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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
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"For the work Mark and I are currently doing on Tina Turner's new album, we're also using the Emulator SP12 drum machine, Linn 9000, and the new Pro-24 software from Steinberg Research which runs on the Atari computer."
In this picture that Dj Evil Dee posted to his Instagram, he shows off some off his classic gear and writes, "#tbt #throwbackthursday WHAT YOU KNOW ABOUT THE SP1200, SP12 TURBO & THE AKAI 950 ???"
Georgi Guryanov, alongside Igor Tikhomirov, utilized the E-mu SP-12 for programming tracks on KINO's final ‘Black Album,’ including "Nam s toboy" (You and Me), "Zvezda" (Star), "Konchitsya leto" (Summer Will End), "Muraveynik" (Anthill), "Kogda tvaya devochka bolna" (When Your Girlfriend Is Sick), and "Kukushka" (Cuckoo). This is evidenced by the samples' sounds, which are identical to those produced by the E-mu SP-12, as detailed in the VK discussion titled "Какие синтезаторы использовала группа 'Кино'…"
Per Sound On Sound, May 2005:
"The very first sampler we had was a Roland F10," recalls Simpson, "and then we went with the Akai S900. Those were still mono samplers. Then we dabbled with the SP12, the predecessor of the SP1200, and then we had a Roland S770, which I think was the first stereo sampler.
In an Instagram post, Luke Million discusses his extensive use of the E-mu SP-12 in his "Come Together" EP. He highlights its role in processing drum sounds, such as pitching down an Oberheim DMX for "Killing Me Slowly" and adding crunch to the drums for "Alive."
"Phase 2 began with Big Trouble In Little China. I had a new house and built a studio in the garage out back, which I called Electric Melody Studios, and where I had an Ampex MM1100 24-track instead of the Stephens. I added a Kurzweil 250 synth and a Prophet VS, both of which became main pieces, and also got the Linn Drum LM2 and an E-mu SP12 Drumulator. I started getting into computer-based sequencers as well. The first one I got was MOTU Performer on the Mac Plus. But the crown jewel which we got in 1986 was a Synclavier system. It was so expensive that I bought it on payments, it was like buying a house! I decided to go for the Synclavier rather than the Fairlight because it had added a Macintosh as its interface."
In an interview with Iheartsynths, Shawn Rudiman reflects on his journey into synthesizers, mentioning that his passion began the day after Christmas in 1990. During this time, Rudiman, along with his friend Ed Vargo, ambitiously dove into music production, eventually securing a record deal for their industrial demo. This period marks the inception of his use of the E-mu SP-12, a key instrument in his early work.
In an Instagram post by Headnodic, the E-mu SP-12 can be seen standing on its side against the wall, confirming his use of this gear.
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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