. It became famed for its gritty texture and ability to simulate the “warmth” of vinyl recordings. The SP-1200 became an icon of hip hop’s golden age, due to its ability to construct the bulk of a song within one piece of portable gear—a first for the industry. This resulted in reduced studio costs and more creative control for artists. In an article published in New York City’s The Village Voice in November 2007, Ben Detrick explains, “The machine rose to such prominence that its strengths and weaknesses sculpted an entire era of music: the crunchy digitized drums, choppy segmented samples, and murky filtered basslines that characterize the vintage New York sound are all mechanisms of the machine.”. Designed to be used as both a drum sequencer and sampler in one, the SP-1200 features a 26.04 kHz sampling rate (roughly half the fidelity of a compact disc) and 12-bit resolution; along with the idiosyncratic SSM2044 filter chips, these machines were fitted with make for a dirty, gritty sound. One of the attributes of the SP-1200 is its extremely small amount of memory—roughly 10 seconds. Features The SP-1200 can store up to 100 patterns, 100 songs and has a 5000 note minimum memory for drum sequences. It also has a mono mix output and eight individual outputs, MIDI in/out/thru, SMPTE sync, and a metronome output. There is one button that allows you to select between banks A, B, C and D giving the user easy access to each of the 32 sounds. The front panel contains several LED lights, buttons and eight volume and pitch faders for each sound in the selected bank. Below each fader is a large button to initialize the sound, or select the sound for editing, and a switch to turn the trigger’s velocity sensitivity off or on. The sequencer works in the familiar pattern-style of placing short consecutive sections of samples into a song. The user can easily add swing quantisation and tempo changes. The sequencer can sync the tempo to SMPTE, MIDI or analogue clock pulses. Also, if one wanted, the sequencer can synchronize the tempo to a tapping finger with the ‘tap tempo’ button.” Differences from the SP12 Unlike the SP12, the SP-1200 does not contain ROM-based samples; all samples are stored in volatile RAM and loaded from floppy disk. The AD/DA converters remain 12 bit, as 16 bit converters were still expensive and found only on high-end gear, such as the contemporary E-Mu Emulator 3 (EIII), which had a list price over $10,000 USD. Maximum sampling time was doubled from the upgraded SP-12 Turbo, to over 10 seconds, but the maximum single sample was 2.5 seconds. The sample rate was reduced slightly also (from 27.5 kHz to 26.04 kHz) to maximize memory usage. The SP-1200 retains all of the I/O capabilities from the SP12, minus the cassette output. Technique The limited sampling time of the SP-1200 was overcome within the late 80s Hip-Hop production circles by sampling 33 1/3 records at 45 rpm with an additional pitch increase, then replaying the sample from the SP-1200 at a much slower speed (by the use of ‘Multipitch’ and/or ‘Tune/Decay’ edit functions). This in effect, “tricked” the sampler into expanding its total sample time. By the early 90s, nearly every working Hip-Hop producer had adopted this technique as industry standard until younger producers began buying newer samplers such as Akai’s MPC60, which provided higher sampling rates and more sampling time.