writers connection

fonte: http://en.wikipedia.org/wiki/E-mu_SP-1200 (la voce è stata recentemente modificata e il testo sottostante non compare piu’ nel corpo della pagina)

Notable Users

Ski – Hip Hop Producer Produced for artists such as Jay-Z,Camp Lo etc.

The strength of the SP was definitely the way the 12-bit sounded
when you threw the sample or the snare or the kick in there—it just
sounded so dirty. It was a definite, definite fucking plus with the
machine. The limited sampling time made you become more creative.
That’s how a lot of producers learned how to chop the samples: We
didn’t have no time, so we had to figure out ways to stretch the sounds
and make it all mesh together. We basically made musical collages just
by chopping little bits and notes.Ski– People said they never saw anyone work the SP as fast as me and Large Professor— not that it means anything. It’s crazy. I can’t explain it—it’s like the shit is programmed in my brain. I worked with Jay-Z and did all of Reasonable Doubt on the SP-1200. For "Dead Presidents," everything was made on the SP, man: the whole sequence, the drum sounds, the Nas sample. The only thing that wasn’t done on the SP was the sample, [but] I ran it through it to give it that sound.

http://djproaudio.blogspot.com/2007/11/e-mu-systems-released-sp-1200-1987.html

Geographic1 (talk) 03:35, 18 June 2008 (UTC)

Hank Shocklee – (Producer for Public Enemy)

There’s little tricks that were developed on it. For example, you
got 12 seconds [10.07, according to the manufacturer] of sample time to
divide amongst eight pads. So depending on how much you use on each
pad, you decrease the amount of sample time that you have. You take a
33 1/3 record and play it on 45, and you cheat the system. [Another]
aspect that we created is out of a mistake—one day I was playing "Black
Steel in the Hour of Chaos" and it came out real muffled. I couldn’t
hear any of the high-end part of it. I found out that if you put the
phono or quarter-inch jack halfway in, it filters the high frequency.
Now I just got the bass part of the sample. I was like, "Oh, shit, this
is the craziest thing on the planet!"Hank Shocklee
They’ve mastered the computer to the point it does things the SP 1200
can’t do. [But] we would have better records today if people said,
"Look, you’ve got five hours to make a record." The problem is that
people got all day. They got all week. They got all month. They got all
year. So thus, you in there second-guessing yourself. With the 1200,
you can’t second-guess yourself, man. You got 2.5 seconds a pad, man. .
. . Till this day, nobody has understood and created a machine that can
best it.

http://djproaudio.blogspot.com/2007/11/e-mu-systems-released-sp-1200-1987.html

Geographic1 (talk) 03:35, 18 June 2008 (UTC)

Lord Finesse – East Coast Rapper/ Producer member of East Coast Hip Hop group DITC

They had me as a special guest on Stretch and Bobbito, one of the
popular radio shows of the ’90s. I thought it would be slick if I
brought my 1200 down. A lot of producers did total beats with their
1200, and I think I did two or three, and one specifically was when I
chopped up Marvin Gaye’s "Let’s Get It On." I chopped all around his
voice using the 1200 and put an instrumental in the back. I played it
over the air, and me and KRS-One freestyled over it. It was real slick.

http://djproaudio.blogspot.com/2007/11/e-mu-systems-released-sp-1200-1987.html

Geographic1 (talk) 03:35, 18 June 2008 (UTC)

Pete Rock

Everything that you ever heard from me back in the day was the
SP 1200. That machine made "Reminisce" "They Reminisce Over You
(T.R.O.Y.)", "Straighten It Out," "Shut ‘Em Down," "Jump Around." When
I made "Reminisce"—I had friend of mine that passed away, and it was a
shock to the community. I was kind of depressed when I made it. And to
this day, I can’t believe I made it through, the way I was feeling. I
guess it was for my boy. When I found the record by Tom Scott,
basically I just heard something incredible that touched me and made me
cry. It had such a beautiful bassline, and I started with that first. I
found some other sounds and then heard some sax in there and used that.
Next thing you know, I have a beautiful beat made. When I mixed the
song down, I had Charlie Brown from Leaders of the New School in the session with me, and we all just started crying. An End of an Era. I used the MPC [a technologically superior sampler line first introduced in 1988] on Soul Survivor II.
That was kind of the beginning of using it. I thought it had a thinner
sound than the SP, but it had way more sample time—like three minutes.
So, can’t beat that. I got hundreds of beats on the SP-1200, but I like
the MPC. I’m really starting to get in the midst of it now.–Geographic1 (talk) 03:35, 18 June 2008 (UTC)

http://djproaudio.blogspot.com/2007/11/e-mu-systems-released-sp-1200-1987.html

Geographic1 (talk) 03:35, 18 June 2008 (UTC)