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(6) Screw all the screws back in (in this order):
a) to secure the Zip drive itself to the drive housing (4 screws on the top of the housing)
b) to secure the Zip drive housing to the inside of the SP (5 screws on the bottom, 2 on the left, 3
on the right)
c) to secure the SP's bottom plate back to the bottom of the SP (13 screws; the one with the
washer goes at the top left)
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Here is my setup. I record, edit, compose, and compile songs into the SP-808
(about 1 song per Zip). This is original material. I use about 5 synths and 2 drum machines plus FX
processors for all, and run the whole thing into the SP-808. I use the internal synth for accents.
Next I decide on a playlist (original songs and selected artists). When I decide on the order, I go
into the SP-808 disks and set up new songs, which contain nothing but the BPM setting for the
other artists. Then I name the songs accordingly, so I can dial them up by name. When everything
is in order, I program the effects and synth riffs for my remixes of other artists, and save them on
the same Zip where I defined the songs by BPM. For performance I play and remix my original
songs, but in-between Zip swaps, I play my CD selections on the lineout through another mixer (to
avoid the SP-808 cut out) and run the headphone jack back into the SP-808 Line-In, so that once it
comes up, I can start using the FX on the SP-808 to effect the CD. I do the same double routing
with the record player (run into the mixer/preamp, and use the tape/aux out on the mixer to send
to the Aux-In on the SP-808). This is the best combo that I've found. It runs smooth and avoids the
SP-808 cut out at the same time. You can even shut off the SP-808 on the mixer, sample in from
either CD or record player (on headphones), then sync to the current song and spit out the sample
into your mix.
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I haven't had any trouble with clicks from the SP-808 itself. However, if the waveform of a sample
does not start or end at the centre of the meter you will hear a click. This is where an editor comes
in handy. Same thing goes for a loop point, if two points of the waveform do not match up at the
centre you will get a click. Typically though, all my gear runs into the Mackie 1202. Then, like you
said, I use the Alt 3-4 outs to feed the inputs on the SP-808 (or S3000XL depending on what I'm
doing). Using the Alt Outs on the Mackie makes long sessions so much easier, all you have to do is
press a button on the mixer channel you want to sample! Saves a lot of time on repatching for the
same purpose. Another thing that's nice is that you can monitor just the Alt 3-4 send on the Mackie
through the phones or your Control Room outs, nice touch when tweaking your levels just right for
sampling. Then I send the SP-808's outputs to the Mackie on channels 11/12. MIDI wise, it changes
on what I'm doing. Usually I'll have two different setups, one for writing a track, and one for
recording. When I'm writing, I usually set the 505 to be the master, with the ER-1 being the slave.
The writing setup starts with MIDI out of the 505 to MIDI in of the Er-1, MIDI thru from the Er-1 to
the MIDI in of the CS2x. MIDI thru from the CS2x to the MIDI in of the S3000XL. Also, I send a
cable from the MIDI out of the CS2x to the MIDI in of the 505, for note input. The SP-808 never
even gets turned on for this part of the process. For recording, the SP-808 takes the lead role and
is the master. Both 505 and Er-1 are slaves this time. MIDI out from the SP-808 to the MIDI in of
the ER-1. (I'd like to go through the 505 at this stage, but it doesn't transmit MIDI clock messages
through it's soft thru, grrrr.) MIDI Thru from the Er-1 to the MIDI in of the 505. MIDI out from the
505 to the MIDI in of the CS2x (always set to respond on channel 1). MIDI through from the CS2x,
to the MIDI in of the S3000XL.
Example Setups
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