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Onlinesequencer

One tool which I must confess to using a great deal when creating arrangements out of thin air is the Reverse control. When programming drum loops, I may well reverse the last half or quarter of a bar to create an instant fill. But this can work quite well with melodic sequences too. For example, if you want to create instant widdly‑widdly guitar or synth solos (where, let's face it, no one really cares which notes are played as long as there's lots of them), try this:

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I happen to feel the same way about sequencers. Although I'm interested in creating music — and have created hours and hours of it over the years — I'd be the first to admit that I'm not really a musician. What I do is use software tools to manipulate and edit MIDI data, the end result being a product that, on a good day with a following wind, you might just be able to hum along to. Some musicians might think this attitude is something to be ashamed of. But I've always felt that if you're interested in creating technically‑based music, yet don't happen to possess the genius of Mozart, you should make full use of any help you can get.

I usually forget — is always to press record before you ever sit down to doodle at the keyboard. You never know when you might come up with something quite brilliant. If you think available sequencer memory is going to be a problem, punch in a loop of around 200 or so bars, with the sequencer set to record over the top each time it loops.

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The copy and paste techniques outlined so far don.t have to be done 'vertically'. I've produced some interesting dance arrangements by copying the basic sequence to a second track (and often a third, too), then shifting it forward or backwards by, say, a sixteenth or eighth note. As you might realise, all you're really doing here is creating a simple delay effect. However, depending on the voices selected and their relative volumes, transpose values and so on, it can actually sound a bit cleverer than this. Things shift up another gear when you manipulate your 'ghost' part using other basic editing tools:

MIDIsequencer

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What I've always liked about computer‑based sequencers is that that they're able to do a lot of number‑crunching very quickly, and also that the results are not necessarily what you might have predicted if you'd sat down and thought it out beforehand. So if you're feeling lazy (or technically inspired, depending on your point of view) you can use even the most basic of sequencer editing functions to make a relatively small amount of musical input go a long way — particularly if, like mine, your music tends to be constructed building‑block fashion. In other words, if you've started with a riff or melodic sequence, it's relatively easy to begin generating accompanying material simply by copying and pasting the basic material to new tracks and then using the sequencer's powers to manipulate it in various ways. To kick off with an extremely basic example:

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One so‑called 'technique' for those whose well of creative juices has run dry is setting the sequencer to record, then getting to work on the keys of the synth with a duster and a can of Mr Sheen. The theory here is that you will create startling and strangely beautiful random sequences to rival the best of John Cage. Unfortunately, my experience with this approach (and I'm not ashamed to admit I've occasionally tried it) is that what you get out rarely sounds like anything more than it actually is — someone running a duster up and down a keyboard.

I think it was Brian Eno who was the first to put into words the idea that the recording studio was an instrument in its own right, and that you could learn to play it (in the sense of producing music or sound with it) in just the same way as you might learn the piano or violin.

As a general observation, which might as well be thrown in here as anywhere else, many of my most interesting melodic ideas have come from pasting a drum track to another channel and then using it to trigger a melodic voice. While some judicious editing is often required to get the results into a listenable form, this is one of those occasions when sequencers can be good at quickly throwing up ideas you just wouldn't have arrived at by any other means.

PART 1: Your computer sequencer can do bewitching things with simple ingredients, creating the impression that you're a musical wizard even if you're just a one‑finger pianist. Nicholas Rowland works some MIDI magic... This is the first article in a three‑part series.

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As a variation on this theme, I did once let my five‑year old daughter loose in the studio in the hope that she would come up with some gobsmackingly definitive dance riff. However, I have to say that the session ended in disappointment and not inconsiderable ear‑ache on my part. Still, she enjoyed herself.

Most people's use of sequencers tends to be very 'goal orientated' — which is management‑guru speak for saying that people only use sequencers when they want to do something specific, like record a song. As a result, I'd bet that many advanced features sit there collecting whatever the software equivalent is of dust. It can be worth occasionally sitting down with the manual (remember the doorstop that came with the installation disk?) and simply working through some of the functions you don't normally use, just to see what they do and whether they might be useful. And I'll be doing that for part two of this feature, when I'll look at more advanced techniques for manipulating MIDI data from your sequencer screen.

So what follows is a collection of hands‑on ideas and tips put together from my own experiences with sequencers. Like any article based on personal observations, it comes with the usual health warnings: first, these ideas are by no means exhaustive and second, be aware that the value of MIDI data can go down as well as up. The third thing to note is that these ideas are probably more applicable to riff‑ or loop‑based styles of music (my own so‑called .compositions. are in dance/ambient/techno territory) rather than formal songs as we know them, Jim.

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If you're into dance music, this approach can provide an interesting way of building up and stripping down your basic sequence for intros, breaks and so on. Because you've effectively put individual notes on separate MIDI tracks, it's then easy enough to use the arrange page on most sequencers to mute different combinations of notes, creating new variations of your original sequence. You might even come up with a version which is actually more inspired than the original.

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Remember what happened to Samuel Taylor Coleridge when he woke up with this brilliant poem in his head, but couldn't recall it when he wanted to write it down? OK, so the bit of Kubla Khan he did remember wasn't that bad in the end, but think what might have happened if he'd had the poet's equivalent of a MIDI sequencer set to permanent record.

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Dance music makes lots of use of gated MIDI effects — in other words, notes which are turned on and off very rapidly, usually chopping in and out on the beat to make the track sound more punchy. Most sequencers offer an programmable note duration controller that, as its name suggests, automatically changes the length of a note to a fixed duration. Some sequencers can also automatically change the length of selected notes, from, say, 25% of their original length to 200%. Again, it's worth experimenting with both these functions, simply to see what it does to the feel of the music.

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