Solo Pro

Alesis SR16 – Small Investment But Worth It

 

This machine has all your rhythm needs.. You can create or program a song beat for beat or jam along to the many cool patterns they have.. Also its important to note you can adjust the tempo on all of them so the possibilities are limitless. This machine is so simple to use. It could be a great gift for someone you know that just start to become musicians and just about anyone who's a creator.

Some history on this device: The ALESIS SR16 has been in production since 1991 and has gone through only slight revisions to the hardware since its original release. The 16-bit drum samples are still the same today as they were on this unit over 15 years ago. It is awarded as a break-through piece of studio gear and regarded by many studio engineers as the first rhythm machine capable of producing a convincing enough drum track capable of replacing a real drummer in studio recordings for rock applications. (Prior to the SR-16, rhythm machines were commonly used in pop music in the 80's, but it was always clear to trained ears that a rhythm machine was used, the SR16 successfully blurred the line and made it possible to use rhythm machines in genres that generally frowned upon electronic drums such as: rock, country and blues) You'll hear the ALESIS SR16 on many professional tracks by top name recording artist from the early to mid-90's.

Today the Alesis Sr 16 Drum Machine can still be found in many professional and home recording studios. With the emergence of Pro Tools and other PC based Digital Audio Workstations, stand alone rhythm machines have become much less popular today in pro recording, but these machines are still very popular especially in home studios and for performing solo musicians around the world.

Ease of use: Aside from its convincing sound quality, perhaps the reason the SR16 has remained in production and a favorite among musicians is its ease of use. The SR-16 was designed with the non-drummer solo musician in mind and this machine was knowned as one of the easiest rhythm machines to program. It's interface has been copied (but many would say not trumped) by BOSS, Yamaha and others. The manual, while poorly edited does more than any other rhythm machine owners guide to cater to solo musician who doesn't understand the first thing about sequencing drum tracks and it's A,FillA,B,FillB pattern foot switch configuration makes it easier to improvise with... In short, there won't be much customization with the SR-16, but what you do get feature was is going to be the most popular setup which makes the device much more approachable than many modern rhythm machines and sequencer options.

The SR-16 features 50 preset patterns that were actually used by top studio drummers, not just programmed and quantized. This Drum Machine provides complete MIDI implementation, a footswitch input, flexible programming and editing features and velocity-sensitive pad buttons. It's easy to use so you'll be up and composing in minutes.

Dynamic Articulation

Discerning ears will notice that each sound is actually a series of different samples; multiple dynamic-level samples and articulations are all built in so as you play harder and softer, the drum or cymbal changes its timbre, not just its volume. This engineered realism is known as Dynamic Articulation, an Alesis exclusive.

This results in sounds that respond accurately not only to dynamic changes, but also with the appropriate timbral and color changes you'd expect from their acoustic counterparts. You can play with or without reverb for different room sounds and enjoy a wide variety of rimshots, rim clicks and different stick-placement sounds on the cymbals. The Random Sample feature also ensures you don't get the same sound twice for further creative realism.

Specifications

• Audio Outputs: 4 (2 stereo pairs)

 

• Pads: 12 velocity sensitive (w/Dynamic Articulation)

• Sample/DAC Bit Resolution: 16/18

• Sounds: 233

• Sounds Accessible via Pads: 12

• Sounds Accessible via MIDI: 120

• Polyphony: 16 voice

• Panning: 7-position user programmable

• Velocity Response: 8 loudness levels via pads, 127 via MIDI

• Timing Resolution: 96 ppq

• Time Signature Range: 1-128 beats per pattern

• Tempo Range: 20-255 bpm

• Notes/Patterns/Songs: 12,000/400 (200 user, 200 preset)/100

• Kits: 50 user, 50 preset

• MIDI Program Change Response: Kit

• Sync: MIDI Clock/Song Position Pointer

• Footswitch Jacks/Functions: 2; start/stop, count/A/B/fill

• Other Features: Sound stacking, step editing, stereo samples with reverb and ambience

• Dynamic Articulation: Modulates tone

• Power: 9 VAC External Transformer, UL and CSA Approved

• Dimensions: 9.25 x 1.5 x 6.5 inches (WxHxD)

• Weight: 2.5 pounds

 

This machine has all your rhythm needs.. You can program a song beat for beat or jam along to the many cool patterns they have.. Also its important to note you can adjust the tempo on all of them so the possibilities are endless. This machine is so simple to use. It could be a great gift for someone you know that just start to become musicians and just about anyone who's a creator.

i have a 2000 watt brutis dblock amp. i have 2 solo pro 18s witch are 1200 watts a peice.?

okay so my question is... how much can i turn up my amp without blowing my subs??? its a 2000 watt brutis dblock & my 18s are 1200 watts a peice. so im thinking i could possiably turn my amp up almost all the way!?! but i dont want 2 try it & blow my subs eaither...

How far can you "turn the amp up"? If you're talking about adjusting the level (gain) setting it has very little to do with the amp achieving its optimal power output.

The level setting is an adjustment to allow for using a variety of head units. With a high voltage input signal the amp may produce as much power as it is capable of with the level at its minimum setting (9v). With a lot of head units having a 4v signal voltage you should not require much more than 50% on the level dial. Even a cheap head unit will produce around 2v which would put the correct level setting at 75-80%.

What I'm trying to say is don't just crank the gain. It is the #1 way to blow speakers. It causes an amp to clip which sounds terrible and is hard on speakers.

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