Software sequencers are valuable studio tools which can make your compositions sound much more sophisticated — as long as you know the best way to go about using them. Stephanie Sobey-Jones gives a foolproof guide to sequencing a complete project.

This month, I'll be taking a step by step approach to putting together a short piece of music using a software sequencer, for the benefit of teachers, students, and any readers unfamiliar with sequencing software. This particular project has been designed with Steinberg's Cubase (including Cubeat and Cubase Lite), and C-Lab/E-Magic's Notator (including Creator and Notator Alpha) packages in mind, but it could work equally well with other sequencing software, since it covers general, rather than specific aspects of sequencing, with key functions in bold text, which you should be able to find in the index of your software manual for further detailed explanation.

People use sequencers to record material in different ways — some prefer to start with a melody track, whilst others go for a rhythm first. Similarly, some people like to record a number of tracks first, then do some editing, whilst others edit material as it is recorded, so this tutorial is not intended as a definitive method — it is simply a suggested way of working.

The following minimum resources will be required: computer (with MIDI interface), sequencing software, multi-timbral keyboard with built-in drum sounds (or separate drum machine), headphones and MIDI leads.

Recording The Ideas

First, record a rhythm part on Track 1 as follows (four bars will be adequate to start with):

- Set the sequencer's Tempo to a comfortable speed.

- Switch on Cycle mode and set your Left Locator to bar 1 and your Right Locator to bar 5. This way you can use the Mix option which allows you to add a new layer of material on top of the existing one every time the four bars repeat. Cubase users should check that Mix is selected in the Cycle Record option box, and Notator users that Record Cycle Overdub is active in the Flags menu.

- Start with a simple kick drum and snare pattern, then add hi-hat on top, and so on until your rhythm is complete. (If you are going to record a preset pattern from a drum machine, see box.)

- Use Quantise to tidy up any ragged bits. (Figure 1 shows the original recording, with a quantised version underneath, using an 8th-note quantise value.) Alternatively, you can set a quantise value for the track before starting to record, and your material will be automatically adjusted.

- Name the track (this is vital for when you start moving material around later on).

- Save your file. It is a good idea to save material regularly in case you make any irrevocable changes that you might later regret. It's also good insurance against the program crashing and losing all your work.

Next, record a bass part on Track 2:

- Loop your drum track — this will enable you to practise ideas for as long as you like, and to record more than four bars of bass if you get carried away on the spur of the moment! C-Lab users should select a Loop value of 16; Steinberg users need to enable the Loop icon.

- Record your material, keeping in time with the drum part (or click track). An alternative to playing in real time is to record the notes in Step Time or using Mouse Input — see box.

- Quantise the track, and correct any mistakes — see below. Now record some chords on Track 3. You may prefer to put down your chords before your bass part, in which case the above points will still apply.

Some Basic Editing

If you have not already done so, it might be a good idea at this point to do some basic editing.

Try some of the following:

- Move individual notes up/down/sideways to correct wrong pitches, and any timing irregularities not covered by the quantise. You will do this in the Edit page(s) of the sequencer. If you are using Score Edit in either package — dealing with notation as opposed to piano roll display — it may be easier to edit some tracks by changing the Clef to avoid all those ledger lines!

- Listen to each track in turn (use Solo), and adjust the volume (Velocity) of any individual notes which seem to stick out. Do this in the Edit page(s). On Notator and Cubase, the Compression facility (Main/Arrange page) will help smooth out any extremes of volume.

- Adjust the balance of the different tracks by altering the Volume or Velocity values for each track on the main Arrange page of either type of package.

- If you are not satisfied with your combination of instruments, experiment with different sounds using the Program Change facility. Steinberg users can change voices on the main Arrange page. C-Lab users must add their program changes to the Event List on the Edit page.

Figure 2 shows quantised and edited drum, bass and chord tracks.

Extending the Material

Before adding a melody, you might want to lengthen the existing tracks. This can be done in two ways:

- Copy bars 1-4 of each track to appear at bars 5-8. Steinberg users will do this by dragging the rectangles on the Arrange page. C-Lab users should do a segment copy to start at bar 5.

- Now record an 8-bar melody on track 4. Or:

- Loop each track while you record your melody — you will have an unlimited length of accompaniment while you decide how long to make the tune! C-Lab users choose a loop value of 16 on Tracks 1-3.

- When you have finally decided on the length of your melody, Copy your accompanying tracks to fit. This is probably more relevant to Steinberg users if you want to view all your material on the Arrange page. At this point you have completed a section of your song. Steinberg users will have four visible tracks on the Arrange page. C-Lab users will have created Pattern 1 containing four tracks. This could form the Verse or first theme of your song (see below). You could further extend this material by trying the following ideas to make a 16-bar section:

- Copy drums , bass and chords so that you have eight more bars, then record a variation of your melody on top.

- Copy material as above, but transpose the first four bars (bass and chords only) of this new section (try a value of +3). C-Lab users may find it easier to make this extra material into Pattern 2.

Recording More Ideas

Stephanie Sobey-Jones is Education Specialist at Systems Workshop, and a part-time Lecturer in Music Technology. She is currently running a series of courses for Primary and Secondary teachers, covering different aspects of technology in the Music curriculum.

Your song will probably need a contrasting section or chorus, and perhaps a 'Middle 8', so you could now record one or two new ideas or patterns of eight or 16 bars, using the above techniques. To save time, you may want to build on some of your existing material, for example:

- Let your original drum pattern also form the basis of a new section, but vary the kick and snare rhythm slightly by moving notes around with the mouse and adding extra ones using via Mouse Input.

- Use part of an original pattern — keep two or three bars and Cut the rest. Now replace the cut material with some new bars, or perhaps a 'fill' for variety.

Arranging the Material

One of the advantages of using a sequencer (as opposed to tape and a razor blade!), is that you can easily assemble your songs by trying out sections of material in different orders. Steinberg users will do this by dragging material around the main Arrange page, while C-Lab users will utilise the Arrange facility on the main page. Try this arrangement of your material:

- Intro of four bars. Use drums, bass and chords from your first idea without the melody. C-Lab users can copy this material to form a new pattern; Steinberg users can drag rectangles as appropriate, or use Global Insert to make a space for the intro material.

- Verse. First idea of eight bars (Option: Add a further eight bars as suggested above.)

- Chorus. Second idea (eight or 16 bars).

- Optional 'Middle Eight' — eight bars of new material.

- Verse. As above, but try some variation — copy your melody onto an additional track and 'double' it with a different voice, or add an additional track of material. C-Lab Notator Alpha users will need to copy their original material to a different pattern in order to do this.

- Chorus. As above.

- Ending. Options: Four bars of new material, or you could repeat the chorus and fade it out if you decide to master the song onto cassette (see insert), or simply add a couple of final chords. Now check the balance between the various tracks and decide which parts need to stand out more than others. Adjust your track Volume/Velocity levels accordingly. Your project is complete!

You may want to master your song on to cassette. If you have a small mixer (or a cassette multitracker with integral mixer), connect your keyboard's outputs to two input channels, then experiment with some basic EQ and perhaps sparing use of effects (see the recording project I described in the December 1992 issue of RM). Better still, if your keyboard or sound module has several outputs, you can split up your sequenced tracks to give a more advanced 'mix' before putting the result down onto stereo cassette.

Your sequenced material may form the backing to a song. If so, record the material onto one or more tracks of a cassette multitracker as above, leaving a track (or two) free to record the vocal part. Balance the vocal part with the other tracks, and add any appropriate EQ or effects before mastering onto stereo cassette. Alternatively you may consider using a synchroniser (such as C-Lab's Unitor or Steinberg's Timelock or SMP II), which will allow you to run your sequenced tracks 'live' into the stereo mix rather than having to record them to tape. (Synchronisation was explained in the January issue of RM.) If your sequencing package also has score-writing facilities, consider (where possible) adding lyrics to your melody lines, and printing the result!