Getting Creative With Step Sequencers

Back in the days when modular synths first appeared, it was not uncommon to use a step sequencer not just to trigger notes, but to modulate a parameter or two. Now that we've entered the age of the soft synth, step sequencers as modulation sources are becoming increasingly common. This is great because it opens the door to all sorts of rhythmically-precise modulations that can really add energy and motion to your sounds. It even allows you compose complete, self-contained synth riffs if you so choose. So today I thought I'd throw out a couple ideas you might not have tried yet that can yield some unique results.

1.) Keep It Odd!
Any step sequencer worth its salt will allow you to adjust the number of steps that make up the sequence. Most people's instinct is to set this to 8, 16, or some other musically symmetrical number so that the modulation cycle is in sync with the bar structure of your song. It's worth giving a try setting this to an odd number such as 5, 7, 11, etc. This way, although the modulation will still be in sync with the song, its relation to each bar (provided you're playing in 4/4) will constantly evolve. This will give you a less repetitive feel as the relationship between the steps in your sequence and the structure of your song changes with each new bar.

2.) Time Against Time
Most modern soft synths are equipped with multiple step sequencers that can each be assigned to different parameters. So, for instance, you could have one sequencer modulating the volume/amp value of your sound, one can be modulating the filter cutoff, and another can be modulating the pitch of your oscillators. Try setting each sequencer to a different number of steps, so the relation between them is constantly shifting. This again opens the door to more complex sounding, constantly evolving modulations. The listener's ear is always listening for a pattern to lock onto. By setting each sequencer to a different number of steps, it's harder for the listener to detect a single pattern and your sound will have appear to have a life of its own.

3.) Changing Values
Any decent step sequencer will let you choose a note value for each step in relation to your song's tempo. For example, the sequencer could advance a step ever quarter note, or every 16th note, or even once per bar. As with the above example, try setting up multiple step sequencers to modulate different parameters, but set each sequencer to a different note value. The value of the sequences between one another will remain the same, but the modulations will all be happening at different speeds, thus making your sequence sound more complex without being completely unpredictable.

4.) Let It Run Free
Many step sequencers will allow you to choose between a trigger mode and a free-running mode. Trigger mode means that your step sequencer(s) will restart from the beginning each time you hit a note. In free-running mode, however, the sequencer is always advancing through its steps in sync with the clock of your DAW whether you're holding down a note or not. This way, the 'first step' of the sequence that plays depends on when you play a note in relation to the bar. This can sound less predictable than the standard trigger mode. And hey, there's nothing saying all the step sequencers you're using for modulation even have to share the same mode. Try mixing and matching for yet more unpredictable results.

5.) Smooth it Out
Step sequencers are good for rigid, sudden changes between steps, but what if you want something more subtle? Say you're programming an atmospheric pad sound and you want some animation of the filter cutoff, but you're not looking for something rhythmic and bubbly. Many step sequencers have a 'smooth' option. With this option engaged, the changes between steps will sort of 'glide' from step to step instead of the 'hard' transitions you would get normally. This is great for more subtle modulations where you want a sense of repetition, but where the changes from step to step of the sequencer in normal mode might be a bit too jarring.

How about you? What's your favorite use of a step sequencer as a modulation source?