E-Mu SP1200 Bedienungsanleitung PDF herunterladen (Seite 71)

MIXING & PROCESSING THE SP-1200

So far, that’s one channel of ambience. You could add a second channel, but another ap-

proach is to split the mono ambient signal into two feeds. One of these would be panned

left, while the other would be delayed by about 15 to 80 ms and be panned right. This gives

a uniform ambient sound, yet one which covers the full stereo field. Connecting more time

delay effects (chorusing, flanging, pitch transposers, etc.) in parallel with the drum sounds

adds very pleasing subliminal effects, assuming that you mix any of these effects in at a

relatively low level.

Another popular ambience effect involves noise gating the ambient signal, and triggering

this noise gate from the snare drum and toms. Thus, every time time you hit the snare or a

tom, the ambience cuts in; but when the snare and toms aren’t happening, there’s no

spillover or noise from the ambient signal.

7D USING SPECIAL EFFECTS IN THE STUDIO

Here are some special effects which are very useful with electronic drums:

Reverb is a common special effect. Unfortunately, spring reverbs have some limitations,

one of which is an inability to handle sharp bursts of energy — like drum beats. To mini-

mize this problem, try limiting the drums before going into the reverb unit. A better choice

is to use plate or digital reverbs.

Splashing is a technique used with reverb. If you want to reverb specific beats, advance the

reverb send control just before the beat, then turn it down after the beat. That one beat will

be sent to the reverb and reverberated.

Echo units, when synched as closely as possible to the tempo of the song, can add interest-

ing synchro-sonic effects. For example, try feeding the SP-1200’s snare output into an echo

unit whose echo time equals a quarter or half note, and whose regeneration (feedback) is

up part way. You can also add double-time effects easily by setting the echo time equal to

an eighth note.

Equalization can perk up the sound of individual drums. Actually, the quality of the SP-

1200 sounds is superb, so in practice little equalization is needed. However, a little extra

bottom on the bass drum, some extra sheen on the high hats, and an upper midrange boost

on the snare drum can do for a SP-1200 what a little tasteful make-up can do for a face.

Noise gates, in addition to enhancing ambient effects as described above, can also clip the

decay of drums for a more percussive, clipped sound.

Ring modulators give great outer space and gong-like effects.

Pitch transposers can fatten up a drum sound by adding harmonics or sub-harmonics to

the drum sound. They are especially effective with handclaps.

Chorus units can really enhance handclaps. Drum unit handclaps tend to sound unrealistic,

since after all, no group of humans are going to clap their hands in exactly the same way

every time. One way around this is to set the chorus for maximum delay (usually around

20 ms), and use modulation to vary the width. As the amount of delay changes, the

handclaps tend to sound thinner or thicker.

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E-Mu SP1200 Bedienungsanleitung Seite 71