Document Outline

• SAMPLING
  • OWNERS MANUAL
    • By Craig Anderton
• INTRODUCTION
  • WHAT IS IT?
  • SP-12 GROUND RULES
    • Activating and De-activating Modules
    • Accessing Functions Within the Module
    • What’s a Default?
  • SETTINGS AND VALUES
    • Entering
    • Leading Zeroes
    • Segment and Song Modes
  • THE TRANSITORY NATURE OF SEGMENT MODE
    • The Right Arrow/Left Arrow Buttons (stepping and “fast forwarding”)
    • The Current Song Display
    • The Current Segment Display
  • BEEP MESSAGES
• PART 1: GETTING READY
  • • • • • • • • 1O SETTING TEMPO
              • 1P PROGRAMMING THE METRONOME
  • 1A SETUP
  • 1B INSTANT GRATIFICATION!
  • 1C BACKGROUND: THE PERFORMANCE MODULE
  • 1D SELECTING DRUM SOUNDS
  • 1E ADJUSTING THE MIX
  • 1F TUNING THE DRUMS/CHANGING DECAY (SET-UP 18)
  • 1G BACKGROUND: SETTING UP ADDITIONAL SOUNDS
  • 1H ACCESSING/EXITING MULTILEVEL (SET-UP 12 & 13)
  • 1I ACCESSING/EXITING MULTIPITCH (SET-UP 11 & 13)
  • 1J ACCESSING DYNAMICS (SET-UP 14)
  • 1K STORING (DEFINING) A MIX (SET-UP 15)
  • 1L AUDITIONING (SELECTING) A MIX (SET-UP 16)
  • 1M ASSIGNING DRUM SOUNDS TO OUTPUT CHANNELS
  • 1N PLAYING BACK SEGMENTS
  • 1O SETTING TEMPO
  • 1P PROGRAMMING THE METRONOME
• PART 2: RECORDING SEGMENTS
  • 2A RECORDING A SEGMENT - OVERVIEW
  • 2B ERASING A SEGMENT
  • 2C “DIMENSIONING” A SEGMENT
    • Part 1: Standard Dimensioning
    • Part 2: Real-Time Dimensioning
  • 2D UNDERSTANDING AUTO CORRECT
  • 2E SETTING AUTO CORRECT
  • 2F RECORDING A SEGMENT IN REAL TIME
  • 2G RECORDING A SEGMENT IN STEP TIME
  • 2H ERASING A SPECIFIC DRUM SOUND
  • 2I ERASING A SPECIFIC NOTE OF A DRUM TRACK
  • 2J COPYING AND APPENDING SEGMENTS
  • 2K ADDING SWING
  • 2L SWAPPING DRUM SOUNDS
  • 2M COPYING SOUNDS
  • 2N CLEARING THE MEMORY
  • 2M CHECK REMAINING MEMORY
• PART 3: CREATING A SONG
  • 3A CREATING A SONG: OVERVIEW
  • 3B SELECTING A SONG
  • 3C CHAINING SEGMENTS TOGETHER
  • 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
  • 3J JUMPING TO A SUB-SONG
  • 3K PROGRAMMING TRIGGER OUTPUTS
  • 3L STARTING AT A SPECIFIED POINT IN THE SONG
  • 3M EFFICIENT USE OF MEMORY
• PART 4: SAMPLING YOUR OWN SOUNDS
  • 4A SAMPLING: AN OVERVIEW
  • 4B SETTING LEVELS PRIOR TO SAMPLING
  • 4C ASSIGNING THE SAMPLE
  • 4D SETTING THE SAMPLING THRESHOLD
  • 4E SETTING THE SAMPLE LENGTH
  • 4F INITIATING AND STOPPING SAMPLING
  • 4G DELETING A USER SOUND
  • 4H MODIFYING A SAMPLE VIA TRUNCATION AND LOOP
• PART 5: SAVING YOUR DATA
  • 5A BACKGROUND: SAVING DATA
  • 5B GENERAL CARE & HANDLING OF DISKS & CASSETTES
    • Labeling
    • Write-protecting disks and cassettes
  • 5C HOOKING UP THE 1541 DISK DRIVE OR CASSETTE
    • • Fig. 5-5
  • 5D FORMATTING DISKS (CASSETTE/DISK 0)
  • 5E DISK AND CASSETTE OPERATIONS
• PART 6: MIDI, SYNC, & SMPTE
  • • • OVERVIEW
  • 6A MIDI CHANNEL AND MODE SELECT
  • 6B BACKGROUND: SYNCHRONIZATION
  • 6C INTERNAL SYNC (SYNC 1)
  • 6D MIDI SYNC (SYNC 2)
  • 6E SMPTE SYNC (SYNC 3)
  • 6F CLICK SYNC (SYNC 4)
  • 6G WRITING SMPTE TIME CODE ON TAPE
  • 6H WRITING A 24 PPQN CLICK SYNC TRACK ON TAPE
• PART 7: MIXING AND PROCESSING
  • 7A MIXING AND PROCESSING: OVERVIEW
  • 7B PSEUDO AUTOMATED MIXDOWN
  • 7C CREATING AMBIENCE
  • 7D USING SPECIAL EFFECTS IN THE STUDIO
• APPENDIX
  • APPENDIX A: THE ART OF SAMPLING
    • PART 1: TAKING THE BEST POSSIBLE SAMPLE
    • PART 2: MANIPULATING THE SAMPLE
  • 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?
    • How does MIDI differentiate between different instruments?
    • 16 channels, huh? Sounds like a lot of patch cords to me!
    • What kind of words does the MIDI language include?
    • Dealing With “MlDlosyncracies”
    • SMPTE
  • APPENDIX E: TIPS ON CREATING REALISTIC DRUM PARTS
  • APPENDIX F: TIPS ON USING CASSETTE INTERFACES
  • APPENDIX G: HOW THE SP-12 WORKS
  • APPENDIX H: SPECIAL FUNCTIONS (SET-UP #23)