The advent of Musical Instrument Digital Interface (MIDI) and the Atari ST home computer 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. This software also improved on the quality of the earlier sequencers which tended to be mechanical sounding and were only able to play back notes of exactly equal duration. Software-based sequencers allowed musicians to program performances that were more expressive and more human. These new sequencers could also be used to control external synthesizers, especially rackmountedsound modules, and it was no longer necessary for each synthesizer to have its own devoted keyboard.
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 (or 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. There are still also standalone hardware MIDI sequencers, although the market demand for those has diminished greatly due to the greater feature set of their software counterparts.
Types of music sequencer
Music sequencers are often categorized by handling data types, as following:.[citation needed]
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" feature originated in the tape recording is provided, although it requires enough skills to obtain desired result. For detailed editing, possibly another visual editing modes under graphical user interface may be more suitable. Anyway, this mode provides usability similar to the audio recorder already familiarized by musicians, and it is widely supported on software sequencer, DAW, and built-in hardware sequencers.
Analog sequencers 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 and live performance; users can change the musical notes at any time without regarding recording mode. And also possibly, the time-interval between each musical note (length of each step) can be independently adjustable. Typically, analog sequencer is used to generate the repeated minimalistic phrases which is reminiscent of Tangerine Dream, Giorgio Moroder or trance music.
On the step sequencers, musical notes are rounded into the steps of equal time-interval, and users can enter each musical note without exact timing; Instead, each timing and duration of step are designated in several 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 keypads, then select a step duration (or tie) from a group of length-buttons, sequentially.
On the several home keyboards: in addition to the realtime sequencer, a pair of step trigger button is provided; using it, notes on the pre-recorded sequence can be triggered in arbitrary timings for the timing dedicated recordings or performances. (See List of music sequencers#Step sequencers (supported on).)
In general, step mode, along with roughly quantized semi-realtime mode, is often supported on the drum machines, bass machines and several groove machines.
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.
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, Persian inventors Banū Mūsā brothers invented a hydropoweredorgan using exchangeable cylinders with pins,[6] and also an automaticflute playing machine using steam power,[7][8] as described in their Book of Ingenious Devices.
In the 14th century, rotating cylinders with pins were used to play a carillon (steam organ) in Flanders,[citation needed] and at least in the 15th century, barrel organs were seen in the Netherlands.[9]
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 trigggered 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
Earliest commercially available analog sequencers (bottom) on Buchla 100 (1964/1966)[13]
Moog sequencer module (left, probably added after 1968) on Moog Modular (1964)
This section needs expansion. You can help by adding to it. (April 2017)
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 pulsetelephone exchange), solenoids, control switches, and tone circuits with 16 individual oscillators.[14] Later, Robert Moog explained it as "the whole room would go 'clack - clack - clack', and the sounds would come out all over the place".[15]
The Circle Machine, developed in 1959, had dimmer bulbs arranged in a ring, and a rotating arm with photocell scanning over the ring, to generate arbitrary waveform. Also, the rotating speed of arm was controlled via brightness of lights, and as the results, arbitrary rhythms were generated.[16]
Clavivox, developed since 1952, was a kind of keyboard synthesizer with sequencer.[verification needed] 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.[15]
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.[clarification needed]
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.[21][22]
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.[23]
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, 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.[24]
DDP-24 S Block (expansion card rack unit) that is assumed the A/D converters used for GROOVE (1970) by Max Mathews.
In 1965,[25] 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.[26][27] 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,[28] a first fully developed music synthesis system for interactive composition (that implies sequencer) and realtime performance, using 3C/HoneywellDDP-24[29] (or DDP-224[30]) minicomputers. It used a CRT display to simplify the management of music synthesis in realtime, 12bit D/A for realtime sound playback, an interface for analog devices, and even several controllers including a musical keyboard, knobs, and rotating joysticks to capture realtime performance.[26][30][27]
In 1975, New England Digital (NED) released ABLE computer (microcomputer)[35] 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,[36] 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.
While there were earlier microprocessor-based sequencers for digital polyphonic synthesizers,[note 4] 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.
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.[51]
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[59] and sequencing.[60][61] After Roland sold MPU sound chips to other sound card manufacturers,[59] it established a universal standard MIDI-to-PC interface.[62] Following the widespread adoption of MIDI, computer-based MIDI software sequencers were developed.[41]
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.
^
On WhatIs.com of TechTarget (whatis.techtarget.com), an author seems to define a term "Sequencer" as an abbreviation of "MIDI sequencer".
Margaret Rouse (April 2005). "Define sequencer". WhatIs.com (whatis.techtarget.com). TechTarget. In digital audio recording, a sequencer is a program in a computer or stand-alone keyboard unit that puts together a sound sequence from a series (or sequence) of Musical Instrument Digital Interface ( MIDI ) events (operations). The MIDI sequencer allows the user to record and edit a musical performance without using an audio-based input source. ...((cite web)): |author= has generic name (help); External link in |author= and |quote= (help)
^
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.
^
In 1974-1975, Australian computer music engineer Tony Furse developed the MC6800-based Qasar M8 with a software sequencer MUSEQ 8, with a minimum price of $8,000. In 1976, it was licensed to Fairlight Instruments Pty Ltd., and eventually Fairlight CMI was released in 1979. (For details, see Fairlight CMI)
Also in 1975, New England Digital released original microprocessor-based ABLE computer (utilizing mini-computer architecture) as a future migration target of Dartmouth Digital Synthesizer. Their commercial version of digital synthesizer, Synclavier I was first shipped in 1977. (For details, see Synclavier)
^
Rothstein, Joseph (1995). MIDI: A Comprehensive Introduction. Computer Music and Digital Audio Series. Vol. 7. A-R Editions, Inc. pp. 77, 122. ISBN978-0-89579-309-6.((cite book)): CS1 maint: ref duplicates default (link)
^
Pinch, Trevor. J.; Trocco, Frank (2009). "Buchla's Box". Analog Days: The Invention and Impact of the Moog Synthesizer (reprint ed.). Harvard University Press. pp. 55–56. ISBN978-0-674-04216-2. ((cite book)): External link in |chapterurl= (help); Unknown parameter |chapterurl= ignored (|chapter-url= suggested) (help)CS1 maint: ref duplicates default (link)
"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 recylce ..."
"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, ... In Reason, automation is MIDI Controller [Control Changes] data, but with some specialised tools for handling the data and playing it back. ...", "Recording Mixer Automation / As automation in Reason is MIDI CC data, it must be recorded on a sequencer track."
^
Fowler, Charles B. (October 1967). "The Museum of Music: A History of Mechanical Instruments". Music Educators Journal. 54 (2). Music Educators Journal: 45–49. doi:10.2307/3391092. JSTOR3391092.
^
Koetsier, Teun (2001). "On the prehistory of programmable machines: musical automata, looms, calculators". Mechanism and Machine Theory. 36 (5). Elsevier: 589–603. doi:10.1016/S0094-114X(01)00005-2.
^
Holmes, Thom (2012). "Early Synthesizers and Experimenters". Electronic and Experimental Music: Technology, Music, and Culture (4th ed.). Routledge. pp. 190–192. ISBN978-1-136-46895-7. ((cite book)): External link in |chapterurl= (help); Unknown parameter |chapterurl= ignored (|chapter-url= suggested) (help)CS1 maint: ref duplicates default (link) (See also excerpt of pp. 157–160 from Holmes 2008 harvnb error: multiple targets (2×): CITEREFHolmes2008 (help))
^
Holmes, Thom (2008). Electronic and experimental music: technology, music, and culture (3rd ed.). Routledge. p. 222. ISBN978-0-415-95781-6. Moog admired Buchla's work, recently stating that Buchla designed a system not only for "making new sounds but [for] making textures out of these sounds by specifying when these sounds could change and how regular those change would be."
^"Circle Machine". RaymondScott.com. Archived from the original on 2011-09-27. ((cite web)): Unknown parameter |deadurl= ignored (|url-status= suggested) (help)—includes 2 sound files: Raymond Scott's demonstration, and commercial soundtrack for new batteries of Ford Motors.
^
Hiller, Lejaren (Winter 1981). "Composing with Computer: A Progress Report". Computer Music Journal. 5 (4). also available in
Curtis Roads (ed.). The Music Machine: Selected Readings from Computer Music Journal. MIT Press (1989/1992). pp. 75. ISBN978-0-262-68078-3.
^
Ninke, William (1965), "Graphic 1: A Remote Graphical Display Console System", Proceedings of Fall Joint Computer Conference, vol. 27
^ ab
Holmes, Thom (2008). "Digital Synthesis and Computer Music". Electronic and experimental music: technology, music, and culture. Taylor & Francis. pp. 254. ISBN978-0-415-95781-6.
^ ab
Roads, Curtis (Winter 1980). "Interview with Max Mathews". Computer Music Journal. 4 (4). in
Curtis Roads (ed.). The Music Machine: Selected Readings from Computer Music Journal. MIT Press (1989/1992). pp. 5. ISBN978-0-262-68078-3.
^
Max V., Mathews; F.R., Moore (1970). "GROOVE—a program to compose, store, and edit functions of time". Communications of the ACM. 13 (12).
^
Nyssim Lefford; Eric D. Scheirer; Barry L. Vercoe. "An Interview with Barry Vercoe". Experimental Music Studio 25. Machine Listening Group, MIT Media Laboratory. ((cite web)): Unknown parameter |last-author-amp= ignored (|name-list-style= suggested) (help)
^ ab
Bogdanov, Vladimir (2001). All music guide to electronica: the definitive guide to electronic music. Backbeat Books. pp. 320. ISBN978-0-87930-628-1.
^
Joel Chadabe (May 1, 2001). "The Electronic Century Part IV: The Seeds of the Future". Electronic Musician. Archived from the original on October 2, 2009. In September 1977, I bought the first Synclavier, although mine came without the special keyboard and control panel ... (see Fig. 1 on the page).((cite journal)): External link in |quote= (help); Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
^"Fairlight- The Whole Story". Audio Media. No. January 1996. Fairlight launched the CMI Series II in 1982, which incorporated their now legendary Page R, the first serious music sequencer, which, according to Paine, "simply blew people away".
List of papers sharing a similar perspective with this Wikipedia article:
Arar, Raphael; Kapur, Ajay (2013). "A History of Sequencers: Interfaces for Organizing Pattern-Based Music"(PDF). Proceedings of the Sound and Music Computing Conference 2013 (SMC 2013), Stockholm, Sweden. Archived from the original(PDF) on 2015-04-02.((cite journal)): CS1 maint: ref duplicates default (link) Note: although this conference paper emphasized the "Ace Tone FR-1 Rhythm Ace", it is not a music sequencer nor first drum machine product.
External links
Look up sequencer in Wiktionary, the free dictionary.
Richmond, Leigh (11 November 1974). "Computer hums its own music". Evening Times. Melbourne, FL. p. A1. (1974 newspaper article about digital sequencer)
.jpg)
_@_Stearns_Collection_(Stearns_2035),_University_of_Michigan.jpg)
_disc_sequencer.jpg)
_on_Lab_Series_SynAmp_prototype_(1978,_SN_E0471),_at_Cantos_Music_Foundation_in_2009.jpg)
_-_Assembly_06_(brighten,_transformed_%26_clipped).jpg){kind=spacer}
.jpg)
_Drum_System_II_(or_Percussion_Computer_II),_circa_1981,_United_Kingdom_-_Knobcon_2014.jpg)
