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elektron sps-1 manualIt can synthesize wonderfully convincing analog sounds from the classicIt has 39 drum sounds ready to be played or tweaked and customized by you! Its eight real-time control knobs offer total hands-on synthesisThey include a. TRX synth that emulates Roland's classic TR-series drum machines. An EFM synth that uses FM synthesis to create crispy percussion sounds. The. E12 synth is a sample-playback synth using sounds from the E-mu SP1200 The PI synth uses physical modelsYour custom 'Kits' can beThis will also store any customStereo plus four assignable outputs give you plenty options whereClassic is a pretty limited mode. It works like the classic TR-series inYou can store your patternsExtended modeExtended mode has real andAlso on-board is an Accent assignable to any step with 15 levels of intensity,Trigger sounds or entire patterns syncedThis machine has it all, giving you total control and the flexibility to createPattern 1 is retro but house oriented. Pattern 2 is an electro-break-beat sonic-scape. Each drum sound has 2 independent echo and reverb Sends. Instrument effects: Amplitude Modulation, 1-band EQ, Sample-rate Reduction, Distortion. This page contains information about the User Manual (English) for the Machinedrum from Elektron. View and Download Electron Machinedrum SPS-1 user manual online. Synthetic Percussion Sequencer. Machinedrum SPS-1 Sequencer pdf manual download NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to. Part 15 of the FCC Rules. The Machinedrum was a drum machine based on five original drum synthesis Machinedrum SPS-1 MKII (2007) 8 Dec 2009. Something went wrong.Get the item you ordered or your money back. Fully working, used in smoke-free studio. Comes with original box and wooden cheeks.User Agreement, Privacy, Cookies and AdChoice Norton Secured - powered by Verisign. Let's explore.http://ivplanet.ru/userfiles/definitive-technology-bp2006tl-manual.xml

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Yet, despite an intimidating price tag, enthusiasm for Elektron's Machinedrum shows no sign of flagging. With the release of an enhanced model, the SPS1-UW, this seems an opportune moment to revisit what, for many, represents nothing less than the ultimate drum machine. And, since we've already covered the original in depth, I suggest that you check out Chris Carter's words from the January 2002 issue of SOS to set the scene for this review. Its strength lies in Elektron's concept of software 'machines', each specialised for a particular type of synthesis but with enough flexibility to deliver all manner of wild, crunchy and occasionally screaming percussive tones. Indeed, the term 'drum machine' is way too narrow to cover the wealth of electronic sounds on offer. With a selection of basic effects, multiple LFOs, the dynamic tone-changes of 'parameter locks' and more, this was a box of tricks designed with sonic exploration in mind. Further plusses include its solid construction, the generous supply of individual outputs and the simple yet effective song mode implementation. Like Chris, I found the red display wearing after long exposure and I also felt the restriction of such short patterns left insufficient room for subtle changes or variations. The fact that triplets are not catered for is a surprise too. However, the biggest shortcoming, for me, was the inability to quickly solo an individual voice when editing or performing. There are 16 of these in total, one per MIDI channel, and they are designed to sequence external gear via the MD's tracks, transmitting notes, chords (of up to three notes), MIDI Continuous Controller data, aftertouch and pitch-bend. It doesn't end there either; two additional machines, named Control Machines, give overlord-type power over all other tracks simultaneously. The first of these machines (Control All) allows manipulation of other tracks' synthesis parameters, track effects and routing.http://www.adbagroup.com/E/definitive-technology-bp7002-manual.xml The second (Control 8) brings eight of your most commonly used parameters together in one window for the same kind of global treatment. If you want to make sweeping changes that affect an entire kit, these are the machines for you. Briefly, these facilitate recording and playback of samples, although 2MB isn't much to play with, especially as it's shared by both the ROM and RAM machines and is not expandable. The idea behind this limitation is, apparently, to force the user to use sample memory 'wisely'. Worse, sample playback is fixed at 12-bit mono and there are just 32 slots for imported user samples. On the plus side, these samples are non-volatile and the sample engine features algorithms to eliminate noise and other artifacts of low-volume sampling. For sample transfer to and from a computer, Elektron have opted for the rather slow MIDI Sample Dump protocol, sending and receiving all sample data across a MIDI cable, but they have devised this hardware to speed it up — purportedly by up to 10 times. There is no specific documentation included for this but fortunately, it didn't need any. I plugged it in and Windows XP recognised it right away. To transfer samples to and from the SPS1-UW, you must access its 'sample manager' menu in conjunction with a program capable of talking MIDI Sample Dump. Elektron supply a suitable utility for PC or Mac known simply as C6 and available as a free download from their web site. I duly grabbed it and can report that it is blessedly straightforward. An Explorer-style window is provided, into which you load samples, audition them, then transmit them to the SPS1-UW. You can even send a series of samples in order whilst you go and put the kettle on. Samples from 4kHz upward can be accomodated and regardless of the source bit rate, the Machinedrum plays back all its samples as 12-bit.https://www.thebiketube.com/acros-boss-dr-rhythm-dr-770-user-manual Since the SPS1-UW only handles mono samples, you are offered the option to merge stereo WAV (or AIFF) files or transfer only the left or right channel. You can permit the file's source looping information to be maintained or force looping on or off as required. Finally, the ubiquitous commands copy, paste and clear are found in the sample manager menu. With these you can permanently store samples recorded into the RAM machines in ROM locations. The RAM machines' contents are otherwise lost on power down. Having imported your samples (see the 'Turbo MIDI' box for more about this), they are then are referred to internally as ROM 1 to ROM 32, rather than by their original names. As with most of the machines, there are eight tweakable parameters on the Synthesis page; you can modify sample start and end points, the number and spacing of sample repeats, decay and hold time and bit-rate reduction. This latter feature reduces the sample quality down as far as 2-bit if you really like your grooves grungy. For these samples, the start, hold and end parameters operate in a linear fashion, with every 16 numeric increments equivalent to a beat or quarter note within the loop. This is very useful to keep your loops sync'ed neatly, even when you chop them up, reorder them and so on. Well, as much as you can cram into 2MB anyway. Although you can sample audio generated internally, their main aim is the live capture of loops. The manual deals with user sampling in a couple of pages, under the title 'Using the SPS1-UW in a DJ setup'. It guides you through the process in easy stages, starting with use of tap tempo to sync the MD to an incoming audio source, then assigning a RAM record machine to record it. Finally, a RAM playback machine is required to trigger your captured loop. From here on it is treated like other MD machines and modifiable by creative use of filters, effects and so on.http://faraznovin.com/images/86-honda-200sx-manual.pdf Especially handy is the ability to retrigger and slice loops, reverse portions of them, remove sections and so on. Using the traditional MD tools on your own loops is mightily cool, and there are numerous ways to render source material completely unrecognisable. As with ROM locations 25-32, the parameters of RAM machines are scaled in a linear fashion, so you can work intuitively in beats or quarter notes. Using four of your 16 MD tracks, you can therefore record and playback two separate loops of up to two bars. As I mentioned, the ROM and RAM machines share the available memory, so if you have already stored lots of your own samples, less space remains for live sampling. Interestingly, recording quality is adjusted automatically according to the available space although there is a finite (but unspecified) amount of memory reserved, to ensure you are always able to sample something. I have to admit that in the first hour I kept asking myself 'what on earth?' The sounds and patterns, as delivered from the factory, are far from impressive; it's only when you start to program your own kits and grooves that you get an inkling of what MD advocates get so excited about. Elektron say that you should 'make the most' of its limited sample quality and storage, which would be a fine sentiment for an inexpensive add-on but I'm not convinced this applies so well here. Although I grew to appreciate the Machinedrum's synthesis and the wonders of its sequenced parameter locks, I couldn't shake the thought that, for the difference in price between the basic model and the User Wave version, you could buy a Korg ESX1 Sampling Electribe! And whilst transferring samples using the included Turbo MIDI interface is much faster than via any other MIDI interface I've used, it is still a poor substitute for sample import via external media, or via a built-in USB port. Admittedly, for small transfers it isn't so bad and even a full memory load only takes a little over two minutes. The most limiting aspect from my point of view was being tied to a computer each time I wanted to move samples around. With the inclusion of the SPS1-UW's ROM and RAM machines, Elektron have pushed its capabilities into potentially exciting areas far beyond the scope of the original model. If you are looking for a high-end drum machine that exudes personality and has the potential to produce strikingly different percussion sounds for years to come, check it out. Pros A freakily unique drum box. User Wave option opens up fresh avenues of sonic manipulation. Now includes 'MIDI Machines' for control of external devices. Cons 12-bit sample playback and 2MB memory limit could be too restricting for some applications. Only 32 user sample locations. Sample transfer only via MIDI Sample Dump. Expensive. Summing it up is not easy because the SPS1-UW is a frustrating marriage of power and limitation, flexibility and restriction — but it certainly isn't boring! The A-Z Of Audio Interfaces 1 month 1 week ago. Microphone and speaker for lectures Avantone Mixcube - damaged cone Modular update. FM8 and Logic Pro X Validation Arturia PolyBrute SOS Review - it lives! The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Please contact them to ask about shipping. Items must be returned in original, as-shipped condition with all original packaging.Please check the fields highlighted in red.Currency. The Elektron develop- ment team would like to take this opportunity to thank you for your choice of instrument. We hope that you will have a lot of fun while exploring the vast possibilities of the Machine- drum. To make the most of the machine, we would recommend you to carefully read this manual. How- ever, although differences exist between the MKI and MKII models, this manual is also usa- ble for MKI models. Please see “DIFFERENCES BETWEEN THE MKI AND MKII MODELS” on page 87 for more details on exactly what differs between the two models. These conventions are listed below: The SYNTHESIS menu is an example of that. Like this, “RECEIVING DUMP”. For instance, the knob “level” is writ- ten LEVEL. Sold Date: Source: on a used Elektron Machinedrum SPS-1 MK 2 (the one without the.It can synthesize wonderfully convincing analog sounds from the classic drum Since I really want an MD UW MKII, I figured I'd see how other people are thinking. Equipboard's gear archive is collaboratively built and maintained by fellow music lovers like Related Manuals for Electron Machinedrum SPS-1. Recording Equipment Electron Octatrack MKII Quick Manual. (32 pages) 6 user reviews on Elektron Machinedrum SPS-1 MKII. The manual is very clear, there is a French version that drags on the net. When I first took it out of the box, I was struck by the classic design.Use Peatix for any event and ticketing needs! Co-organizers can edit group and event pages, access sales and attendee information, manage ticket sales and more. Check the heading on this page:It offers four full tweakable MD-synths, advanced synchronized effect systems and a specialized percussion sequencer. Building on the classic traditions of drum machines, but introducing pioneering concepts, SPS-1 is a unique tool for patternbased rhythm creation To receive automated replies be sure to add a valid email address! One fixed price delivery for most items. Then check out Cuckoo's Analog Rytm Mega Tutorial, which, at over an hour, takes time to go Welcome to the official Elektron Music Machines YouTube account anydvdhd and elektron 606 media player. Discussion in 'AnyDVD HD (Blu-ray issues)' started by peterbus, Mar 25, 2009.TX-SR606 Instruction Manual Thank you for purchasing an Onkyo AV Receiver. Please read this manual thoroughly before making connections and plugging in the unit. Review Elektron Sampling Workstations, Keyboards The forum for users of Elektron Music Machines. Analog Rytm Vs Machinedrum. Elektron Gear. i love my 606 - its not a Find great deals on eBay for elektron machine drum and elektron octatrack. Shop with confidence. Find great deals on eBay for Analog Drum Machine in Electronic Musical Drum Machines. Please take the time to read this manual carefully so in this manual may change without notice. Elektron's product names, logotypes, titles, words or phrases may be registered and protected Machinedrum SPS-1 USER'S MANUAL ELEKTRON WEBSITE Stream TR-606 and tape delay gets Heated by Elektron from desktop or your mobile device. Please upgrade your browser to improve your experience. GoPlease try again later!Please try again later!Comes with power adapter and original packaging.Just nowSensible enquiries- happy to show more details in video call etc. Collection Only - London SE21Hardly used Older child’s drum kit.Hardly been used, perfect condition. Selling as it has been sitting there unused. Chair and sticks also in perfect condition.Comes complete with adjustable seat, sticks and book on how to learn drums. Can be seen working.Folds up easily to fit in the back of a car, lightweight.All stands, pedals and cases. Selling due to ill health. Animal not included.They're virtually new. Included:Floor tom legs. Gretsch tom holder. Protection racket cases to match. Bass drum case is almostLimited is a credit broker, not a lender. Introductions are limited to motorLondon Place, London, SE1 2AF, UK. VAT No. 345 7692 64. But Elektron aren’t an ordinary company, and the SPS1 is no ordinary drum machine. But a sample, no matter how good, is a poor substitute for many rhythm aficionados. As a result, although the Machinedrum does feature sampled drums, it also has three other main means of sound generation: FM synthesis, modelled analogue percussion synthesis on classic TR-series Roland lines, and physical models of real drums and percussion. Now that’s what I call a percussion synth. Before you head for your local music shop, credit card at the ready, I should point out two things: the Elektron Machinedrum is a professional piece of kit from a small manufacturer, and consequently has a decidedly pro price tag (about 850 pounds at the current exchange rate); and it’s currently only available directly from Elektron themselves via their excellent web site. If you’re still interested, read on. Unless you’ve already jumped to the end of this review and before we get into details and specifications, I should tell you the Elektron Machinedrum is a professional piece of kit, with a decidedly pro price tag and is currently only available directly from the manufacturer via their web site. If you are cool with these facts then read for the full story. Well, running down the SPS-1 specification list I have a feeling they may be right. This machine has an outstanding feature set and for the full specification see the box elsewhere in this review but in the meantime here is a relatively brief outline of what it has to offer: 16 Track Percussion Sequencer. 128 User patterns 64 User Programmable Kits. 32 User Songs. 4 x MD Synthesisers. 39 Individual MD Machines. 5 Effects per track (x16) 4 Stereo Master Effects Full Realtime control and MIDI support. Multiple audio outputs. Simply put the SPS-1 drum machine consists of three main programmable elements - a percussion synthesiser, a percussion sequencer and an effects system. The SPS-1 is superbly constructed using a Swedish steel casing (naturally) and a heavy duty brushed aluminium front panel. Looking at photos of it and considering its feature rich spec it is a surprisingly compact unit in the flesh. But even at only 340 x 176 x 68 mm (including knob depth) it still manages to weigh in at a fairly hefty 3 kg, not including its power supply. On power-up its most striking feature is the large bright red LCD display (128 x 64 pixels). The display is essential for carrying out almost all operational functions from selecting songs, patterns and tempo adjustments to full blown sound editing, pattern programming and MIDI settings. As tradition dictates the control panel layout closely follows standard 16 step drum machine conventions. The large continuous data wheel, knobs, buttons and LED indicators are all logically laid out and it is relatively easy to understand what is going on once you’ve accustomed yourself with the Machinedrum's operational workings and foibles. Good use is made of LEDs including one above each of the 16 pads to show rhythm pattern activity, and also mirrored in another group of 16 (also the Sound Selection indicators) directly above the large data wheel. This second bank of LEDs also indicate, by changing to an on (non-flashing) state which of the current percussion voices is being edited in the main LCD window. Apart from selecting which of the current percussion 16 sounds is being edited the large data wheel is only used for occasionally adjusting global parameters such as Tempo (30-300 bpm), Accent, Swing and Machine selection in kit edit mode. A Master Volume control and Track Level control do exactly what they say and other parameter adjustments and tweaks are carried out using a bank of 8 Data Entry knobs. These controllers are used exclusively when editing via the LCD screen and take on different functions depending on the mode and screen displayed. Most of the front panel knobs and buttons can also be used to control other external MIDI equipment and conversely the majority of internal parameters (currently 384) are adjustable via MIDI. Not only are the Data Entry knobs used on the Machinedrum continuously adjustable types they also incorporate a useful, and I think a fairly unique, temporary push switch function. If you push down on a knob while rotating it the data values are accelerated and change at a much faster rate. Transport controls consist of RECORD, PLAY and STOP (they also double as Copy, Clear and Paste functions when used with patterns and songs etc.). Pattern and Song playback is paused using the Play key or reset to the beginning when Stop is hit. There are no dedicated fast forward or backward transport controls and if you wish to start a song from a position other than the beginning or you want to jump to a new song position you need to enter Edit mode while the song is playing. You can then use the navigation arrow keys to move up and down the song pattern list. Unfortunately it’s a slightly messy solution to what should be a relatively straightforward procedure. The 5 button section marked Pattern Selection is used for selecting the 8 pattern banks (128 patterns) and also for activating track MUTE, ACCENT, SWING and SLIDE functions, more on these features later. The majority of the panel keys operate as dual function buttons. The rear of the Machinedrum is as well kitted out with audio jack sockets for Headphones, Main Right-A, Main Left-B, Out-C, Out-D, Out-E, Out-F, Input-A, Input-B and MIDI In, Out and Thru sockets. But why oh why couldn't it be a regular 9v DC socket. My feelings on AC to AC power supplies are pretty well documented, I HATE THEM. I don’t want to go over old ground but believe me if you are in the middle of a tour and you break or loose an AC to AC wall wart apart from begging, borrowing, or stealing one you have about as much chance of finding a suitable replacement at the local electrical store as a finding a nun at a Marilyn Manson gig. THE MACHINES ARE COMING The basic percussion building blocks used in the SPS-1 are called MD-Synths, of which there are four types: the TRX, EFM, E12 and PI. The MD-Synths are available to the user as various percussion Kits each containing 16 sounds called Machines. Depending on the Kit selected the range of Machines available covers numerous variations of all the usual drum machine sounds and percussion instruments including BD, SD, Toms, Claps, Cymbals and so on. In addition to the standard run of the mill sounds many metallic and synth like sounds have also been included. However, these recreations have extended controls not found on the original machines. The BD, for instance, has parameters for PITCH, DECAY, RAMP (ramps the pitch), RDEC (speed of pitch ramp), START (harder-softer), NOISE, HARMONICS and CLIP (distortion). Whereas the SD has parameters for PITCH, DECAY, BUMP (pitch shift at start), BENV (bump envelope), SNAP, TONE, TUNE (de-tunes the oscillators) and CLIP (distortion). Of the 12 TRX Machines available (BD, SD, Tom, Clap, Rim shot, Cowbell, C-hihat, O-hihat, Cymbal, Maracas, Claves, Congas) all have various extended parameters. Up to 8 variables are available in some cases and all the Machines are quite capable of sounding just like an original TR drum machine with booming smooth bass drums, tight snappy snares and authentic sounding (and totally unrealistic) Roland cowbells. Or if it takes your fancy like nothing on earth. Next up is the EFM kit. Once again these percussion voices cover the usual fare of BD, SD, Tom, HH etc.The (numerous) adjustable parameters for the EFM Machines are subtly different too, with more emphasis on filtering and pitch modulation for many of them, including: MFRQ (LFO speed), MOD (modulation depth), MDEC (modulation decay) and HPF (high pass filtering). The preset kits are relatively laid back considering what these Machines are capable of with a little tweaking. All true and great fun too, as you can treat each individual EFM Machine as a mini programmable FM synth and conjure up the most outrageous sounding rhythm patterns. Think Kraftwerk on LSD. The E12 kit is all sample based and the sixteen Machines available encompass everything from BD, SD and Tambourine to Shaker, Triangle and something called BongoCongo. Unlike the other kits most of the E12 adjustable parameters are much the same from Machine to Machine, but with each containing a different sample. All have PITCH, DECAY, STRT, RETRG, RTIM and BEND variables and most have a high pass filter (with resonance). Retrigger is an interesting function that doesn’t appear in the other MD-Synths. It retriggers the sample at an adjustable rate, from just one trigger for each step event to continuously retriggering. But usefully it also allows you to vary the time between each trigger using the RTIM parameter. At the maximum RTIM setting the Retrigger feature functions normally with all retriggering locked to the SPS-1 BPM, however, decreasing the RTIM setting closes up the gaps between triggers until at the minimum settings the effect becomes so fast that it is now acting as a kind of modulation LFO. This allows for some unusual discordant cross-modulation and ring modulator like percussion sounds and if used with the high pass filter and bend options the samples take on a completely new life.There are six P-I Machines: PI-BD, PI-SD, PI-XT (Tom), PI-RS, PI-ML (also called Metallica) and PI-MA (Maracas) and each has between 4 and 7 parameters depending on the Machine. All the machines have a DEC (decay) and HARD setting and all except P-I MA have PITCH. Most of the remaining Machines also include various adjustments such as: tension, dampening, ringing, grain, rattle, tune and size. Playing the Machinedrum with a Roland Octapad (and even with my limited rhythmic skills) I was able to get a custom P-I kit I’d put together pretty quickly sounding highly expressive. It includes some first class, authentic sounding percussion voices which in many ways come across as more realistic than the sample based E12 Machines. Last amongst the kits is GND, which isn’t really a MD-Synth as all it contains are a few miscellaneous Machines that don’t come under any of the above types. SINUS is a basic sine oscillator with Pitch, Decay, Ramp and Ramp Decay parameters. NOISE is a simple white noise generator with only a Decay control. Minimalist in the extreme. This includes applying things like pan, level, highpass and lowpass filtering (with resonance), variable bit-reduction, gating, envelope follower, amplitude modulation, reverb and delay etc. The inputs can also be set for triggering using standard piezo drum pad transducers. The Machinedrum includes 30 factory default kits which can be overwritten or recalled at any time and space for 64 user kits. The supplied kits are fine, if a bit unadventurous but there is plenty enough to get you up and running and you’ll be building your own kits in no time. The user kits are not restricted to just one type of MD-Synth, as many of the presets are, you can mix and match different Machines within kits as you wish. Putting a TRX BD and SD in the same kit as a few E12 Toms and some EFM claps and hihats is no problem. TRACK EFFECTS and ROUTING All 16 Machines contained within a kit have their own dedicated Track Effects options, included are the following: AMPLITUDE MODULATOR: this has LFO depth and speed parameters. The LFO is adjustable from a slowish BPM locked tremolo into full blown AM modulation in the upper ranges. TRACK EQ: a 1-band parametric EQ with fully variable boost, cut and frequency. FLTF controls the base cut-off frequency and FLTW controls the filter gap width, the distance between highpass and lowpass. SAMPLE RATE REDUCER: this variable effect does exactly what it says using a single parameter. Also available for each Machine (on a separate screen) within a kit are the following Track effect and routing parameters: Distortion, Volume, Pan, LFO Speed, Delay Send, Reverb Send, LFO Depth and LFO Mix. MAXIMUM MODULATION Which brings us nicely to the LFO sub-section, which has a dedicated page for each of the 16 Machines in a kit. There are 8 parameters per LFO: Track, Parameter, Shape 1, Shape 2, Update Speed, Depth and Shape Mix. The Parameter control selects the Machine parameter you wish to modulate with an extensive list of Parameter destinations covering every editable Machine variable, which is a lot. You can also modulate other LFOs. The Update function synchronises the LFO to the main BPM, lets it run free or resets the waveform on a pattern trigger. Which, if used with the right waveform, allows it to be used as a basic envelope generator. The LFO rate is adjustable from a very slow sweep into the low Khz range. The SHMIX parameter lets you balance the output between the two waveforms for some eccentric modulation shapes. If there is one feature the SPS-1 isn’t short of it is LFOs, approximately 44 by my count. That includes 11 in the EFM kit, 16 Retrigger LFOs in the E12 kit, 16 in the LFO section and 1 for the digital delay, and I probably missed a couple somewhere. I cant think of many synths with that many LFOs.But I’m not complaining, far from it. This sort of attention to detail cries out for user experimentation and bizarre sound modifications and manipulations.