Put the turntable on 45 rpm, and using the guitar tuner, go up and down the pitch control (technics 1200) finding the highest speed that gives a *solid semitone* meaning the guitar tuner should be holding still on semitone X, X#, etc. It should not be teetering between two half steps, for example, going back and forth hunting between F and F# (a little sharp or a little flat). You don't want to take a sample and have your sample inbetween two half steps, because then you have to deal with fine tuning, etc. Waste of time.
On a technics 1200 turntable that *has a pitch control in GOOD CONDITION*, you will find that about +4.5% on 45rpm will give you the highest speed on 45 rpm that still falls onto a solid semitone. This translates to a F# (remember, 0% 33 rpm was middle C). F# is 6 semitones up from C.
So if I sample a record (considering the original players had their instruments all tuned), I know that I can sample in at 45 rpm +4.5% and pitch it back down 6 semitones (-6) and be right back in tune with the original record.
When I add synths, keys, or play live bass to my sampled beats, I never have to bother using fine pitch adjustment.
Keep in mind this works on MY 1200's. My 1200's are matched to each other so when I rock doubles, I KNOW that 7% on one table is 7% on the another table. I haven't done it with my Vestax tables. I recommend everyone use a tuner and see what works with THEIR turntables. If you have dirty turntables, or if your pitch controls are not calibrated properly, my values will NOT work for you.
Find a strobe tuner, like a Peterson, if possible. Most accurate IMO.
Somebody will probably say "wtf is this guy talking about" but anyone who has tuned an instrument knows what I am talking about when I say a a tune can be sitting in between two semitones (out of tune, a bit sharp or flat).
It's originally written about the SP-1200, but it goes for any older sampler with not so much memory.talll13 wrote:thank you!
