beverlylaurel's Activity

The sound Accurate emulation of the SP's 12-bit 26.04kHz ADC, DAC and detune. Gritty sound with mandatory aliasing artifacts.

Detune If you are familiar with the E-mu SP-1200 workflow, you know the way the device is typically used is with a pitched-up source such as a turntable playing a LP record at 45RPM or 78RPM, and a detune after sampling in the SP-1200 to get back to the original pitch and duration. This was initially done to save sampling time, but the resulting artifacts soon became the signature of the device, and of whole musical trend.

This is exactly what the SP950 effect plugin intends to reproduce in a single slider: the RPM/detune slider combines the pitch of the source (markings on the left side, in RPM relative to 33 and in factors) with the detune of the SP (semitones value on the LCD) to compensate each other. The result is a constant duration and pitch output, with varying detune aliasing and bandwidth artifacts. Addtional functions: ext. switch extends the detune range from -15 semitones to -30 semitones. fine switch changes detune steps from semitones to tenths of semitones.

Filter Another well-known workflow is the combination of the SP and an Akai* S950 low-pass filter to isolate a bass line. The digitally-controlled analog 6th-order Butterworth low-pass filter of the Akai* S950 is reproduced here for that purpose, as well as the possibility to mitigate some high-frequency detune artifacts. The filter can be set from 0 to 99 like in the original S950. The filter is defeated when set to 99 (bypass).

Gain Gain in and gain out can be set from -12dB to +12dB, in 0.1dB steps. This can be used to adjust levels based on a given correction, but can can also used to either clip the input section, or keep some margin to increase noise. Additional functions: link. switch maintains a constant total gain when modifying gain in. Total gain can still be modified when the swith is activate by modifying gain out. Total gain is maintained within each gain knob limits (eg +24dB can not be maintained when gain in is lowered).

Signal Routing The routing section located in the plugin's header operates on the signal flow. stereo/mono selector let you choose between stereo, left, right, or summed signals wet/dry knob let you mitigate the impact of the detune artifacts. It is positioned after the stereo/mono routing in the signal flow, so the dry signal is also affected by the selected routing bypass button is equivalent to 0% wet

The sound Accurate emulation of the SP's 12-bit 26.04kHz ADC, DAC and detune. Gritty sound with mandatory aliasing artifacts.

Detune If you are familiar with the E-mu SP-1200 workflow, you know the way the device is typically used is with a pitched-up source such as a turntable playing a LP record at 45RPM or 78RPM, and a detune after sampling in the SP-1200 to get back to the original pitch and duration. This was initially done to save sampling time, but the resulting artifacts soon became the signature of the device, and of whole musical trend.

This is exactly what the SP950 effect plugin intends to reproduce in a single slider: the RPM/detune slider combines the pitch of the source (markings on the left side, in RPM relative to 33 and in factors) with the detune of the SP (semitones value on the LCD) to compensate each other. The result is a constant duration and pitch output, with varying detune aliasing and bandwidth artifacts. Addtional functions: ext. switch extends the detune range from -15 semitones to -30 semitones. fine switch changes detune steps from semitones to tenths of semitones.

Filter Another well-known workflow is the combination of the SP and an Akai S950 low-pass filter to isolate a bass line. The digitally-controlled analog 6th-order Butterworth low-pass filter of the Akai S950 is reproduced here for that purpose, as well as the possibility to mitigate some high-frequency detune artifacts. The filter can be set from 0 to 99 like in the original S950. The filter is defeated when set to 99 (bypass).

Gain Gain in and gain out can be set from -12dB to +12dB, in 0.1dB steps. This can be used to adjust levels based on a given correction, but can can also used to either clip the input section, or keep some margin to increase noise. Additional functions: link. switch maintains a constant total gain when modifying gain in. Total gain can still be modified when the swith is activate by modifying gain out. Total gain is maintained within each gain knob limits (eg +24dB can not be maintained when gain in is lowered).

Signal Routing The routing section located in the plugin's header operates on the signal flow. stereo/mono selector let you choose between stereo, left, right, or summed signals wet/dry knob let you mitigate the impact of the detune artifacts. It is positioned after the stereo/mono routing in the signal flow, so the dry signal is also affected by the selected routing bypass button is equivalent to 0% wet

The sound Accurate emulation of the SP's 12-bit 26.04kHz ADC, DAC and detune. Gritty sound with mandatory aliasing artifacts.

Detune If you are familiar with the E-mu SP-1200* workflow, you know the way the device is typically used is with a pitched-up source such as a turntable playing a LP record at 45RPM or 78RPM, and a detune after sampling in the SP-1200* to get back to the original pitch and duration. This was initially done to save sampling time, but the resulting artifacts soon became the signature of the device, and of whole musical trend.

This is exactly what the SP950 effect plugin intends to reproduce in a single slider: the RPM/detune slider combines the pitch of the source (markings on the left side, in RPM relative to 33 and in factors) with the detune of the SP (semitons value on the LCD) to compensate each other. The result is a constant duration and pitch output, with varying detune aliasing and bandwidth artifacts. Addtional functions: ext. switch extends the detune range from -15 semitons to -30 semitons. fine switch changes detune steps from semitons to tenths of semitons.

Filter Another well-known workflow is the combination of the SP and an Akai* S950 low-pass filter to isolate a bass line. The digitally-controlled analog 6th-order Butterworth low-pass filter of the Akai* S950 is reproduced here for that purpose, as well as the possibility to mitigate some high-frequency detune artifacts. The filter can be set from 0 to 99 like in the original S950. The filter is defeated when set to 99 (bypass).

Gain Gain in and gain out can be set from -12dB to +12dB, in 0.1dB steps. This can be used to adjust levels based on a given correction, but can can also used to either clip the input section, or keep some margin to increase noise. Addtional functions: link. switch maintains a constant total gain when modifying gain in. Total gain can still be modified when the swith is activate by modifying gain out. Total gain is maintained within each gain knob limits (eg +24dB can not be maintained when gain in is lowered).

Signal Routing The routing section located in the plugin's header operates on the signal flow. stereo/mono selector let you choose between stereo, left, right, or summed signals wet/dry knob let you mitigate the impact of the detune artifacts. It is positioned after the stereo/mono routing in the signal flow, so the dry signal is also affected by the selected routing bypass button is equilvalent to 0% wet

The sound Accurate emulation of the SP's 12-bit 26.04kHz ADC, DAC and detune. Gritty sound with mandatory aliasing artifacts.

Detune If you are familiar with the E-mu SP-1200 workflow, you know the way the device is typically used is with a pitched-up source such as a turntable playing a LP record at 45RPM or 78RPM, and a detune after sampling in the SP-1200 to get back to the original pitch and duration. This was initially done to save sampling time, but the resulting artifacts soon became the signature of the device, and of whole musical trend.

This is exactly what the SP950 effect plugin intends to reproduce in a single slider: the RPM/detune slider combines the pitch of the source (markings on the left side, in RPM relative to 33 and in factors) with the detune of the SP (semitones value on the LCD) to compensate each other. The result is a constant duration and pitch output, with varying detune aliasing and bandwidth artifacts. Addtional functions: ext. switch extends the detune range from -15 semitones to -30 semitones. fine switch changes detune steps from semitones to tenths of semitones.

Filter Another well-known workflow is the combination of the SP and an Akai* S950 low-pass filter to isolate a bass line. The digitally-controlled analog 6th-order Butterworth low-pass filter of the Akai* S950 is reproduced here for that purpose, as well as the possibility to mitigate some high-frequency detune artifacts. The filter can be set from 0 to 99 like in the original S950. The filter is defeated when set to 99 (bypass).

Gain Gain in and gain out can be set from -12dB to +12dB, in 0.1dB steps. This can be used to adjust levels based on a given correction, but can can also used to either clip the input section, or keep some margin to increase noise. Additional functions: link. switch maintains a constant total gain when modifying gain in. Total gain can still be modified when the swith is activate by modifying gain out. Total gain is maintained within each gain knob limits (eg +24dB can not be maintained when gain in is lowered).

Signal Routing The routing section located in the plugin's header operates on the signal flow. stereo/mono selector let you choose between stereo, left, right, or summed signals wet/dry knob let you mitigate the impact of the detune artifacts. It is positioned after the stereo/mono routing in the signal flow, so the dry signal is also affected by the selected routing bypass button is equivalent to 0% wet

The sound Accurate emulation of the SP's 12-bit 26.04kHz ADC, DAC and detune. Gritty sound with mandatory aliasing artifacts.

Detune If you are familiar with the E-mu SP-1200* workflow, you know the way the device is typically used is with a pitched-up source such as a turntable playing a LP record at 45RPM or 78RPM, and a detune after sampling in the SP-1200* to get back to the original pitch and duration. This was initially done to save sampling time, but the resulting artifacts soon became the signature of the device, and of whole musical trend.

This is exactly what the SP950 effect plugin intends to reproduce in a single slider: the RPM/detune slider combines the pitch of the source (markings on the left side, in RPM relative to 33 and in factors) with the detune of the SP (semitons value on the LCD) to compensate each other. The result is a constant duration and pitch output, with varying detune aliasing and bandwidth artifacts. Addtional functions: ext. switch extends the detune range from -15 semitons to -30 semitons. fine switch changes detune steps from semitons to tenths of semitons.

Filter Another well-known workflow is the combination of the SP and an Akai* S950 low-pass filter to isolate a bass line. The digitally-controlled analog 6th-order Butterworth low-pass filter of the Akai* S950 is reproduced here for that purpose, as well as the possibility to mitigate some high-frequency detune artifacts. The filter can be set from 0 to 99 like in the original S950. The filter is defeated when set to 99 (bypass).

Gain Gain in and gain out can be set from -12dB to +12dB, in 0.1dB steps. This can be used to adjust levels based on a given correction, but can can also used to either clip the input section, or keep some margin to increase noise. Addtional functions: link. switch maintains a constant total gain when modifying gain in. Total gain can still be modified when the swith is activate by modifying gain out. Total gain is maintained within each gain knob limits (eg +24dB can not be maintained when gain in is lowered).

Signal Routing The routing section located in the plugin's header operates on the signal flow. stereo/mono selector let you choose between stereo, left, right, or summed signals wet/dry knob let you mitigate the impact of the detune artifacts. It is positioned after the stereo/mono routing in the signal flow, so the dry signal is also affected by the selected routing bypass button is equilvalent to 0% wet

Full Description

A limited special edition of a legendary microphone. In its classic nickel-and-brass finish, this special version is a tribute to one of the most famous microphones in the recording world, manufactured only in the anniversary year 2007. The C 414 LTD is built with carefully selected components and sophisticated engineering details to ensure superior audio for the most demanding creative challenges. Five selectable polar patterns, high sensitivity, and extremely low self-noise add up to unparalleled flexibility and immaculate recorded sound. A set of dedicated accessories supplied exclusively with this special version completes this limited edition. Requires phantom power.

Specifications: Type 1-inch large-diaphragm pressure gradient microphone Polar pattern Omnidirectional, wide cardioid, cardioid, hypercardioid, figure eight Frequency range 20 to 20,000 Hz Sensitivity 23 mV/Pa (-33 dBV) Max. SPL 200 /400 /800/1600 Pa = 140 /146 /152 /158 dB (0 /-6 /-12 /-18 dB) (for 0.5% THD) Equivalent noise level (CCIR 468-2) 20 dB (0 dB preattenuation) Equivalent noise level 6 dB-A (0 dB preattenuation) (to DIN 45 412, A-weighted) Signal/noise ratio (A-weighted) 88 dB Preattenuation pad -6 dB, -12 dB, -18 dB, switchable Bass cut filter slope 12 dB/octave at 40 Hz and 80 Hz; 6 dB/octave at 160 Hz Impedance <=200 ohms Recommended load impedance >= 2,200 ohms Supply voltage 48 V phantom power to DIN/IEC Current consumption approximately 4.5 mA Dynamic range 134 dB minimum Environment Temperature range: -10 C to +60 C (14 F to 140 F), relative humidity: 95% (+20 C/68 F), 85% (+60 C/140 F) Connector 3-pin XLR to IEC Finish nickel/brass