18 Sequencing and the DAW

What is a sequencer?

A sequencer allows you to program and play back patterns of notes, rhythms and effects automatically instead of performing or recording each part in real-time
Sequencers don’t generate their own sounds – they send MIDI and CV information to trigger other instruments or effect parameters and allow you to program a performance in steps
In step sequencing, the notes are entered into a sequencer’s memory one at a time onto a grid or buttons
CV / gate was used pre-1983 and Open Sound Control (OSC) or MIDI 2.0 can be used nowadays
With CV / gate, the control voltage typically controls pitch and the gate signal controls note on-off
It is easy to quantise a sequenced performance, but doing so can it more mechanical in nature.

Software instrument tracks store a list of MIDI instructions that tell a virtual instrument plugin what to play
Audio tracks, on the other hand store audio data that refers to digital representations of actual sound waves
Most of our Logic work could be called ‘in the box’ mixing; we’re not using external hardware, it’s all on the DAW
Velocity indicates how hard the key was struck when the note was played; this usually corresponds to the note’s volume but can also control other synthesiser parameters, such as filter resonance or cutoff
The MIDI velocity range is from 0–127; this is because velocity is stored with 7 bits – (2⁷) = 128 values
Automation can be used to control parameters; this can be region/track-specific and absolute / relative
Destructive editing changes the audio file associated with the sample; processing is not normally reversible
Non-destructive editing does not change the audio file, and effects or processing are normally easily removed
Linear editing refers to tape-based systems where the recording runs from beginning to end
Non-linear editing typically refers to computer-based systems where data can be found instantly without having to play it in the sequence it was recorded in.

Quantisation moves the timing of the beginning of a note to the nearest grid division; a note length, beat or bar
The numbers you see on quantise settings relate to the smallest divisions on the grid for quantise to ‘snap’ to
The bottom number is of a quantise resolution tells us how many of that note you can fit in a bar of 4/4.
Percentage quantise can be used to retain some of the music’s natural flexibility in timing by moving the note a percentage towards the quantise position on the grid
Swing quantise can be used to add a swung feel to straight quavers or semiquavers, by slightly lengthening the first note of a pair and shortening the second. This is often denoted by a number (the note value), and a letter (the amount of swing).

Sequencing / the DAW led to the rise of the home studio; music moved away from using acoustic instruments
Acoustic drums were commonly replaced by drum machine parts, and this became a stylistic feature
Drum patterns could be more complex; drum machines were sequencers with a synth / sampler sound module
Quantised parts became more common, leading some to comment on the lack of musical feeling
There was a greater emphasis on synthesisers providing chords / solo rather than the guitar
MIDI meant synthesisers, drum machines etc could be easily connected and controlled by a sequencer
Non-destructive, faster editing became possible using graphical user interfaces; ultimately computer screens made the editing easier than hardware sequencers because of the small screen
Software sequencers on e.g. early Logic running on home computers with MIDI, e.g. Atari, Amiga
Home studios could use 4- and 8-track tape machines synchronised to the sequencer
This encouraged the composition of music in ‘blocks’ or loops composed ‘on the fly’ on a sequencer
Users often retained the default values for tempo and time signature (e.g. 120 bpm and 4/4) on DAWS
Creation of EDM / dance music genres that were products of the technology e.g. the TB-303 in acid house.