Mastering the E mu SP1200 Sound with eSPi Emulation
If you’re a regular visitor of my blog, most likely you already know the distinct SP sound the second it comes on. You know, that legendary "warm," "dirty," and "gritty" texture that helped to define the golden age of hip hop? It’s all rooted in the E mu SP1200 (my affiliate link as a member of the eBay Partner Program), a machine whose strengths—and deliberate weaknesses—sculpted an entire era of music. The SP is characterized by crunchy digitized drums, choppy segmented samples, and murky filtered basslines. Even more than 35 years after its debut, the thirst for this production sound remains. Above all, it’s attributed to the SP’s low 26.04 kHz sampling rate, 12-bit sampling resolution, analog SSM2044 filter chips (ICs), and unique drop-sample pitch-shifting.
How Hip Hop Producers Redefined The E MU SP1200
Back in the day, pioneering producers like Pete Rock, Easy Mo Bee, and Large Pro weren't working with unlimited memory. In fact, they had to squeeze their entire beatmaking session into just 10 seconds of total sample time. This necessary technical constraint, combined with ingenious user techniques, is exactly what reduced production costs and increased creative control for hip-hop artists. As a result, the combination of the SP1200 (my affiliate link as a member of the eBay Partner Program) and Hip Hop forever changed music. In this article, I'd like to highlight some newer artists who do their thing on the SP, classic Hip Hop style.
A Modern Alternative To Classic 12-Bit Sound
Thankfully, we now have the power and authenticity of the eSPi software emulation which is laid out exactly like the original SP. With that said, the challenge isn't learning the menus—it’s learning the workarounds,. My tutorial goes beyond basic button pushes of this software. Instead, this is a comprehensive guide to mastering the eSPi app by intentionally exploiting the very limitations that defined the SP-1200’s sound. We’ll go over the legendary SP production methods used by golden age Hip Hop artists:
10 Seconds To Glory On The eSPi
To begin, I’ll demonstrate how to achieve the signature gritty texture by using the tuning functions of the eSPi to replicate the drop-sample pitch-shifting effect. Secondly, how to utilize the sequencing section to unlock the iconic double-time swing, a trick necessary for overcoming the hardware’s low rhythmic resolution. By the end of this, you’ll be ready to achieve your own "10 Seconds to Glory."
As you can see by the demonstration video above, the eSPi has been updated and the app is now available to download here at Apple.
The Gritty Sound: Replicating Artifacts via Pitch & Sampling
If the E MU SP1200 had a secret sauce, it was its inability to sound "clean." The sound is legendary precisely because of the artifacts introduced by its low 12-bit sampling resolution and 26.04 kHz sampling rate. Mecca:83's instrumental project "Ninety Four" displays this gritty type of sound in fine form. To truly master the eSPi app, you have to stop thinking like a modern producer trying to maintain fidelity and start thinking like a pioneer trying to break the machine. This means embracing the noisy filters and the distortion produced by the pitch-shifting.
The 10-Second Workaround: Intentional Sample Degradation
Most importantly, the technique that stamped the SP-1200's character onto the golden age of Hip Hop was the pitch-up, sample, pitch-down trick. This workaround was born out of sheer necessity: because the original unit only offered 10 seconds of total sample time.
Understanding The Unique Sound Of The E MU SP1200
As soon as people in Hip Hop started sampling hits, loops and drum breaks into the SP, that 10-second limit became a serious problem. The solution? Producers would literally speed up their source material (often a vinyl turntable) and pitch it up so they could sample longer material into the SP1200’s limited RAM. When the sound was played back and pitched down to its original tempo in the SP-1200, the result was a reduction in fidelity and the introduction of "notably more audible artifacts". Above, the DXA crew are a great example of SP1200 technique in Hip Hop and generously teach how to use the machine at their YouTube channel.
This drop-sample pitch-shifting algorithm is why the machine sounds so unique, because pitching samples up and down is "really where the SP1200 and the SPI actually shine" and where you get that "gritty crunchy texture". For instance, the lo-fi sound of SRAW on his neck-snapping project "On & On" which you can stream below.
A. Loading & Tuning Samples in an eSPi Workflow
1. Import: Load your long sample into eSPi. You can even sample a full song via the "Sample from file" option.
2. Exploit the Pitch: Go to the Performance section, select the Tune menu, and use the sliders to pitch the sample down. This digital process closely emulates the way the SP1200 hardware degrades the sample when dropping it back down to speed, providing that crunch you're looking for. (I can assure you, the eSPi pitch function sounds "really close to the real thing" in a blind test.)
B. Sculpting The Tone Of Your Samples with Analog Filter Emulation
Most notably, the filters on the original hardware play an essential role in crafting those "murky filtered basslines" that define the classic SP-produced Hip Hop sound. The SP-1200 used analog SSM2044 filter chips (ICs), but crucially, not all channels were treated equally. Here’s the purpose of each channel:
• Channels 1 and 2 had dynamic filters.
• Channels 3 through 6 were filtered by a constant amount.
• Channels 7 and 8 were totally unfiltered.
This is a huge deal for sound design! If you wanted a raw, gritty drum sound, you intentionally assigned it to channels 7 or 8.
Filtering & Channel Assignment in an eSPi Workflow
1. Select Filter: Go to Set-up 14 (Filters). For that authentic tone, select the SSM 2044 filter emulation. Unlike the original, eSPi gives you control over frequency and resonance.
2. Manage Channels: Use Set-up 17 (Channel Assign) to strategically place your samples. Assign sounds meant to be raw and dry (like hi-hats or crispy percussion) to channel 7 or 8 to ensure they receive no digital filtering, just like the hardware legends intended.
C. Leveraging Time Stretch for Textural Degradation
The eSPi app gives you a powerful tool which the original machine didn't have: time stretching. But don't expect clean, modern DAW fidelity here; the app is designed to provide the analog grit and old school sound. Sorta like the mysterious and funky sound of Lewis Parker's instrumental project "Sniper Beats" above.
Time Stretching & Texture in an eSPi Workflow
1. Access: Find the Time Stretch function next to the Tune menu.
2. Adjust: Use the fader to make the sample longer/slower (down) or quicker/shorter (up).
3. Combine for Textures: Because the algorithm is barebones, combining the time stretch with the pitch control will generate "some pretty cool textures" and artifacts that can add unique grit to your sample, further exploiting the limitations of lo-fi digital manipulation.
D. Imprecise Chopping: The Secret to Swing
Before visual waveform editing, producers used the SP-1200's truncation feature (my affiliate link as a member of the eBay Partner Program, if you purchase through my link I will receive compensation) (Set-up 19) to combine with sequencing features and "slice (or 'chop') samples". This sound chopping workflow was done entirely by ear, which introduced subtle imperfections.
Chopping Your Samples in an eSPi Workflow
1. Access the Old School Method: Ignore the visual waveform editor. Go to Set-up 19 (Truncate).
2. Use the Faders: The original method relies entirely on the coarse and fine faders (the first four sliders) to adjust the start and end points.
3. Embrace the Imprecision: Trust your ears and know that this lack of visual accuracy in the chopping process is what "gave a lot of the '90s boom bap beats some of that kind of swing" that modern, perfectly quantized music often lacks.
E. Multi-Level Mode: The Fake Delay
Need a classic '90s effect that sounds like a subtle delay or echo, but without actual delay effects? You know, the echoed horn effect you heard on records by Pete Rock, D.I.T.C., Large Pro etc? Producers back then found a way to use the Multi-level function (Set-up 12) to create that effect on the original 1200. However, you can still do the same thing today on the eSPi SP1200 emulation.
Achieving The Multi-Level Effect in an eSPi Workflow:
1. Activate: Go to Set-up 12 (Multi-level) and assign your sound (like a horn stab) to the mode.
2. Set Gain: Switch to the Mix menu and adjust the gain level of each step/pad independently.
3. The Result: Playing the pads in sequence, each at a slightly different gain level, creates the "sort of fake delay effect" that was used "a lot by producers in the 90s with like horn sounds".
III. The Double-Time Swing: Sequencing and Rhythmic Fidelity
Truthfully, the real magic of the E mu SP1200 (my affiliate link as a member of the eBay Partner Program) and the key to that 90’s Hip Hop bounce it gave beats is in the sequencing. You can replicate the grit all day long, but if your rhythm doesn’t have that specific forward drag, it won’t sound authentic. If you’re asking how the legends got that undeniable groove, the answer is counterintuitive: they actively worked around the machine’s weaknesses in sequencing ability.
A. Running the Sequencer in Double Time
The E MU SP-1200’s sequencer was actually very low resolution. It operates at 24 Pulse Per Quarter Note (PPQ), which means for every quarter note, your rhythm has only 24 possible slots to fall into. That low resolution can make rhythms sound stiff or mechanical.
If you want to achieve that signature boom bap feel in the eSPi app, you have to use the classic hack developed by pioneer producers: running the sequencer in double time.
Emulating The Classic E MU SP1200 Sequencer Hack in an eSPi Workflow:
1. Set Tempo: If you want a 90 BPM groove, set the Tempo button in eSPi to 180 BPM (90 multiplied by 2).
2. Record: Record your segment as usual in Segment Mode,.
3. The Result: By running it at double time, you effectively double the resolution, giving you 48 slots per quarter note. This provides the space needed for those subtle rhythmic pushes and pulls that make the swing sound natural. This trick "affects how the swing sounds".
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"To achieve the authentic boom bap swing in eSPi, you must overcome the original machine's low 24 Pulse Per Quarter Note (PPQ) resolution. Producers ran the sequence in double time (e.g., 180 BPM for a 90 BPM track) to effectively double the resolution."
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B. Setting the Authentic Swing Factor
Once you have your segment recorded, you can refine the rhythm using the Swing function. The SP-1200 defaults to 50% swing, which is just straight quantization, but you can adjust the swing factor up to 70%,.
Refining Your Rhythm With The Swing Function in an eSPi Workflow:
1. Select Swing: Access the Swing menu.
2. Dial In the Classic Feel: For a historically accurate rhythmic feel, select 67% swing. This setting is considered the “classic” jazz swing factor, meaning the first eighth note takes up two-thirds of the quarter note, while the second eighth note takes up the remaining one-third. If that sounds too "perfect," the source suggests trying 64% instead.
3. Recording Caution: If you are recording or erasing individual hits, it's best to go out of swing mode first, and then re-enter it after you've made your alterations. This prevents timing errors and ensures the beat falls where you want it.
C. Strategic Channel Management for the Cutoff Effect
A key technique for creating tight, professional drum parts is managing how sounds interact. The SP-1200 is polyphonic with 8 voices, and if two drum sounds are assigned to the same output channel, one of the sounds will be cancelled (sometimes called "channel ripoff").
eSPi Workflow (Addressing P3 Q: Channel Management):
1. Access: Go to Set-up 17 (Channel Assign).
2. For Cutting Effects: When sequencing hi-hats or specific kicks and snares that should cut each other off (like an open hat ending immediately when a closed hat starts), assign those samples to the same channel number (e.g., channel 17),.
3. For Overlap: Assign sounds you want to play simultaneously (like a kick and a shaker) to different channels.
Expert Insight on Filters:
Understanding the original hardware's signal path is crucial here. When assigning channels, remember that the SP-1200 originally featured three different types of filtering on the outputs:
• Channels 1 and 2 received dynamic filters.
• Channels 3 through 6 were filtered by a constant amount.
• Channels 7 and 8 were totally unfiltered.
If you want raw, unfiltered percussion to retain that classic dry texture, you can strategically use channels 7 and 8 when assigning sounds in the eSPi, knowing that these were the purest outputs on the original hardware.
Note on Hardware Constraints: On the original SP-1200, you were forced to choose whether a slider adjusted the sample's tuning (pitch) or its decay (Set-up 18), but not both simultaneously. The eSPi app removes this limitation, giving you both Decay and Pitch control without compromise.
IV. Advanced Project Management and Output
You’ve mastered the sample crunch, locked in the groove using the double-time trick, and now you’ve programmed a groovy sequence. The last step in achieving your "10 Seconds to Glory" is managing your project flow and exporting your beat so that "the crunchy digitized drums" and "murky filtered basslines" are ready for final mixing. You'll be close to sounding like the head-nod Hip Hop of producers Mike Flips & Seize on "Minds Combined".
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A. Sequencing Flow and Project Structure
The workflow in eSPi follows the classic SP-1200 paradigm: you build small parts first, then arrange them later. This method allows you to focus intensely on the rhythm of each individual section.
1. Segment Mode: This is your foundation. In segment mode, you create and edit individual rhythm patterns, typically a few measures long. The labels at the bottom of the buttons in the Programming Section control these segment functions. A typical beat creation process involves recording several segments, such as your intro, your chorus, and your hook.
2. Song Mode: Once you have your segments defined, you switch to song mode (using the top labels of the Programming Section buttons) to chain those segments together to create a complete track.
3. Efficiency Tools: You can use the Copy menu to copy an entire segment to another segment, or you can use the append feature to copy a segment onto itself, lengthening the loop. This is critical for building a full song structure efficiently.
B. Channel Management for the Cutoff Effect
One of the deepest technical tricks of the original hardware was managing its eight voices via its eight individual output channel jacks. This is essential for controlling polyphony and creating those tight, non-overlapping drum sounds.
1. The Cutoff Rule: If two drum sounds are assigned to the exact same channel and are played simultaneously, one of the sounds will be canceled—a phenomenon sometimes called "channel ripoff".
2. How To Get The eSPi Cutoff: To manage this in eSPi, use the Set-up 17 (Channel Assign) menu. If you want your closed hi-hat to immediately cut off your open hi-hat, assign both sounds to the same channel number. You need to assign sounds that you want to overlap (like a kick drum and a snare) to different channels.
3. Expert Mixing Insight: When choosing channels, remember the original analog filtering of the SP-1200. Originally, the SP-1200 had three different types of filtering on its outputs: channels 1 and 2 had dynamic filters, channels 3 through 6 were filtered by a constant amount, and critically, channels 7 and 8 were totally unfiltered entirely. This advanced knowledge allows you to strategically place sounds (such as placing a dry kick or hi-hat on channel 7 or 8) to ensure it remains completely raw and unfiltered, just as the legends would have done.
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"When mixing in eSPi, remember that the original SP-1200's signal path had channels 7 and 8 totally unfiltered. Use these channels via the Channel Assign menu (Set-up 17) for sounds you want to remain raw and dry."
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C. Finalizing and Exporting the Project (The eSPi Advantage)
Unlike the original hardware, which relied on the integrated disk drive for storing data, eSPi offers flexible digital export options that simplify getting your classic sounds into a modern DAW environment.
1. Saving: You can save and load your entire project via the Save Project menu (Disk 1).
2. Exporting a Pad: If you want to sample-swap with a friend or just save one perfected sound, you can export a pad. This renders the sound with all the pitch, time stretching, effects, and filters applied.
3. Recording the Beat: You can record the entire output of the app as a WAV file by selecting Record Beat (Disk 4), pressing play, and pressing stop when finished.
4. Exporting Stems: This is huge. The Export Stems feature will render your entire song or segment by separating each channel as separate stems. This allows you to import these individual audio files into your favorite DAW for final mixing, mastering, or adding external VST effects to your authentic SP-1200 drum textures.
VI. Conclusion: The Legacy of E-mu Systems and cratesofjr Authority
In conclusion, I hope you now understand that reproducing the magic of classic 90’s Hip Hop requires more than just launching the eSPi app. Actually, it demands mastering the technical workarounds that were originally forced by the hardware’s limitations. Whether you were dialing in that gritty crunchy texture via intentional drop-sample pitch-shifting or employing the double-time sequencing trick to achieve proper rhythmic resolution. Hopefully, you’ve learned the mindset of the production legends who used the SP-1200 sequencer/sampler from reading my article.
A. The Designers and the Enduring Legacy
It’s impossible to talk about the SP-1200 without giving huge props to the people behind the machine. The E-mu Systems co-founders, including Scott Wedge and Dave Rossum, were the brains behind this technology. Rossum, an electronic engineering master, led the design for the SP-1200 and was involved in creating the analog SSM2044 filter chips (ICs) that heavily contributed to the unit's distinctive timbre. Wedge and Rossum even pioneered the compromise between bandwidth and sampling time that resulted in the crucial 26.04 kHz sampling rate chosen early on, which is part of why the sound is so unique. Learn more about the SP legacy in the SP1200 book, a rare publication available here at eBay (my affiliate link as a member of the eBay Partner Program).
Even when the original SP-1200 was discontinued in 1998 due to the unavailability of aging parts like those SSM2044 filter chips, the demand for that "warm," "dirty," and "gritty" sound never stopped. Today, Rossum Electro-Music continues this legacy, even reissuing the SP-1200 with functionally identical SSI2144 filter chips. The continued enthusiasm proves that the character of the SP-1200's sound "has sustained demand... despite the availability of digital audio workstations and samplers/sequencers with superior technical specifications".
B. Final Call to Action
Fortunately, you don't need to hunt down a vintage unit or mortgage your house for the reissue to create authentic boom bap. By understanding the intentional constraints, like the low 12-bit sampling resolution and the 10 seconds of total sample time you're ready to use the eSPi app as the ultimate digital canvas. I encourage you to use the advanced techniques you've learned above: master your channel assignment via Set-up 17, strategically choose your low-pass filter emulation (SSM2044), and most importantly, use the truncate menu (Set-up 19) to embrace rhythmic imprecision for that vintage swing.
Here at cratesofjr, I aim to be your authority on translating the necessary limitations of historical gear into powerful modern production techniques. I’ve shown you how to move beyond basic operation and into the true craft of the golden age SP masters. Now go make some beats!
Stepping into a Legend's Lab: Lord Finesse and the Iconic SP1200
Ever wondered about the genesis of that quintessential boom-bap? That sonic tapestry woven with grit and groove that defined an epoch of Hip Hop? Prepare to traverse the hallowed halls of beatmaking mastery as we step into a masterclass with the legendary Lord Finesse. More than just a producer, he's an architect of sound, a sonic sculptor whose fingerprints are etched into the very bedrock of the culture. Get ready to witness firsthand the alchemy that occurs when a Boogie Down Bronxter interfaces with his most trusted instrument, a device that embodies both limitation and limitless potential: the iconic SP1200. This isn't just about pushing buttons; it's about excavating sonic gems from the crates and transmuting them into timeless anthems.
A True Hip-Hop Architect Takes the Stage: Introducing Lord Finesse
From the hallowed grounds of the Digging in the Crates Crew (DITC), a collective synonymous with raw beats and lyrical genius, emerges The Funkyman Lord Finesse. As The Underboss of DITC, his influence reverberates through over three decades of musical innovation. Instrumental in propelling the art of both lyricism and production to unprecedented heights, Finesse's discography boasts collaborations with titans such as Big L, The Notorious B.I.G., and Dr. Dre, solidifying his status as an undeniable force in shaping the culture. This is your exclusive look into the mind of a visionary, a chance to gain insight from a craftsman who has consistently transmuted raw sounds into pure auditory gold.
More Than Just a Beat: Unveiling the Production Process
Forget the notion of mere beat construction. What Lord Finesse unveils is a meticulous production process, an intricate dance between inspiration, technology, and artistic vision. He approaches his craft not just as assembling sounds, but as a tailor of sonic fabrics, constructing "skeletons and frames" that are then meticulously adapted to the unique contours of each artist he collaborates with. This peek behind the curtain illuminates the dedication to sonic detail, the hours spent excavating records for that perfect percussive hit or evocative sample. It's a testament to an era where ingenuity flourished within the perceived constraints of the technology, forcing Hip Hop producers to become true artisans of sound.
The Star of the Show: Lord Finesse and His Trusty SP1200
Amidst the vast array of modern production tools, the E-mu SP1200 stands as a monument to a bygone era, yet its allure remains potent and pervasive. For Lord Finesse, this is more than just a piece of hardware; it is a trusted confidante, an extension of his creative will. Since the 1990s, this iconic machine has been instrumental in birthing countless classic tracks, its signature gritty sound and distinctive "automatic swing" becoming hallmarks of a golden age. Witnessing Finesse at the helm of his SP1200 is akin to observing a master sculptor caress their most cherished chisel – a symbiotic relationship where the limitations of the instrument paradoxically unlock boundless creative avenues.
Deconstructing the Groove: Finesse's Beatmaking Secrets Revealed
Skeletons and Frames: The Building Blocks of a Finesse Beat
Delving deeper into the architectonics of Lord Finesse's sound reveals a methodology both intuitive and meticulously crafted. His approach often begins with what he terms "skeletons and frames". These serve as the foundational infrastructure of a beat, the bare-bones rhythmic and melodic ideas upon which a more elaborate sonic edifice will be constructed. It's a testament to the power of nascent ideas, the understanding that even the most intricate compositions originate from a core essence. This initial stage is fluid, allowing for subsequent augmentation and adaptation, showcasing a pragmatic yet visionary approach to music creation.
Lord Finesse, The Funky Beat Tailor
The beauty of Finesse's process lies in its inherent adaptability. He views himself as a "tailor," possessing a repertoire of sounds ("beats") and an even wider array of sonic "fabric" ready to be fashioned to the specific requirements of the artist. Rather than imposing a preconceived notion of a track, he prefers to engage with the artist, crafting the sonic framework around their unique style and vision. This bespoke approach underscores a deep respect for collaboration and the understanding that the most resonant music often emerges from a synergistic partnership between producer and performer.
From Dusty Crates to Digital Dreams: The Evolution of Sampling
The journey of sampling, a cornerstone of hip-hop production, has undergone a significant metamorphosis. Finesse reminisces about the era of "dusty crates," where producers embarked on sonic excavations in record stores, diligently seeking out percussive textures and melodic fragments. The acquisition of a mere five to ten records after hours of searching was considered a successful haul, each potential sample meticulously EQ'd and manipulated to craft a signature sound. This analog odyssey stands in stark contrast to the digital ubiquity of today, where vast libraries of sounds are readily accessible. Yet, it was within these limitations that ingenuity flourished, forcing producers to become adept at extracting and repurposing sonic ephemera into groundbreaking compositions.
Collaboration is Key: Learning from the Masters Like Quincy Jones
Recognizing the power of collective genius, Finesse emphasizes that "collaboration is key". He recounts his early assumptions that production was a solitary endeavor, a lone figure hunched over a Drum machine. However, witnessing the collaborative environments in professional studios, with dedicated individuals focused on different aspects of the music. In other words, The Funkyman broadened his perspective. He draws a compelling parallel to the legendary Quincy Jones' work with Michael Jackson. In parallel, QJ and MJ inspire Finesse who recognizes the synergy of top-tier musicians elevated the music to unprecedented heights. As a result, we received iconic albums like Thriller and Off the Wall. Hence, this understanding highlights the value of diverse talents converging to create something greater than the sum of its parts.
The SP1200's Timeless Allure: Unpacking the Magic
The "Automatic Swing": That Unmistakable Boom Bap Feel
What is it about the SP1200 that continues to captivate producers decades after its release? A significant part of its mystique lies in its distinctive "automatic swing". It can be described as an inherent rhythmic feel, almost a subtle lilt or groove. That feeling is something that many producers, including E-A-Ski and Lord Finesse, attest to as being instantly recognizable. It's a natural funk that permeates the beats crafted on this machine, contributing significantly to the golden-era boom-bap sound that remains so coveted. In fact, Dave Rossum, the creator of the SP1200 explains that this swing came about from a collaboration of ideas and people at the E-mu corporation. Additionally, this swing derived from Marco Albert teaching him about swing in music. From Marco, Rossum then translated that knowledge into the SP's mathematics. This wasn't just about accurate timing; it was about imbuing the rhythm with soul.
The Beauty of Limitation: Creativity Within Constraints
Most often, a recurring theme in discussions about SP1200 users is "the beauty of limitation". The SP1200, with its limited sampling time and 12-bit resolution, forced producers to be incredibly creative. As Lord Finesse and E-A-Ski articulate, these constraints weren't hindrances but rather catalysts for innovation. Producers had to meticulously select and chop samples on this machine. Truncation on the SP involved taking mere fragments and manipulating them through pitching and time-stretching to create entirely new sonic textures. Dave Rossum recollects being astonished by artists taking records and playing them back at 45rpm to maximize the limited sampling time. Pitching up the turntable is a creative solution that became a signature of the SP1200 sound. This era of limitation fostered a mindset of ingenuity that some argue is missing in today's world of seemingly limitless technology.
More Than Just a Machine: Seeing Music as Art
For many artists and producers, the SP1200 transcends its designation as a mere piece of hardware. It is viewed as an instrument with character, a tool that allows for genuine artistic expression. Undoubtedly, Lord Finesse's dedication to the machine and his intimate understanding of its capabilities highlight this sentiment. The tactile nature of the SP1200, with its pads and straightforward workflow, fosters a direct connection between the artist and the music. Dave Rossum himself designed his instruments with the intention that musicians would "feel it and love it," in addition, Dave created the SP while recognizing that music expression is deeply intertwined with emotion. This personal relationship elevates the SP1200 beyond a simple beat-making device; it becomes a partner in the creative process.
A Retro Sound That Still Hits Hard
Despite the advancements in music technology, the retro sound crafted on the SP1200 continues to resonate powerfully. There's a warmth and a grittiness to the 12-bit samples that many find appealing, a sonic signature that evokes a classic era of Hip Hop. Dave Rossum explains that the SP1200's lower sample rate and 12-bit processing, while initially a compromise due to budget constraints, inadvertently contributed to it's unique sonic character. Lord Finesse's ongoing use of the SP1200 and his "SP1200 Project: Sounds & Frequencies in Technicolor" album are testaments to the enduring appeal of this sound. Importantly, t's a reminder that timeless music transcends technological trends. Moreover, the sonic imprint of the SP1200 remains a vital and influential force in the world of Hip Hop.
A Trip Down Memory Lane: Iconic Tracks Born from the SP1200
Crafting Classics for the Culture: From Big L to Dr. Dre
The annals of hip-hop history are replete with seminal tracks that not only defined eras but also showcased the transformative power of the SP1200. Lord Finesse's discography is a testament to this, a sonic tapestry woven with threads of ingenuity and rhythmic mastery. His work stands as a paradigm of crafting classics for the culture, leaving an indelible mark on both emerging and established artists. The Funkyman's touch spans from the lyrical dexterity of Big L to the West Coast swagger of Dr. Dre. He recounts producing "The Message" for Dr. Dre, a track born from a serendipitous studio moment when Dre overheard Finesse's original instrumental, then known colloquially as the "Chinese joint". This anecdote underscores the often-unpredictable genesis of iconic music, where a fleeting sound can evolve into a cultural touchstone. Furthermore, his contribution to Notorious B.I.G.'s "Suicidal Thoughts" and Capone-N-Noreaga's "Channel 10" further solidify his pivotal role in shaping the sonic landscape of the 1990s.
"Lifestyles of the Poor and Dangerous": A First Look at a Legendary Beat
Among the pantheon of Finesse-produced gems, "Lifestylez of the Poor and Dangerous," the title track from Big L's debut album, holds a particularly significant place. Above, Finesse offered a glimpse into the creation of this legendary beat during a listening session. As you'll see, he plays the actual floppy disk containing the raw sounds. This provided a rare, unfiltered auditory portal back to the genesis of a track that many credit with defining Big L's signature sound. Hearing the foundational layers, the nascent groove that would eventually become the backdrop for Big L's razor-sharp rhymes, offered a profound appreciation for the producer's initial vision. The track's raw energy and undeniable swing are quintessential examples of the SP1200's inherent sonic characteristics.
Building Melodies from Abstract Sounds: The Genesis of a Big L Banger
Finesse also illuminated the fascinating process of building melodies from seemingly abstract sounds, using his work with Big L as a prime example. He described taking a mere two notes and, through the SP1200's manipulation capabilities—specifically downscaling the sound. As a result, an abstraction of sampled and chopped music is transformed into a sinister-sounding Big L track. This technique of transforming simple sonic fragments into compelling melodic foundations showcases a profound understanding of the SP1200's nuances and its potential for sonic alchemy. It wasn't about simply looping existing musical phrases; it was about extracting the essence of sound and reshaping it into something entirely new. This ingenuity, born from the SP1200's limitations, is a hallmark of the era and a testament to the enduring creativity it fostered.
The Rebirth of a Legend: Lord Finesse Connects with SP1200 Creator Dave Rossum
Passing the Torch: Introducing the Mind Behind the Machine
In a truly momentous convergence of innovation and artistry, Lord Finesse had the distinct honor of passing the torch. He virtually introduces the very mind responsible for the SP1200 to his audience: the esteemed Dave Rossum. This pivotal moment in the conversation underscored the enduring legacy of the machine, connecting the contemporary champion of its sound with its original architect. Rossum's appearance provided a unique opportunity to delve into the genesis and the recent renaissance of this iconic instrument. You can catch Mr. Rossum's appearance in the video above around the 50:00 mark.
Bridging the Old and the New: Discussing the SP1200 Reissue
In their presentation at Sound Collective NYC, Rossum and Finesse's dialogue naturally gravitated towards the much-anticipated SP1200 reissue. Finesse expressed the collective yearning of SP1200 aficionados for a modernized version. Among other things, he highlighted how many were compelled to adopt newer technologies while still cherishing the unique qualities of the original. Rossum elucidated the motivations behind the reissue, emphasizing the desire to make the vintage instrument accessible to a wider audience while adhering as closely as possible to the original design ethos.
What's New Under the Hood?: Modernizing a Vintage Icon
Delving into the specifics of the updated iteration, Rossum detailed what's new under the hood, outlining the enhancements implemented in the SP1200 reissue. These modernizations include:
- Meeting contemporary emission, safety, and energy standards.
- A sturdier, more robust housing design.
- Expanded sound memory, increasing from the original 10 seconds to 20 seconds, a feature that was technically feasible in the past but cost-prohibitive.
- The inclusion of more nuanced filter control.
Rossum clarified that the fundamental analog chips responsible for the SP1200's characteristic sound remain in production, ensuring the sonic authenticity of the reissue. This preservation of the core sound was paramount in the redesign process.
The Enduring Design: Intentional Grittiness and User-Friendly Workflow
Reflecting on the enduring appeal of the original, Rossum touched upon the intentional grittiness and user-friendly workflow that defined the SP1200. He described the gritty sound as "accidentally intentional," a byproduct of the necessary trade-offs in sample rate and bit depth made to keep the instrument within an accessible price range. This sonic characteristic, however, became a beloved hallmark of the machine. Furthermore, Rossum expressed his delight in hearing that producers like Lord Finesse appreciated the instrument's interface and workflow. Truthfully, the original SP1200s were meticulously designed for intuitive music creation. He emphasized his goal of creating an instrument that musicians would connect with emotionally. Also, it's a tangible machine for artistic expression in contrast to the more abstract interactions with computer-based music production.
The Hunt for the Holy Grail: Finding Your Own SP1200
The Price of Vintage: Why Original SP1200s Command Top Dollar
The fiending of original E-mu SP1200 units has propelled their value into the upper echelons of vintage music gear. As Dave Rossum, the very architect of this iconic instrument, noted, even the introduction of the reissue has not precipitated a decline in the prices of the originals. Alternatively, the reissues continue to propel the demand of the original machines. A simple search of online marketplaces reveals these machines, especially those in well-preserved condition, frequently command prices ranging from $10,000 to $12,000 or even higher. This premium reflects not only their historical significance and the revered sonic signature they impart. In fact, this pricing also demonstrates their relative scarcity in the marketplace. The original floppy disks themselves are considered by some to be the "fucking Masters" of the beats created on them, holding a unique historical and sonic provenance.
eBay Dive: Spotting Rare, Used SP1200s
For those willing to put their cash on the table, eBay presents a viable, albeit sometimes precarious, avenue for buying a vintage SP1200. If you look closely, you're likely to discover a "Rare E-Mu Systems SP1200 7030 Sampling Drum Machine, power on / works Vintage", such as one listed by seller "slappysvintage". However, proceed with caution and engage with sellers who boast a high percentage of positive feedback. For instance, the aforementioned "slappysvintage" with their 99.3% positive rating and extensive transaction history appears to be a reputable dealer. In addition, study item descriptions and photographs to gain insight on the unit's condition and functionality. It's best to determine it's operational status, past maintenance, and included accessories before committing to a purchase.
The Modern Marvel: Exploring the SP1200 Reissue
Recognizing the enduring allure of the SP1200, Rossum Electro Music has given us the benefit of producing an official reissue. This modern iteration seeks to faithfully recreate the "vintage instrument" while incorporating contemporary enhancements. Dave Rossum elucidated that the reissue adheres as closely as possible to the original design. In particular, he includes the crucial analog chips that contribute to its characteristic sound. Not only that, it also integrates modern emission, safety, and energy standards, boasts a more robust, "built like a tank" construction, and expands the sound memory from 10 to 20 seconds. Thankfully, this reissue offers a compelling option for those who desire the authentic SP1200 experience. Enthusiasts of the SP can now get one without the potential pitfalls and elevated cost associated with vintage units. Listings for the "Rossum Electro Music SP-1200 Drum Machine Sampler Reissue SP1200" can be found on platforms like eBay, often described as being in "excellent, new condition.
Special Edition Treasures: Limited Run SP1200s on the Market
For the truly discerning collector or the artist seeking a touch of exclusivity, the market occasionally presents limited edition SP1200 reissues. A listing for a "Special edition Sp1200 50 Made" exemplifies this rarefied category. These limited-run units, often produced in very small quantities, can command significant prices due to their scarcity and unique features or aesthetics. Acquiring such a piece represents not just the acquisition of a musical instrument but also an investment in a potentially appreciating asset and a tangible connection to the SP1200's ongoing legacy. The exclusivity of these editions underscores the profound impact and enduring desirability of this seminal piece of music production technology.
More Than Just Hardware: The SP1200 Book as a Collector's Item
An Extensive Education & History Of The SP1200
Beyond the coveted hardware itself, there exists another artifact that holds significant allure for devotees of this legendary machine: the official book, "SP-1200 Sampling Drum Machine The Art and Science." This book, as evidenced by a listing on eBay, transcends its utilitarian purpose as mere documentation, morphing into a veritable collector's item. The very scarcity of this publication, coupled with its intimate connection to the history and operational intricacies of the SP1200 makes it a must-have. One particular eBay listing showcased a used copy of this rare book priced at a substantial $598.95, with the option for a best offer.
Inside The SP1200 Book
Despite the caveat of "some creases and bends," its overall good condition suggests that its intrinsic worth lies not solely in pristine presentation but in the knowledge and historical resonance it embodies. The item specifics listed alongside the book on eBay curiously mirror the technical attributes of the SP1200 itself, detailing MIDI I/O, its analog and digital hybrid nature, and the presence of pad triggers. This juxtaposition underscores the book's role as an extension of the machine, a tangible key to unlocking its full potential and understanding its enduring impact on music production. For the dedicated enthusiast, acquiring this book is more than just an acquisition; it's an investment in a deeper comprehension of the SP1200's art and science, a prized artifact in the ongoing pursuit of sonic authenticity.
The SP1200 Legacy: More Than Just a Drum Machine
A Testament to Innovation and Collaboration
The enduring saga of the SP1200 transcends its designation as a mere piece of music hardware; it stands as a profound testament to innovation and collaboration. Dave Rossum, in his dialogue with Lord Finesse, illuminated the synergistic environment at E-mu Systems, where engineering prowess coalesced with artistic insights. He specifically cited Kevin Monahan's pivotal role in bridging the gap between the technical intricacies of the machine and the creative aspirations of artists. Rossum recalls observing their techniques and translating their needs into actionable engineering directives. This symbiotic relationship between designers and users is arguably a cornerstone of the SP1200's enduring impact. In particular, the machine was not conceived in a vacuum. Instead, it was refined through an iterative process informed by the very musicians who would ultimately champion its sonic signature.
Inspiring a New Generation of Producers
Even in an era saturated with exponentially more powerful and versatile digital audio workstations, the SP1200 continues to exert a magnetic pull, inspiring a new generation of producers. E-A-Ski's fervent enthusiasm for Lord Finesse's work and his platform dedicated to "schooling people with these jewels and knowledge" underscores the ongoing relevance of understanding the SP1200's foundational principles. The limitations inherent in the machine—the finite sampling time and the monochromatic sonic palette—paradoxically fostered an environment of immense creativity. Limitations forced producers to "really think" and devise ingenious workarounds. This ethos of maximizing limited resources remains a valuable lesson for aspiring beatmakers navigating the often-overwhelming complexities of modern software. Hence, the tangible, tactile nature of the SP1200 offers a stark contrast to the abstract interfaces of DAWs. It's an example of forging a more direct and intuitive connection between the artist and the sonic output.
Lord Finesse's "Sounds & Frequencies in Technicolor": Keeping the SP1200 Spirit Alive
Lord Finesse himself remains a vital conduit for the SP1200's enduring spirit with his recent instrumental album, "The SP1200 Project: Sounds & Frequencies in Technicolor". This project is not merely a nostalgic retread but a vibrant declaration of the machine's timeless sonic character. Finesse describes the album as bringing back the "rich, layered, and warm sounds of '90s hip-hop," brimming with the Funk and Soul that defined an era. During his listening session, he showcased how these new tracks, alongside unearthed gems from his extensive archives. Above, we witness Finesse exemplify the SP1200's capacity to generate detailed and nuanced sonic landscapes. He metaphorically refers to his initial creations as "skeletons and frames" upon which artistic visions can be meticulously tailored. This project serves as a potent reminder that the SP1200 is not a relic of a bygone era but a still-vital instrument in the hands of a master. Undoubtedly, an SP is capable of producing sounds that resonate with both seasoned listeners and a new cohort of sonic explorers.
Conclusion: The Enduring Impact of the SP1200
A Machine That Shaped a Genre
In the pantheon of music technology, the E-mu SP1200 stands as an indubitable titan, a device that fundamentally recalibrated the sonic architecture of hip-hop. Emerging in the mid-1980s, its unique confluence of sampling capability, intuitive sequencing, and a distinctive 12-bit grit indelibly shaped the soundscape of an entire generation of music. The constraints of the machine, particularly its limited sampling time, paradoxically spurred producers toward innovative sampling techniques. Furthermore, this invention fostered a signature aesthetic characterized by chopped loops, punchy drums, and an unmistakable lo-fi warmth. From the nascent boom-bap of the late '80s to the sophisticated sample-based compositions of the '90s, the SP1200 reigned supreme. Unquestionably, it served as the nucleus around which countless classic tracks were meticulously constructed. Its influence reverberated throughout the genre, becoming synonymous with a golden era of creativity and sonic ingenuity.
Lord Finesse: A Master of the Craft
Within the Hip Hop production landscape, certain artists emerged as preeminent wielders of the SP1200's power. However, Lord Finesse is one funky individual who occupies a seat of esteem amongst these sonic architects. As a distinguished member of the Digging in the Crates Crew (DITC), his mastery of the machine has yielded a discography brimming with iconic productions. His sound is characterized by intricate sample flips, impeccably programmed drums, and an innate understanding of groove and swing.
The SP1200: A Sound That Will Never Fade
Despite the relentless march of technological progress and the ubiquity of increasingly sophisticated digital tools, the allure and sonic imprimatur of the SP1200 remain strikingly resonant. The "gritty but strong high-end" and the unique character imparted by its 12-bit sampling are not mere artifacts of technological limitation but rather integral components of its enduring sonic charm. As Dave Rossum, the machine's creator, astutely observed, there's a certain magic to the analog and early digital sounds that continues to captivate listeners and inspire artists. The resurgence of vintage hardware in modern music production underscores a deep appreciation for the tactile experience and the distinctive sonic characteristics that these instruments offer. The SP1200, in particular, is more than just a drum machine; it is a tangible link to a pivotal era in music history. Without a doubt, it's a testament to the power of creative ingenuity within constraints. Most importantly, the SP offers a sound that, in the hands of masters like Lord Finesse and a new generation of sonic adventurers, will undoubtedly continue to resonate and inspire for years to come.
The creativity of Japanese pro-audio designer ghostinmpc continues to break new and exciting boundaries. In their latest work for fall of 2017, these hardware architects create a one-of-a-kind rack-mount version of the legendary SP1200 sampler. Not only is this SP physically reimagined but the logo and paint pays tribute to Hip Hop with a Cold Chillin' Records motif. Enjoy the slideshow and check out more mouthwatering flicks for gear heads at their Flickr portfolio.
Nod your head to a couple of artists who like ghostinmpc usher in a new generation of SP1200 appreciation and creativity. Swedish beatmaker Sraw & NJ lyricist East make sumthin mean for the Garden State Capital with the raw SP1200-produced Hip Hop of "On & On".
The SP MIDI corrects some MIDI issues with the E-MU SP-12 and SP-1200. MIDI can now be used to control sample length (note off) and pitch, like on a regular keyboard. It is also possible to sequence note events to other devices. Excellent for basslines and even chords on an external synthesizer, or pitching and using the loop functions on the S950.
Purchase yours here at OTBelec's eBay page (limited items available) and enjoy a mix dedicated to the best Hip Hop producers who ever did it on the SP, spun by DJ Stresh!
KicDrum Products and MC Walt Sicknin lay the path for a new era of boom-bap and SP-induced rawness on the "SP-Gauge" Remix challenge. Check out the sounds of new millennium producers who revive an unmistakable sound of Hip Hop known to the 90's, a group of sample-based sound providers for the witty wordplay of Walt who leaves the mic laced with action-packed grammar. The "SP-Gauge" Remix puts beats and rhymes into a context of powerful force as creative minds use the E-Mu Systems SP-1200 sampling drum machine like a weapon. One of my personal favorites out of the 38 entries is the 6th which is produced by Double B.
A designer creates one for Hip Hop in the custom design which merges two groundbreaking drum machine/samplers: the Roger Linn Akai MPC 3000 and the E-MU SP1200. Found this creative work on Bandcamp but I can't remember where exactly.
If you are looking for an MPC or SP1200, here are some from online dealers in great condition:
E-Mu SP-1200 Drum Machine / Sampler + Drum Library (visit the site and search SP1200)
Used Akai MPCs at Guitar Center (5000, 2000, 1000, Renaissance)
Ice Rocks of DXA demonstrates beat making using the SP1200 and MPC3000. If you haven't already, check out him and his crew for one of the most extensive video tutorial series that exists on classic drum machine/sampler use for Hip Hop production.
This particular interview should be a treat for those who are eager to learn the process behind two groups who helped merge professional mixing with innovative sample-based production. Star Wax examines Jamey's work with Pete Rock and Public Enemy as insight into the art of mixing Hip Hop production for the book SP1200, The Art and Science.
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