Giant Steps

THIS YEAR’S MODEL

Analog step sequencers typically had little more than a control for the control voltage level, and maybe a pushbutton to advance through the steps manually. Modern step sequencers add a lot of other capabilities, such as:

Pattern storage. Once you tweaked an analog step sequencer, there was nothing you could do to save its settings other than write them down. Today’s sequencers usually do better. For example, the Matrix module in Reason stores four banks of eight patterns, which can be programmed into the sequencer to play back as desired.

Variable number of steps. Freed from the restrictions of hardware, software step sequencers can provide any number of steps, although you’ll seldom find more than 128 — if you need more, use the host’s sequencing capabilities.

Step resolution. Typically, with a 16-step sequencer, each step is a sixteenth-note. Variable step resolution allows each step to represent a different value, like a quarter-note, eighth-note, 32nd-note, etc.

Step quantization. With analog sequencers, it seemed almost impossible to “dial in” particular pitches; and when you did, they’d eventually drift off pitch anyway. With today’s digital versions, you can quantize the steps to particular pitches, making it easy to create melodic lines. The step sequencers in Rapture even allow for MIDI note entry, so you can play your line and the steps will conform to what you entered.

Smoothing. This “rounds off” the sharp edges of the step sequence, producing a more rounded control characteristic.

WHAT ARE THEY GOOD FOR?

Although step sequencers are traditionally used to sequence melody lines, they have many other uses.

Complex LFO. Why settle for the usual triangle, sawtooth, and random LFO waveforms? Control a parameter with a step sequencer instead, and you can create pretty whacked waveforms by drawing them in the step sequencer. Apply smoothing, and the resulting waveform will sound more continuous rather than stepped.

Create rhythmic patterns with filters. Feeding the filter cutoff parameter with a step sequencer can provide serious motion to the filter sound. This is the heart of Roger Linn’s AdrenaLinn processor, which imparts rhythmic effects to whatever you send into the input. If the step level is all the way down, the cutoff is all the way down and no sound comes out. Higher-level steps kick the filter open more, thus letting the sound “pulse” through.

Polyrhythms. Assuming your step sequencer has a variable number of steps, you can create some great polyrhythmic effects. For example, consider setting up a four-step sequence (one measure of 4/4) in one step sequencer, and a seven-step sequence (one measure of 7/4) in a second step sequencer, each driving different parameters (e.g., filter sweeps in opposite channels, or two different oscillator pitches). They play against each other, but “meet up” every seven measures (28 beats).

Double-time and half-time sequences. By changing step resolution in the middle of a sequence, such as switching from eighth-notes to sixteenth-notes or vice-versa, it’s possible to change the sequence to double-time or half-time respectively.

Complex panning. Imagine a step sequencer generating a percussive sequence by triggering a sound with a very quick decay. Now imagine a step sequencer altering the pan position for each hit — this can add an incredible amount of animation to a percussion mix.

Live performance options. The original step sequencers were “set-and-forget” type devices. But nowadays, playing with a step sequencer in real time can turn it into a bona fide instrument (ask the TB-303 virtuosos). Change pitch, alter rhythms, edit triggers . . . the results can be not only hypnotic, but inspiring.