Music sequencer: Difference between revisions

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=== Modern sequencers ===
=== Modern sequencers ===
{{multiple image | align = right | direction = vertical | width = 220
{{multiple image | align = right | direction = vertical | width = 300
| image1  = Atari ST + TerraTec-Profimedia Midi Smart TMS3.jpg
| image1  = Atari ST + TerraTec-Profimedia Midi Smart TMS3.jpg
| caption1 = 1980s typical software sequencer platform, using [[Atari ST|Atari Mega ST]] computer
| caption1 = 1980s typical software sequencer platform, using [[Atari ST|Atari Mega ST]] computer
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   | pages    = [https://books.google.com/books?id=CoUs2SSvG4EC&dq=analog%20sequencer%20synthesizer&pg=PT55 55–56]
   | pages    = [https://books.google.com/books?id=CoUs2SSvG4EC&dq=analog%20sequencer%20synthesizer&pg=PT55 55–56]
   | quote = Subotnick suggested that using a light source to control sound might be promising. ... Later he [Buchla] turned this into an electro mechanical sequencer by introducing step relays and a dial. ... Buchla, like Moog, realized that voltage control ... But Buchla was after something different; ... Buchla was led to the electronic sequencer—a device that later was used to make much influential pop, rock, and dance music. A sequencer produces predetermined control voltages in a cycle or sequence and can endlessly recycle ...
   | quote = Subotnick suggested that using a light source to control sound might be promising. ... Later he [Buchla] turned this into an electro mechanical sequencer by introducing step relays and a dial. ... Buchla, like Moog, realized that voltage control ... But Buchla was after something different; ... Buchla was led to the electronic sequencer—a device that later was used to make much influential pop, rock, and dance music. A sequencer produces predetermined control voltages in a cycle or sequence and can endlessly recycle ...
}}</ref><ref group=note>For a sequencer using a light source, see "Circle Machine" on [[#Analog sequencers]] and [[Raymond Scott#Electronics and research]]. and possibly others <!-- (i.e. several [[step sequencer]]s and [[digital sequencer]]s) --> (via CV/Gate interfaces)</ref><!--[[User:Kvng/RTH]]-->
}}</ref>{{efn|For a sequencer using a light source, see "Circle Machine" on [[#Analog sequencers]] and [[Raymond Scott#Electronics and research]]. and possibly others<!-- (i.e. several [[step sequencer]]s and [[digital sequencer]]s) --> (via CV/Gate interfaces)}}
* [[Digital audio workstation#Common functionality|Automation]] data for [[mix automation|mixing-automation]] in DAWs,<ref group=note>
* [[Digital audio workstation#Common functionality|Automation]] data for [[mix automation|mixing-automation]] in DAWs,<ref>{{cite magazine
Automation parameters in DAWs are often interoperable with [[MIDI messages]], i.e. Control Changes (CC) or [[System Exclusive]] (SysEx); in that case, it can be controlled in [[real-time computing|real-time]] via pre-assigned MIDI messages generated by [[MIDI controller]]s or [[MIDI sequencer]]s, ''etc''. &emsp; And even more so, in several DAWs, automation parameters are explicitly recorded as MIDI messages on their embedded MIDI sequencers. (See {{harvnb|Price|2006}})
</ref><ref>
  {{cite magazine
  |ref        = {{sfnref|Price|2006}}
  |ref        = {{sfnref|Price|2006}}
  |last        = Price
  |last        = Price
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  |archive-url = https://web.archive.org/web/20160310132431/http://www.soundonsound.com/sos/sep06/articles/reasontech_0906.htm
  |archive-url = https://web.archive.org/web/20160310132431/http://www.soundonsound.com/sos/sep06/articles/reasontech_0906.htm
  |archive-date = 2016-03-10
  |archive-date = 2016-03-10
}}<div style="margin-left:1em;font-size:90%;line-height:2.5ex;">"'''Controller Data Vs. Automation''' / ''... sequencer package such as Logic or Pro Tools, ... are akin to automation on professional hardware mixing consoles, ... This type of automation system is different to using MIDI Continuous Controller ''[Control Changes]'' (CC) data, ...<!-- which is traditionally used to control parameters on MIDI synths, but can also be used to automate software synths and sometimes mixer parameters. --> In Reason, automation is MIDI Controller ''[Control Changes]'' data, but with some specialised tools for handling the data and playing it back. ...''",<br />"'''Recording Mixer Automation''' / ''As automation in Reason is MIDI CC data, it must be recorded on a sequencer track.''"</div></ref> and [[software effect processor|software effect]]&thinsp;/&thinsp;[[software instrument|instrument]] [[Audio plugin|plug-ins]] for [[List of music sequencers#Software sequencers and DAWs with sequencing features|DAWs with sequencing features]]
|quote = Controller Data Vs. Automation / ... sequencer package such as Logic or Pro Tools, ... are akin to automation on professional hardware mixing consoles, ... This type of automation system is different to using MIDI Continuous Controller [Control Changes] (CC) data, ...<!-- which is traditionally used to control parameters on MIDI synths, but can also be used to automate software synths and sometimes mixer parameters. --> In Reason, automation is MIDI Controller [Control Changes] data, but with some specialised tools for handling the data and playing it back. ...,<br />Recording Mixer Automation / As automation in Reason is MIDI CC data, it must be recorded on a sequencer track.
}}</ref>{{efn|Automation parameters in DAWs are often interoperable with [[MIDI messages]], i.e. Control Changes (CC) or [[System Exclusive]] (SysEx); in that case, it can be controlled in [[real-time computing|real-time]] via pre-assigned MIDI messages generated by [[MIDI controller]]s or [[MIDI sequencer]]s, ''etc''. And even more so, in several DAWs, automation parameters are explicitly recorded as MIDI messages on their embedded MIDI sequencers.<ref>{{harvnb|Price|2006}}</ref>}} and [[software effect processor|software effect]] or [[software instrument|instrument]] [[Audio plugin|plug-ins]] for [[List of music sequencers#Software sequencers and DAWs with sequencing features|DAWs with sequencing features]]
* [[Audio signal|Audio]] data in [[audio sequencer]]s<ref name=Pejrolo2011>
* [[Audio signal|Audio]] data in [[audio sequencer]]s<ref name=Pejrolo2011>
{{cite book
{{cite book
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  | isbn    = 978-0-240-52216-6
  | isbn    = 978-0-240-52216-6
  | page      = 48
  | page      = 48
}} (sub-section title contains the expression "''Audio Sequencer''")
}} (sub-section title contains the expression ''Audio Sequencer'')
</ref><ref group=note name="audio sequencer">
The term ''[[audio sequencer]]'' seems to be relatively new expression and seems to be not clearly defined, yet.  For example, "DAW integrated with MIDI sequencer" is often referred as "Audio and MIDI sequencer".  However, in this usage, the term "audio sequencer" is just a synonym for the "DAW", and beyond the scope of this article.  In that case, please check [[Digital audio workstation]].
</ref> including DAWs, [[loop-based music software]], etc.; or [[Sampler (musical instrument)#Types|phrase samplers]] including [[groovebox]]es, etc.
</ref> including DAWs, [[loop-based music software]], etc.; or [[Sampler (musical instrument)#Types|phrase samplers]] including [[groovebox]]es, etc.


Also, a music sequencer can be categorized by its construction and supported modes.
Also, a music sequencer can be categorized by its construction and supported modes.
{{clear}}


=== Analog sequencer ===
=== Analog sequencer ===
[[File:Korg SQ-10.JPG|thumb|right|150px|An analog sequencer <!-- INSUFFICIENT SPACE + MODEL NAME IS NOT REQUIRED ON HERE AT ALL: -->]]
[[File:Korg SQ-10.JPG|thumb|right|An analog sequencer <!-- INSUFFICIENT SPACE + MODEL NAME IS NOT REQUIRED ON HERE AT ALL: -->]]
{{See also|#Analog sequencers|List of music sequencers#Analog sequencers}}
{{See also|#Analog sequencers|List of music sequencers#Analog sequencers}}


[[Analog sequencer]]s are typically implemented with [[analog electronics]], and play the musical notes designated by a series of knobs or sliders corresponding to each musical note (step). It is designed for both [[composition (music)|composition]] and [[live electronic music|live performance]]; users can change the musical notes at any time without regard to recording mode.  The time interval between each musical note (length of each step) may be independently adjustable.  Typically, analog sequencers are used to generate repeated [[minimal music|minimalistic phrases]] which may be reminiscent of [[Tangerine Dream]], [[Giorgio Moroder]] or [[trance music]].
[[Analog sequencer]]s are typically implemented with [[analog electronics]], and play the musical notes designated by a series of knobs or sliders for adjusting the note corresponding to each step in the sequence. It is designed for both [[composition (music)|composition]] and [[live electronic music|live performance]]; users can change the musical notes at any time without regard to recording mode.  The time interval between each musical note (length of each step) may be independently adjustable.  Typically, analog sequencers are used to generate repeated [[minimal music|minimalistic phrases]] which may be reminiscent of [[Tangerine Dream]], [[Giorgio Moroder]] or [[trance music]].
{{clear}}


=== {{Vanchor|Step sequencer}} (step recording mode) ===
=== {{Vanchor|Step sequencer}} (step recording mode) ===
{{See also|#Step sequencers|List of music sequencers#Step sequencers (supported on)}}
<div style="clear:right;float:right;margin:-1.65ex 0 -1.65ex auto;">
<div style="clear:right;float:right;margin:-1.65ex 0 -1.65ex auto;">
{{multiple image |align=right |direction=vertical |width=150
{{multiple image |align=right |direction=vertical |width=300
  | <!-- header  = Step sequencers -->
  | <!-- header  = Step sequencers -->
  | image1  = Elektron MACHINEDRUM SPS-1.jpg
  | image1  = Elektron MACHINEDRUM SPS-1.jpg
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  | caption2 = A ''step note sequencer'' on the bass machine
  | caption2 = A ''step note sequencer'' on the bass machine
}}</div>
}}</div>
{{See also|#Step sequencers|List of music sequencers#Step sequencers (supported on)}}


On step sequencers, musical notes are rounded into steps of equal time intervals, and users can enter each musical note without exact timing; Instead, the timing and [[duration (music)|duration]] of each step can be designated in several different ways:
On step sequencers, musical notes are rounded into steps of equal time intervals, and users can enter each musical note without exact timing; Instead, the timing and [[duration (music)|duration]] of each step can be designated in several different ways:
* On the [[drum machine]]s: select a trigger timing from a row of ''step-buttons''.
* On the [[drum machine]]s: select a trigger timing from a row of ''step-buttons''.
* On the [[acid bass machine|bass machines]]: select a step note (or [[rest (music)|rest]]) from a ''chromatic keypad'', then select a step duration (or [[tie (music)|tie]]) from a group of ''[[duration (music)|length]]-buttons'', sequentially.
* On the [[acid bass machine|bass machines]]: select a step note (or [[rest (music)|rest]]) from a ''chromatic keypad'', then select a step duration (or [[tie (music)|tie]]) from a group of ''[[duration (music)|length]]-buttons'', sequentially.
* On the several [[electronic keyboard|home keyboards]]: in addition to the real-time sequencer, a pair of ''step trigger buttons'' is provided<!-- for "One Key Play" -->; using it, notes on the pre-recorded sequence can be triggered in arbitrary timings for the timing dedicated recordings or performances. (See {{slink|List of music sequencers|Step sequencers (supported on)}}).
* On the several [[electronic keyboard|home keyboards]]: in addition to the real-time sequencer, a pair of ''step trigger buttons'' is provided<!-- for "One Key Play" -->; using it, notes on the pre-recorded sequence can be triggered in arbitrary timings for the timing dedicated recordings or performances.


In general, step mode, along with roughly quantized semi-realtime mode, is often supported on the <!-- analog --> drum machines, bass machines and several [[groovebox|groove machines]].
In general, step mode, along with roughly quantized semi-realtime mode, is often supported on the <!-- analog --> drum machines, bass machines and several [[groovebox|groove machines]].
{{clear}}<!--[[User:Kvng/RTH]]-->


=== Realtime sequencer (realtime recording mode) ===
=== Realtime sequencer (realtime recording mode) ===
[[File:Sequential Circuits Six-Trak front.png|thumb|right|150px|A realtime sequencer on the synthesizer <!-- INSUFFICIENT SPACE + MODEL NAME IS NOT REQUIRED ON HERE AT ALL: ([[Sequential Circuits Six-Trak]]) -->]]
[[File:Sequential Circuits Six-Trak front.png|thumb|right|A realtime sequencer on the synthesizer <!-- INSUFFICIENT SPACE + MODEL NAME IS NOT REQUIRED ON HERE AT ALL: ([[Sequential Circuits Six-Trak]]) -->]]
{{See also|#Digital sequencers|List of music sequencers#Digital sequencers|List of music sequencers#Software sequencers and DAWs with sequencing features}}
{{See also|#Digital sequencers|List of music sequencers#Digital sequencers|List of music sequencers#Software sequencers and DAWs with sequencing features}}


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|style="width:135px;"|[[Image:Cubase 6 feature - software studio environment including software instruments and software effects.svg|135px]]<br />[[Mix automation|Automated]], [[Virtual Studio Technology|software studio environment]] including [[software synthesizer|instruments]] and [[software effect processor|effect processors]]
|style="width:135px;"|[[Image:Cubase 6 feature - software studio environment including software instruments and software effects.svg|135px]]<br />[[Mix automation|Automated]], [[Virtual Studio Technology|software studio environment]] including [[software synthesizer|instruments]] and [[software effect processor|effect processors]]
|style="width: 97px;"|[[Image:Cubase6 LoopMash 2 loop remixer (brighten).jpg|97px]]<br />[[Loop (music)#Modern looping|Loop]] sequencer <br />&nbsp;
|style="width: 97px;"|[[Image:Cubase6 LoopMash 2 loop remixer (brighten).jpg|97px]]<br />[[Loop (music)#Modern looping|Loop]] sequencer <br />&nbsp;
|style="width:111px;"| <br />Sample editor <br />with [[beat slicing|beat slicer]]
|style="width:111px;"|[[Image:Cubase6 Sample Editor beat slicing.jpg|111px]]<br />Sample editor <br />with [[beat slicing|beat slicer]]
|style="width:111px;"|[[Image:Cubase6 VariAudio vocal pitch editing.jpg|111px]]<br />Vocal editor <br />for [[pitch (music)|pitch]] and [[Timing (music)|timing]]
|style="width:111px;"|[[Image:Cubase6 VariAudio vocal pitch editing.jpg|111px]]<br />Vocal editor <br />for [[pitch (music)|pitch]] and [[Timing (music)|timing]]
|}</div>
|}</div>
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This technique<!-- , called "''phrase sampling''", --> is possibly referred as "''audio sequencing''".</p>}}
This technique<!-- , called "''phrase sampling''", --> is possibly referred as "''audio sequencing''".</p>}}
|- style="vertical-align:top;"
|- style="vertical-align:top;"
| <!-- Deleted image removed: [[Image:Recycle mac screenshot.png|left|120px|A typical beat slicer ([[ReCycle]])]] -->
|[[Image:Cubase6 Sample Editor beat slicing.jpg|left|120px|A typical beat slicer ([[Cubase]] 6.0 Sample Editor)]]<!-- Deleted image removed: [[Image:Recycle mac screenshot.png|left|120px|A typical beat slicer ([[ReCycle]])]] -->
<!-- | -->{{block indent |left=0.5|1=[[Beat slicing]] — before the DAW became popular, several musicians sometimes derived various beats from limited drum sample [[loop (music)|loop]]s by slicing beats and rearranging them on [[sampler (musical instrument)|samplers]]. This technique, called "''beat slicing''", was popularized with the introduction of "beat slicer" tool, especially the "[[ReCycle]]" released in 1992.
<!-- | -->{{block indent |left=0.5|1=[[Beat slicing]] — before the DAW became popular, several musicians sometimes derived various beats from limited drum sample [[loop (music)|loop]]s by slicing beats and rearranging them on [[sampler (musical instrument)|samplers]]. This technique, called "''beat slicing''", was popularized with the introduction of "beat slicer" tool, especially the "[[ReCycle]]" released in 1992.
<p>
<p>
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The first electronic sequencer was invented by Raymond Scott, using [[thyratron]]s and [[relay]]s.<ref>[https://www.raymondscott.net/docs/RS-Artifacts.pdf Raymond Scott Artifacts], p. 13</ref>
The first electronic sequencer was invented by Raymond Scott, using [[thyratron]]s and [[relay]]s.<ref>[https://www.raymondscott.net/docs/RS-Artifacts.pdf Raymond Scott Artifacts], p. 13</ref>


[[Clavivox]], developed since 1952, was a kind of keyboard synthesizer with sequencer.{{Verify source|date=November 2011|reason=Although it was quoted phrase from the article [[Clavivox]], "sequencer" function on Clavivox seems to be not found on any sources. Possibly it was confused with the film-based portamento function.}} On its prototype, a [[theremin]] manufactured by young Robert Moog was utilized to enable [[portamento]] over 3-octave range, and on later version, it was replaced by a pair of [[photographic film]] and photocell for controlling the pitch by [[voltage]].<ref name=memories>
[[Clavivox]], developed since 1952, was a kind of keyboard synthesizer with sequencer.<ref>{{Cite book |last=Miller |first=Paul D. |url=https://www.google.com/books/edition/Sound_Unbound/9vvapHTNuqwC?hl=en&gbpv=1&dq=%22Clavivox%22+synthesizer+%22sequencer%22&pg=PA182&printsec=frontcover |title=Sound Unbound: Sampling Digital Music and Culture |date=2008-03-14 |publisher=MIT Press |isbn=978-0-262-26646-8 |language=en}}</ref> On its prototype, a [[theremin]] manufactured by young Robert Moog was utilized to enable [[portamento]] over 3-octave range, and on later version, it was replaced by a pair of [[photographic film]] and photocell for controlling the pitch by [[voltage]].<ref name=memories>
{{cite web
{{cite web
  |last        = Moog
  |last        = Moog
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  |url        = https://www.synthmuseum.com/sequ/seqseq80001.html
  |url        = https://www.synthmuseum.com/sequ/seqseq80001.html
  |publisher  = SynthMuseum.com
  |publisher  = SynthMuseum.com
  |url-status    = live
  |url-status    = usurped
  |archive-url  = https://web.archive.org/web/20111011114838/http://synthmuseum.com/sequ/seqseq80001.html
  |archive-url  = https://web.archive.org/web/20111011114838/http://synthmuseum.com/sequ/seqseq80001.html
  |archive-date = 2011-10-11
  |archive-date = 2011-10-11
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</ref>
</ref>


While there were earlier microprocessor-based sequencers for digital polyphonic synthesizers,<ref group=note name=Microprocessor_based_sequencer_in_mid1970s>
While there were earlier microprocessor-based sequencers for digital polyphonic synthesizers,{{efn|name=Microprocessor_based_sequencer_in_mid1970s|In 1974–1975, Australian computer music engineer Tony Furse developed the MC6800-based [[Fairlight CMI#Details|Qasar M8]] with a software sequencer [[Fairlight CMI#MUSEQ 8|MUSEQ 8]], with a minimum price of $8,000. In 1976, it was licensed to [[Fairlight (company)|Fairlight Instruments Pty Ltd.]], and eventually Fairlight CMI was released in 1979 (for details, see [[Fairlight CMI]]).<br />
In 1974–1975, Australian computer music engineer Tony Furse developed the MC6800-based [[Fairlight CMI#Details|Qasar M8]] with a software sequencer [[Fairlight CMI#MUSEQ 8|MUSEQ 8]], with a minimum price of $8,000. In 1976, it was licensed to [[Fairlight (company)|Fairlight Instruments Pty Ltd.]], and eventually Fairlight CMI was released in 1979 (for details, see [[Fairlight CMI]]).<br />
Also in 1975, [[New England Digital]] released original microprocessor-based [[Synclavier#Processor|ABLE computer]] (utilizing mini-computer architecture) as a future migration target of Dartmouth Digital Synthesizer. Their commercial version of digital synthesizer, [[Synclavier#Black panel models|Synclavier I]] was first shipped in 1977 (for details, see [[Synclavier]]).}}<!-- FALSEHOOD (both music & ASCII keyboard entries are supported): they were based on keyboard entry, and --> their early products tended to prefer the newer internal digital buses than the old-style analogue CV/gate interface once used on their prototype system. Then in the early-1980s, they also re-recognized the needs of [[CV/gate]] interface, and [[List of music sequencers#Proprietary digital interfaces (pre MIDI era)|supported it along with MIDI as options]].
Also in 1975, [[New England Digital]] released original microprocessor-based [[Synclavier#Processor|ABLE computer]] (utilizing mini-computer architecture) as a future migration target of Dartmouth Digital Synthesizer. Their commercial version of digital synthesizer, [[Synclavier#Black panel models|Synclavier I]] was first shipped in 1977 (for details, see [[Synclavier]]).
</ref><!-- FALSEHOOD (both music & ASCII keyboard entries are supported): they were based on keyboard entry, and --> their early products tended to prefer the newer internal digital buses than the old-style analogue CV/gate interface once used on their prototype system. Then in the early-1980s, they also re-recognized the needs of [[CV/gate]] interface, and [[List of music sequencers#Proprietary digital interfaces (pre MIDI era)|supported it along with MIDI as options]].


==== In Japan ====
==== In Japan ====
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  | isbn      = 0-262-68082-3
  | isbn      = 0-262-68082-3
  | access-date= 2011-06-05
  | access-date= 2011-06-05
}}</ref> To program the synthesizer, Yamaha built a custom computer workstation {{citation needed span|designed to be used as a sequencer for the GS-1|date=September 2017}}{{failed verification|date=September 2017}}. It was only available at Yamaha's headquarters in Japan ([[Hamamatsu]]) and the United States ([[Buena Park, California]]).{{citation needed|date=September 2018}}
}}</ref>


=== MIDI sequencers ===
=== MIDI sequencers ===
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[[Tracker (music software)|Tracker]] (1987–)
[[Tracker (music software)|Tracker]] (1987–)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
| <!-- Deleted image removed: [[Image:Recycle mac screenshot.png|118px]] --><br />
|[[Image:Cubase6 Sample Editor beat slicing.jpg|132px]]<!-- Deleted image removed: [[Image:Recycle mac screenshot.png|118px]] --><br />
[[Beat slicing|Beat slicer]] (1990s–)
[[Beat slicing|Beat slicer]] (1990s–)
|[[Image:Cubase6 LoopMash 2 loop remixer (brighten).jpg|114px]]
|[[Image:Cubase6 LoopMash 2 loop remixer (brighten).jpg|114px]]
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== Notes ==
== Notes ==
{{Reflist|group=note}}
{{Notelist}}


== References ==
== References ==

Latest revision as of 22:33, 22 October 2025

Template:Short description

A music sequencer (or audio sequencer[1] or simply sequencer) is a device or application software that can record, edit, or play back music, by handling note and performance information in several forms, typically CV/Gate, MIDI,[2] or Open Sound Control, and possibly audio and automation data for digital audio workstations (DAWs) and plug-ins.

Overview

Modern sequencers

Template:Multiple image Template:More citations needed section

The advent of Musical Instrument Digital Interface (MIDI)[3] in the 1980s gave programmers the opportunity to design software that could more easily record and play back sequences of notes played or programmed by a musician. As the technology matured, sequencers gained more features, such as the ability to record multitrack audio. Sequencers used for audio recording are called digital audio workstations (DAWs).

Many modern sequencers can be used to control virtual instruments implemented as software plug-ins. This allows musicians to replace expensive and cumbersome standalone synthesizers with their software equivalents.

Today the term sequencer is often used to describe software. However, hardware sequencers still exist. Workstation keyboards have their own proprietary built-in MIDI sequencers. Drum machines and some older synthesizers have their own step sequencer built in. The market demand for standalone hardware MIDI sequencers has diminished greatly due to the greater feature set of their software counterparts.

Types of music sequencer

Music sequencers can be categorized by handling data types, such as:

Also, a music sequencer can be categorized by its construction and supported modes.

Analog sequencer

File:Korg SQ-10.JPG
An analog sequencer

Script error: No such module "Labelled list hatnote".

Analog sequencers are typically implemented with analog electronics, and play the musical notes designated by a series of knobs or sliders for adjusting the note corresponding to each step in the sequence. It is designed for both composition and live performance; users can change the musical notes at any time without regard to recording mode. The time interval between each musical note (length of each step) may be independently adjustable. Typically, analog sequencers are used to generate repeated minimalistic phrases which may be reminiscent of Tangerine Dream, Giorgio Moroder or trance music.

Template:Vanchor (step recording mode)

Script error: No such module "Labelled list hatnote".

Template:Multiple image

On step sequencers, musical notes are rounded into steps of equal time intervals, and users can enter each musical note without exact timing; Instead, the timing and duration of each step can be designated in several different ways:

  • On the drum machines: select a trigger timing from a row of step-buttons.
  • On the bass machines: select a step note (or rest) from a chromatic keypad, then select a step duration (or tie) from a group of length-buttons, sequentially.
  • On the several home keyboards: in addition to the real-time sequencer, a pair of step trigger buttons is provided; using it, notes on the pre-recorded sequence can be triggered in arbitrary timings for the timing dedicated recordings or performances.

In general, step mode, along with roughly quantized semi-realtime mode, is often supported on the drum machines, bass machines and several groove machines.

Realtime sequencer (realtime recording mode)

File:Sequential Circuits Six-Trak front.png
A realtime sequencer on the synthesizer

Script error: No such module "Labelled list hatnote".

Realtime sequencers record the musical notes in real-time as on audio recorders, and play back musical notes with designated tempo, quantizations, and pitch. For editing, usually "punch in/punch out" features originated in the tape recording are provided, although it requires sufficient skills to obtain the desired result. For detailed editing, possibly another visual editing mode under graphical user interface may be more suitable. Anyway, this mode provides usability similar to audio recorders already familiar to musicians, and it is widely supported on software sequencers, DAWs, and built-in hardware sequencers.

Software sequencer

Script error: No such module "Labelled list hatnote".

A software sequencer is a class of application software providing a functionality of music sequencer, and often provided as one feature of the DAW or the integrated music authoring environments. The features provided as sequencers vary widely depending on the software; even an analog sequencer can be simulated. The user may control the software sequencer either by using the graphical user interfaces or a specialized input devices, such as a MIDI controller.

Typical features on software sequencers
File:Cheesetracker-shot.png
Numerical editor on Tracker 		File:Cubase6 Score Editor.png
Score editor
  		File:Cubase6 Key Editor piano roll with Note Expression.jpg
Piano roll editor
with strip chart 		File:Cubase6 main audio tracks.jpg
Audio and MIDI tracks on DAW 		File:Cubase 6 feature - software studio environment including software instruments and software effects.svg
Automated, software studio environment including instruments and effect processors 		File:Cubase6 LoopMash 2 loop remixer (brighten).jpg
Loop sequencer
  		File:Cubase6 Sample Editor beat slicing.jpg
Sample editor
with beat slicer 		File:Cubase6 VariAudio vocal pitch editing.jpg
Vocal editor
for pitch and timing

Audio sequencer

Alternative subsets of audio sequencers include:

A typica DAW (Ardour)
A typica DAW (Ardour)

Template:Block indent

A typical loop-based music software (Cubase 6 LoopMash 2)
A typical loop-based music software (Cubase 6 LoopMash 2)

Template:Block indent

A typical Tracker software (MilkyTracker)
A typical Tracker software (MilkyTracker)

Template:Block indent

A typical groovebox (Akai MPC60) providing sampler and sequencer
A typical groovebox (Akai MPC60) providing sampler and sequencer

Template:Block indent

A typical beat slicer (Cubase 6.0 Sample Editor)
A typical beat slicer (Cubase 6.0 Sample Editor)

Template:Block indent

History

Early sequencers

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The early music sequencers were sound-producing devices such as automatic musical instruments, music boxes, mechanical organs, player pianos, and Orchestrions. Player pianos, for example, had much in common with contemporary sequencers. Composers or arrangers transmitted music to piano rolls which were subsequently edited by technicians who prepared the rolls for mass duplication. Eventually consumers were able to purchase these rolls and play them back on their own player pianos.

The origin of automatic musical instruments seems remarkably old. As early as the 9th century, the Persian (Iranian) Banū Mūsā brothers invented a hydropowered organ using exchangeable cylinders with pins,[8] and also an automatic flute-playing machine using steam power,[9][10] as described in their Book of Ingenious Devices. The Banu Musa brothers' automatic flute player was the first programmable music sequencer device,[11] and the first example of repetitive music technology, powered by hydraulics.[12]

In 1206, Al-Jazari, an Arab engineer, invented programmable musical automata,[13] a "robot band" which performed "more than fifty facial and body actions during each musical selection."[14] It was notably the first programmable drum machine. Among the four automaton musicians were two drummers. It was a drum machine where pegs (cams) bump into little levers that operated the percussion. The drummers could be made to play different rhythms and different drum patterns if the pegs were moved around.[15]

In the 14th century, rotating cylinders with pins were used to play a carillon (steam organ) in Flanders,Script error: No such module "Unsubst". and at least in the 15th century, barrel organs were seen in the Netherlands.[16]

Template:Multiple image In the late-18th or early-19th century, with technological advances of the Industrial Revolution various automatic musical instruments were invented. Some examples: music boxes, barrel organs and barrel pianos consisting of a barrel or cylinder with pins or a flat metal disc with punched holes; or mechanical organs, player pianos and orchestrions using book music / music rolls (piano rolls) with punched holes, etc. These instruments were disseminated widely as popular entertainment devices prior to the inventions of phonographs, radios, and sound films which eventually eclipsed all such home music production devices. Of them all, punched-paper-tape media had been used until the mid-20th century. The earliest programmable music synthesizers including the RCA Mark II Sound Synthesizer in 1957, and the Siemens Synthesizer in 1959, were also controlled via punch tapes similar to piano rolls.[17][18][19]

Additional inventions grew out of sound film audio technology. The drawn sound technique which appeared in the late 1920s, is notable as a precursor of today's intuitive graphical user interfaces. In this technique, notes and various sound parameters are triggered by hand-drawn black ink waveforms directly upon the film substrate, hence they resemble piano rolls (or the 'strip charts' of the modern sequencers/DAWs). Drawn soundtrack was often used in early experimental electronic music, including the Variophone developed by Yevgeny Sholpo in 1930, and the Oramics designed by Daphne Oram in 1957, and so forth.

Analog sequencers

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During the 1940s–1960s, Raymond Scott, an American composer of electronic music, invented various kind of music sequencers for his electric compositions. The "Wall of Sound", once covered on the wall of his studio in New York during the 1940s–1950s, was an electro-mechanical sequencer to produce rhythmic patterns, consisting of stepping relays (used on dial pulse telephone exchange), solenoids, control switches, and tone circuits with 16 individual oscillators.[20] Later, Robert Moog would explain it in such terms as "the whole room would go 'clack – clack – clack', and the sounds would come out all over the place".[21] The Circle Machine, developed in 1959, had incandescent bulbs each with its own rheostat, arranged in a ring, and a rotating arm with photocell scanning over the ring, to generate an arbitrary waveform. Also, the rotating speed of the arm was controlled via the brightness of lights, and as a result, arbitrary rhythms were generated.[22] The first electronic sequencer was invented by Raymond Scott, using thyratrons and relays.[23]

Clavivox, developed since 1952, was a kind of keyboard synthesizer with sequencer.[24] On its prototype, a theremin manufactured by young Robert Moog was utilized to enable portamento over 3-octave range, and on later version, it was replaced by a pair of photographic film and photocell for controlling the pitch by voltage.[21]

In 1968, Ralph Lundsten and Leo Nilsson had a polyphonic synthesizer with sequencer called Andromatic built for them by Erkki Kurenniemi.[25]

Step sequencers

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The step sequencers played rigid patterns of notes using a grid of (usually) 16 buttons, or steps, each step being 1/16 of a measure. These patterns of notes were then chained together to form longer compositions. Sequencers of this kind are still in use, mostly built into drum machines and grooveboxes. They are monophonic by nature, although some are multi-timbral, meaning that they can control several different sounds but only play one note on each of those sounds.Template:Clarify

Early computers

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File:CSIRAC-Pano,-Melb.-Museum,-12.8.2008.jpg
CSIRAC played the earliest computer music in 1951

On the other hand, software sequencers were continuously utilized since the 1950s in the context of computer music, including computer-played music (software sequencer), computer-composed music (music synthesis), and computer sound generation (sound synthesis). In June 1951, the first computer music Colonel Bogey was played on CSIRAC, Australia's first digital computer.[26][27] In 1956, Lejaren Hiller at the University of Illinois at Urbana–Champaign wrote one of the earliest programs for computer music composition on ILLIAC, and collaborated on the first piece, Illiac Suite for String Quartet, with Leonard Issaction.[28] In 1957 Max Mathews at Bell Labs wrote MUSIC, the first widely used program for sound generation, and a 17-second composition was performed by the IBM 704 computer. Subsequently, computer music was mainly researched on the expensive mainframe computers in computer centers, until the 1970s when minicomputers and then microcomputers became available in this field.

In Japan

In Japan, experiments in computer music date back to 1962, when Keio University professor Sekine and Toshiba engineer Hayashi experimented with the TOSBAC computer. This resulted in a piece entitled TOSBAC Suite.[29]

Early computer music hardware

Template:Multiple image In 1965,[30] Max Mathews and L. Rosler developed Graphic 1, an interactive graphical sound system (that implies sequencer) on which one could draw figures using a light-pen that would be converted into sound, simplifying the process of composing computer-generated music.[31][32] It used PDP-5 minicomputer for data input, and IBM 7094 mainframe computer for rendering sound.

Also in 1970, Mathews and F. R. Moore developed the GROOVE (Generated Real-time Output Operations on Voltage-controlled Equipment) system,[33] a first fully developed music synthesis system for interactive composition (that implies sequencer) and realtime performance, using 3C/Honeywell DDP-24[34] (or DDP-224[35]) minicomputers. It used a CRT display to simplify the management of music synthesis in realtime, 12-bit D/A converter for realtime sound playback, an interface for CV/gate analog devices, and even several controllers including a musical keyboard, knobs, and rotating joysticks to capture realtime performance.[31][35][32]

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Digital sequencers

In 1971, Electronic Music Studios (EMS) released one of the first digital sequencer products as a module of Synthi 100, and its derivation, Synthi Sequencer series.[36][37] After then, Oberheim released the DS-2 Digital Sequencer in 1974,[38] and Sequential Circuits released Model 800 in 1977 [39]

In Japan

Template:Multiple image In 1977, Roland Corporation released the MC-8 MicroComposer, also called computer music composer by Roland. It was an early stand-alone, microprocessor-based, digital CV/gate sequencer,[40][41] and an early polyphonic sequencer.[42][43] It equipped a keypad to enter notes as numeric codes, 16 KB of RAM for a maximum of 5200 notes (large for the time), and a polyphony function which allocated multiple pitch CVs to a single Gate.[44] It was capable of eight-channel polyphony, allowing the creation of polyrhythmic sequences.[45][40][41] The MC-8 had a significant impact on popular electronic music, with the MC-8 and its descendants (such as the Roland MC-4 Microcomposer) impacting popular electronic music production in the 1970s and 1980s more than any other family of sequencers.[45] The MC-8's earliest known users were Yellow Magic Orchestra in 1978.[46]

Music workstations

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In 1975, New England Digital (NED) released ABLE computer (microcomputer)[47] as a dedicated data processing unit for Dartmouth Digital Synthesizer (1973), and based on it, later Synclavier series were developed.

The Synclavier I, released in September 1977,[48] was one of the earliest digital music workstation product with multitrack sequencer. Synclavier series evolved throughout the late-1970s to the mid-1980s, and they also established integration of digital-audio and music-sequencer, on their Direct-to-Disk option in 1984, and later Tapeless Studio system.

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In 1982, renewed the Fairlight CMI Series II and added new sequencer software "Page R", which combined step sequencing with sample playback.[49]

While there were earlier microprocessor-based sequencers for digital polyphonic synthesizers,Template:Efn their early products tended to prefer the newer internal digital buses than the old-style analogue CV/gate interface once used on their prototype system. Then in the early-1980s, they also re-recognized the needs of CV/gate interface, and supported it along with MIDI as options.

In Japan

Yamaha's GS-1, their first FM digital synthesizer, was released in 1980.[50]

MIDI sequencers

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In June 1981, Roland Corporation founder Ikutaro Kakehashi proposed the concept of standardization between different manufacturers' instruments as well as computers, to Oberheim Electronics founder Tom Oberheim and Sequential Circuits president Dave Smith. In October 1981, Kakehashi, Oberheim and Smith discussed the concept with representatives from Yamaha, Korg and Kawai.[51] In 1983, the MIDI standard was unveiled by Kakehashi and Smith.[52][53] The first MIDI sequencer was the Roland MSQ-700, released in 1983.[54]

It was not until the advent of MIDI that general-purpose computers started to play a role as sequencers. Following the widespread adoption of MIDI, computer-based MIDI sequencers were developed. MIDI-to-CV/gate converters were then used to enable analogue synthesizers to be controlled by a MIDI sequencer.[41] Since its introduction, MIDI has remained the musical instrument industry standard interface through to the present day.[55]

Personal computers

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In 1987, software sequencers called trackers were developed to realize the low-cost integration of sampling sound and interactive digital sequencer as seen on Fairlight CMI II "Page R". They became popular in the 1980s and 1990s as simple sequencers for creating computer game music, and remain popular in the demoscene and chiptune music.

Modern computer digital audio software after the 2000s, such as Ableton Live, incorporates aspects of sequencers among many other features.Template:Clarify

In Japan

In 1978, Japanese personal computers such as the Hitachi Basic Master equipped the low-bit D/A converter to generate sound which can be sequenced using Music Macro Language (MML).[56] This was used to produce chiptune video game music.[29]

It was not until the advent of MIDI, introduced to the public in 1983, that general-purpose computers really started to play a role as software sequencers.[41] NEC's personal computers, the PC-88 and PC-98, added support for MIDI sequencing with MML programming in 1982.[29] In 1983, Yamaha modules for the MSX featured music production capabilities,[57][58] real-time FM synthesis with sequencing, MIDI sequencing,[59][58] and a graphical user interface for the software sequencer.[60][58] Also in 1983, Roland Corporation's CMU-800 sound module introduced music synthesis and sequencing to the PC, Apple II,[61] and Commodore 64.[62]

The spread of MIDI on personal computers was facilitated by Roland's MPU-401, released in 1984. It was the first MIDI-equipped PC sound card, capable of MIDI sound processing[63] and sequencing.[64][65] After Roland sold MPU sound chips to other sound card manufacturers,[63] it established a universal standard MIDI-to-PC interface.[66] Following the widespread adoption of MIDI, computer-based MIDI software sequencers were developed.[41]

Visual timeline of rhythm sequencers

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File:Welte Style 6 Concert Orchestrion No.198 (1895) - Assembly 06 (brighten, transformed & clipped).jpg

Mechanical (pre-20th century)




File:Nuvola arrow right.svg 		File:Joseph Schillinger and the Rhythmicon.jpg

Rhythmicon (1930)




File:Nuvola arrow right.svg

Drum machine
(1959–)




File:Nuvola arrow right.svg

Transistorized drum machine (1964–)




File:Nuvola arrow right.svg 		File:Eko ComputeRhythm.png

Step drum machine (1972–)




File:Nuvola arrow right.svg 		File:Linn LM-1 Drum Computer.jpg

Digital drum machine (1980–)




File:Nuvola arrow right.svg 		File:Movement Computer Systems (MCS) Drum System II (or Percussion Computer II), circa 1981, United Kingdom - Knobcon 2014.jpg

Groove machine (1981–)




File:Nuvola arrow right.svg 		File:Fairlight II Page R.png

"Page R" on Fairlight (1982)




File:Nuvola arrow right.svg 		File:Milkytracker Instrument.jpg

Tracker (1987–)




File:Nuvola arrow right.svg 		File:Cubase6 Sample Editor beat slicing.jpg

Beat slicer (1990s–)

File:Cubase6 LoopMash 2 loop remixer (brighten).jpg

Loop sequencer (1998–)




File:Nuvola arrow right.svg 		File:Polyphonic note separation & manipulation.jpg

Note manipulation on audio tracks (2009–)

See also

Notes

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References

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Further reading

List of papers sharing a similar perspective with this Wikipedia article:

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    Note: although this conference paper emphasized the "Ace Tone FR-1 Rhythm Ace", it is not the music sequencer nor the first drum machine product.

External links

Template:Sister project Template:Sister project

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  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1". (1974 newspaper article about digital sequencer)
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  1. ↑ Script error: No such module "citation/CS1".
  2. ↑ Script error: No such module "citation/CS1".
  3. ↑ Script error: No such module "citation/CS1".
  4. ↑ Script error: No such module "citation/CS1".
  5. ↑ Script error: No such module "citation/CS1".
  6. ↑ Template:Cite magazine
  7. ↑ Script error: No such module "citation/CS1". (sub-section title contains the expression Audio Sequencer)
  8. ↑ Script error: No such module "Citation/CS1".
  9. ↑ Script error: No such module "Citation/CS1".
  10. ↑ Script error: No such module "citation/CS1".
  11. ↑ Script error: No such module "Citation/CS1".
  12. ↑ Script error: No such module "Citation/CS1".
  13. ↑ Script error: No such module "Citation/CS1".
  14. ↑ Script error: No such module "citation/CS1".
  15. ↑ Noel Sharkey, A 13th Century Programmable Robot (Archive), University of Sheffield.
  16. ↑ Template:Cite EB1911
  17. ↑ Script error: No such module "citation/CS1".—(PDF version Template:Webarchive is available)
  18. ↑ Script error: No such module "citation/CS1".
  19. ↑ Script error: No such module "citation/CS1". See also excerpt from pp. 157-160 in Chapter 6 of Early Synthesizers and Experimenters.
  20. ↑ Script error: No such module "citation/CS1".
  21. ↑ a b Script error: No such module "citation/CS1".
  22. ↑ Script error: No such module "citation/CS1".—includes 2 sound files: Raymond Scott's demonstration, and commercial soundtrack for new batteries of Ford Motors.
  23. ↑ Raymond Scott Artifacts, p. 13
  24. ↑ Script error: No such module "citation/CS1".
  25. ↑ Script error: No such module "citation/CS1".
  26. ↑ Script error: No such module "citation/CS1".
  27. ↑ Script error: No such module "citation/CS1".—another oldest known recording of computer realized music played by the Ferranti Mark 1, captured by BBC in Autumn, 1951; the songs Baa Baa Black Sheep and In the Mood.
  28. ↑ Script error: No such module "Citation/CS1".
    also available in Script error: No such module "citation/CS1".
  29. ↑ a b c Script error: No such module "Citation/CS1".
  30. ↑ Script error: No such module "citation/CS1".
  31. ↑ a b Script error: No such module "citation/CS1".
  32. ↑ a b Script error: No such module "Citation/CS1".
    in Script error: No such module "citation/CS1".
  33. ↑ Script error: No such module "Citation/CS1".
  34. ↑ Script error: No such module "citation/CS1".
  35. ↑ a b Script error: No such module "citation/CS1".
  36. ↑ Script error: No such module "citation/CS1".
  37. ↑ Script error: No such module "citation/CS1".
  38. ↑ Script error: No such module "citation/CS1".
  39. ↑ Script error: No such module "citation/CS1".
  40. ↑ a b Script error: No such module "citation/CS1".
  41. ↑ a b c d e Script error: No such module "citation/CS1".
  42. ↑ Paul Théberge (1997), Any Sound You Can Imagine: Making Music/Consuming Technology, page 223, Wesleyan University Press
  43. ↑ Herbert A. Deutsch (1985), Synthesis: an introduction to the history, theory & practice of electronic music, page 96, Alfred Music
  44. ↑ Script error: No such module "Citation/CS1".
  45. ↑ a b Chris Carter, ROLAND MC8 MICROCOMPOSER Template:Webarchive, Sound on Sound, vol.12, no.5, March 1997
  46. ↑ Yellow Magic Orchestra—Yellow Magic Orchestra at Discogs
  47. ↑ Script error: No such module "citation/CS1".
  48. ↑ Script error: No such module "Citation/CS1".
  49. ↑ Template:Cite magazine
  50. ↑ Script error: No such module "citation/CS1".
  51. ↑ Script error: No such module "Citation/CS1".
  52. ↑ Script error: No such module "citation/CS1".
  53. ↑ Script error: No such module "citation/CS1".
  54. ↑ Script error: No such module "citation/CS1".
  55. ↑ The life and times of Ikutaro Kakehashi, the Roland pioneer modern music owes everything to Template:Webarchive, Fact
  56. ↑ Script error: No such module "citation/CS1".
    Published on: Script error: No such module "Citation/CS1".
  57. ↑ Martin Russ, Sound Synthesis and Sampling, page 84, CRC Press
  58. ↑ a b c David Ellis, Yamaha CX5M Template:Webarchive, Electronics & Music Maker, October 1984
  59. ↑ Script error: No such module "citation/CS1".
  60. ↑ Script error: No such module "citation/CS1".
  61. ↑ Roland CMU-800 Template:Webarchive, Vintage Synth Explorer
  62. ↑ Happy birthday MIDI 1.0: Slave to the rhythm Template:Webarchive, The Register
  63. ↑ a b MIDI INTERFACES FOR THE IBM PC Template:Webarchive, Electronic Musician, September 1990
  64. ↑ Script error: No such module "citation/CS1".
  65. ↑ MIDI PROCESSING UNIT MPU-401 TECHNICAL REFERENCE MANUAL, Roland Corporation
  66. ↑ Peter Manning (2013), Electronic and Computer Music, page 319, Oxford University Press
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