The E-mu Sp-1200 And Akai Mpc60 Are Types Of Synthesizers.

The E-mu SP-1200 and Akai MPC60: Sampling Powerhouses, Not Synthesizers

While often grouped together in discussions of hip-hop production and early electronic music, the E-mu SP-1200 and Akai MPC60 are not synthesizers. They are samplers, and understanding this distinction is crucial to appreciating their impact and unique capabilities. This article will delve deep into the history, features, and lasting influence of these two iconic machines, clarifying their roles and dispelling the common misconception that they synthesize sound.

Understanding the Difference: Synthesizers vs. Samplers

Before we explore the SP-1200 and MPC60, let's define the key difference:

• Synthesizers: Synthesizers create sound electronically. They use oscillators to generate waveforms (like sine waves, sawtooths, and square waves), filters to shape the sound, and envelopes to control its dynamics over time. Think of iconic synths like the Minimoog or Roland Juno. They are the source of the sound.

• Samplers: Samplers record and manipulate existing sounds. They capture audio snippets (samples) and then allow the user to manipulate them, triggering them, looping them, changing their pitch and tempo, and adding effects. The SP-1200 and MPC60 are prime examples. They are the manipulators of pre-existing sound.

The E-mu SP-1200: The Gritty Heart of Hip-Hop's Golden Age

The E-mu SP-1200, released in 1987, became a cornerstone of hip-hop production during its golden age. Its distinctive, crunchy sound, often attributed to its 12-bit digital-to-analog converter (DAC), became synonymous with a specific aesthetic. This “lo-fi” sound, far from being a flaw, became a highly sought-after characteristic, contributing significantly to the unique sonic texture of countless classic hip-hop tracks.

Key Features and Impact:

• 12-bit Sampling: The 12-bit DAC, while technically less precise than later, higher-bit samplers, introduced a warm, gritty, and often distorted sound that became a signature element of the SP-1200's output. This analog warmth is often cited as the reason for its enduring popularity among producers.

• Limited Sampling Time: The SP-1200's relatively short sampling time (7 seconds mono, 3.5 seconds stereo) forced producers to be creative and resourceful in their sampling techniques, leading to innovative loop manipulation and rhythmic phrasing. This constraint inadvertently fostered a creative spirit.

• Direct-to-Disk Recording: Unlike many samplers of the time, the SP-1200 allowed for direct-to-disk recording, providing flexibility in sample creation and manipulation. This capability was highly valued at the time.

• Built-in Effects: While basic, the SP-1200's built-in effects, including reverb and delay, contributed to its overall sonic character and allowed for a degree of sonic shaping within the device itself.

The SP-1200's influence extends far beyond hip-hop. Its unique sound has found its way into various genres, from jazz and soul to electronic music and even contemporary pop. Its legacy lies not only in its technical capabilities but also in the creative constraints it imposed, which spurred innovation and a distinct sonic aesthetic. Many producers today still seek out the SP-1200's unique sound, using emulation software or even acquiring original units, if affordable.

The Akai MPC60: The Rhythm Revolution

Released in 1988, the Akai MPC60 (the "MPC" stands for "MIDI Production Center") quickly established itself as a dominant force in hip-hop and electronic music production. While also a sampler, its design and feature set differentiated it significantly from the SP-1200. The MPC60 focused on rhythmic programming and sequencing, revolutionizing the way beats were created and manipulated.

Key Features and Impact:

• Sequencer Integration: The MPC60's integrated sequencer was a game-changer. It allowed producers to program drum patterns, melodies, and basslines directly on the machine, dramatically streamlining the workflow. This integrated approach fostered a more intuitive and creative rhythm programming experience.

• Intuitive Interface: The MPC60's user interface, while seemingly simple, was highly efficient and intuitive. This was a design principle that contributed greatly to its popularity. Its straightforward layout aided quick beat creation and modification.

• Sampling Capabilities: While the MPC60 didn't boast the same lo-fi charm as the SP-1200, its sampling capabilities were substantial for its time, allowing for the creation of complex and layered beats. It lacked the "grittiness" of the SP-1200 but provided its own sonic character.

• MIDI Functionality: The MPC60's robust MIDI implementation allowed it to control external synthesizers and drum machines, expanding its creative possibilities significantly. This enabled a richer sonic palette than the SP-1200 which was largely self-contained.

The MPC60's impact on music production is immeasurable. Its influence permeates hip-hop, R&B, electronic, and countless other genres. It established a workflow that remains highly influential to this day. The focus on rhythm, its intuitive interface, and its ability to control external instruments made it a powerful tool for creating innovative and complex rhythmic arrangements.

The SP-1200 and MPC60: A Synergy of Sound

Although both machines are samplers, not synthesizers, their distinct approaches to sampling and music production created a powerful synergy during the golden age of hip-hop and beyond. Many producers used both machines in tandem, leveraging the SP-1200's unique sonic character for its gritty samples and the MPC60's sequencer and workflow for beat creation and arrangement. This combination allowed for a richer and more complex sonic tapestry than could have been achieved with either machine alone.

Legacy and Continued Relevance

Both the E-mu SP-1200 and the Akai MPC60 remain highly influential and sought-after machines today. Their impact on music production is undeniable. While modern digital audio workstations (DAWs) offer vastly expanded capabilities, the unique sonic characteristics and workflows of these classic samplers continue to inspire and influence musicians and producers across various genres.

Why the enduring appeal?

• Unique Sound: The specific sonic fingerprint of each machine is irreplaceable and continues to be highly sought-after by producers seeking a specific aesthetic. This "analog warmth" or "lo-fi grit" is difficult to replicate perfectly.

• Workflow and Creativity: The constraints and workflows imposed by these machines often fostered creative solutions and unique approaches to music production. The limitations of the technology spurred innovation.

• Nostalgia and Culture: The SP-1200 and MPC60 are intrinsically linked to the golden age of hip-hop and electronic music, and their iconic status carries significant cultural weight. They are symbols of a particular era and sound.

Modern digital emulations attempt to replicate the sounds and functionalities of these machines, but the original hardware continues to hold a special place in the hearts (and studios) of many producers. The pursuit of the "authentic" SP-1200 or MPC60 sound persists, highlighting their enduring legacy and continued relevance in the ever-evolving world of music production. They are not just tools; they are cultural artifacts.

This enduring appeal demonstrates that while technology advances, the core elements of creativity, workflow, and unique sonic character remain essential drivers of musical innovation. The SP-1200 and MPC60, while not synthesizers, stand as testaments to the enduring power of innovative design and its capacity to shape musical history.