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Description
The E-mu SP-12 is a legendary piece of music production history, revered by beatmakers and producers for its distinctive sound and intuitive design. Originally launched in 1985, this drum machine and sampler has stood the test of time, offering a rich palette of sounds that have shaped countless tracks across genres. With 8-bit sampling and 12-bit playback, it delivers a gritty, punchy sound that is instantly recognizable. The SP-12 combines analog synthesis with digital sampling, allowing users to manipulate sounds with precision and creativity.
Equipped with a 12-voice polyphonic sampler, the SP-12 offers flexibility and depth for crafting unique rhythms and beats. The built-in sequencer supports up to 5,000 notes, giving musicians ample room for complex compositions. Users can program patterns and sequences with ease, thanks to its straightforward interface and responsive buttons. The SP-12 also features 8 individual outputs, enabling seamless integration into any studio setup.
For those seeking a classic piece of gear that continues to inspire, the E-mu SP-12 is a perfect choice. Its robust feature set and unmistakable sound quality ensure it remains a staple in both vintage collections and modern studios.
Key Features:
- 12-bit playback for classic, gritty sound
- 8-bit sampling with dynamic range
- 12-voice polyphonic sampler
- Built-in sequencer with capacity for 5,000 notes
- 8 individual outputs for versatile connectivity
- Intuitive interface for easy programming
- Classic drum machine and sampler combo, loved by producers across the globe
Product specs
| Brand | E-MU Systems |
| Model | SP-12 8-Voice Drum Sampler |
| Finish | Blue |
| Year | 1985 - 1987 |
| Categories | Drum Machines, Samplers |
| Analog / Digital | Digital |
| MIDI I/O | MIDI Input, MIDI Output, MIDI Through |
| Polyphony | 8 Voices |
FAQs
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What are the main features of the E-mu SP-12 drum sampler?
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The E-mu SP-12 is an 8-voice digital drum sampler known for its distinctive sound and intuitive interface. It features MIDI connectivity, allowing for integration with other MIDI-compatible devices, and offers sampling capabilities that were groundbreaking at its release.
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How does the E-mu SP-12 differ from the SP-12 Turbo?
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The primary difference is the sampling time; the SP-12 offers 1.2 seconds of sampling time, while the SP-12 Turbo extends this to 5 seconds. Additionally, the SP-12 Turbo increases the memory capacity for storing patterns and songs significantly.
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Is the E-mu SP-12 suitable for live performances?
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Yes, the E-mu SP-12 is well-regarded for live performances due to its robust build and user-friendly interface, making it easy to trigger samples and sequences during a show.
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Can the E-mu SP-12 be integrated with modern music production setups?
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While the E-mu SP-12 is a vintage piece of equipment, it includes MIDI input and output, allowing it to be integrated into modern setups with MIDI-compatible devices, though additional converters might be needed for seamless integration.
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What type of music is the E-mu SP-12 best suited for?
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The E-mu SP-12 is particularly popular in hip-hop and electronic music genres, thanks to its gritty, lo-fi sound quality that adds character and texture to drum tracks.
Videos
Meuchine
E-mu SP-12 - 12Bits sampler from 1985
Reviews
PROS
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12-bit character for a unique sound
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Quick sample loading with velocity sensitive finger triggers
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Allows building custom drum sets with preferred sounds
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Large selection of internal percussion sounds
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Independently assignable outputs enhance versatility
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Unique digital noise adds character when changing pitch of samples
CONS
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Poor workflow compared to modern software like Ableton
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Limited sampling time (5 seconds) can be restrictive
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Playing with loops of different tempos is challenging
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Quantize cannot be turned off, affecting timing accuracy
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Buttons and build quality feel unreliable
Owner Insights
We analyzed real musician discussions from forums and Reddit to find what players love, question, and tweak about E-mu SP-12.
Comparisons
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The SP-12 Turbo is often preferred over the SP-1200 for its perceived superior sound due to older converters, despite the minimal difference in actual sound quality.
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The Emax provides a different sound character than the SP-12, with capabilities like chromatic programs and a unique filter, making it complementary rather than redundant.
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Features and functionality
Setup and maintenance
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Owners highlight the difficulty in saving/loading sounds on the SP-12, exacerbated by issues with aging components like C64 drives and floppy emulators.
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Vintage gear maintenance is challenging; users report frequent failures in capacitors, power supplies, and buttons, with replacement parts being scarce.
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User experience
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The SP-12 Turbo provides a unique sound character that some users prefer over modern alternatives, even if the differences are subtle in a mixed track.
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Mods and upgrades
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Upgrading to a Turbo by ordering chips online can extend sample time to 5 seconds, significantly enhancing functionality and value.
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Critic Reviews
5.0 out of 5
Based on 1 Review and 6 Ratings
Revolutionary Drum Sampler and more
Intelligently designed, one could quickly load samples and play them on velocity sensitive finger triggers. I would create a self contained groove by sampling a bass note and guitar chords. Best of all, you could build your own drum set with the type of drum sounds you preferred, not just what came in the box. Even so, you had available a whole pile of internal percussion sounds to play with. The SP-12 had a flaw when trying to change the pitch of percussive samples, it added this grungy digital noise that became it's own cool sound effect. This flaw became popular and was exploited in recordings. Independent outputs were also a bonus. I got rid of mine once the memory started going.
Artist usage
Add artist
Nodfactor re-publishes an article from a February 2006 edition of Scratch magazine where Alvin “Aqua Boogie” Blanco interviews J-Dilla. Aqua Boogie asks what equipment did J-Dilla start with, to which he replies “I started with the SP-12 then moved to the SP-1200 and then shortly after that the MPC-60, then the MPC-62, then the MPC3000 and I’ve been on the MPC 3000 ever since then. I’ve tried other samplers but the 3000 is best for me for what I like to do.”
In this article Madlib talks about the equipment he uses, including the SP-12.
"Are you still recording all analogue?
M: It’s a mixture. I keep my jazz analogue. But it depends. I mean, I still use my SP-12 and I’ve got an MPC-4000, but what I like the most is my little 303. A $200 machine, and I’ve done everything on that. So that shows you that you don’t need all of this other stuff."
”We used a lot of the stuff that we used on our first couple of records: sequencers, Akai samplers, MPCs, old E-Mu drum machines. ”
"The only old piece of gear that I think we're going to bring back, or that I would still use in making comtemporary electronic music, is the SP-12."
It says here that, "Premier moved to New York in the late '80s, where he met fellow up-and-coming hip-hop producer Large Professor, who used an Emu SP1200 drum machine. Preem began using an SP12, and also picked up some of the ins and outs of sampling and sound manipulation from his colleague."
"The low strings sound in the introduction provides the bass part throughout the song. I used my Prophet 10 with a round, low sound on a drone setting, which sustains throughout the song and just changes notes. We put bass guitar on some of that and I doubled it with Taurus bass pedals. The tinkly sound behind the vocal is a DX7, but I can't remember the name of the patch. The piano sound is the CP80 through a chorus. I originally programmed the rhythm at home on an Emu SP12, then I transferred it to the Atari. When we got to the studio I used the program but I modified some of the sounds and then added to it with Simmons drums."
In a studio tour video by Sweetwater titled "Studio Tour: DJ Jazzy Jeff on His 'Creative Utopia'," DJ Jazzy Jeff can be seen at 19:02 showcasing an E-mu SP-12 drum machine placed on a shelf in his studio, confirming its usage in his music production setup.
Fue utilizada como batería electrónica en el álbum "Parte de la Religión" de 1987.
Album Usage
The E-mu SP-12 has been featured on the following albums:
Genre Usage
Based on how artists on Equipboard use this gear, it is most commonly found in the following genres.
Used With
Based on how musicians on Equipboard use E-mu SP-12, it is most commonly used with the following gear.
Community setups
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