Just about every app provides a means by which your computer keyboard can be linked to various sequencer functions. Use something like Cubase's Logical Editor or Logic's Transform functions to reassign your prefab clips to entirely new CCs. However, why not save clips containing just MIDI CC data? You could, for example, call upon pre-rolled filter sweeps, volume swells or velocity patterns that can be superimposed over existing MIDI tracks. You can also save groove templates, favourite drum patterns and audio loops for later recall. You can save that configuration in a sketch pad template and load it up whenever you like.
Perhaps you invariably turn to a particular ROMpler when sketching out an arrangement, or maybe you like a particular combination of VSTs when you jam out a certain type of tune. These make quick work of setting up the parameters you're likely to use. Most of today's popular sequencers offer some form of project template that can be saved and loaded when you start a new song. Conversely, you could shackle the bass drum and snare to the beat, but tap in the hats by hand, playing loosely with the time for a funky feeling that still stays married to the beat/bar lines. Why not quantise only some of your drums? You could, say, lock down the kick and hats, but play snares, cymbals and percussion live. Other musicians prefer not to quantise at all, believing that it reduces the natural feel and emotional content of the performance. For some, only the lock-step tyranny of the four-to-the-floor beat will do, with every hat falling obediently on a 16th note. Musicians are divided when it comes to quantising drum sounds. By freeing yourself from the shackles of the keyboard, you're bound to come up with exciting new progressions and riffs. Set up a bank of pads to trigger a specific set of notes in the key of your current song and let loose with sticks, fingers and hands. They're just as useful for playing basses and stabs, or even triggering beat-sliced loops. However, they need not be limited to triggering drum sounds. There are loads of alternative controllers out there, with drum pads being among the most popular. Your sequencer will dutifully listen to and record any MIDI information it receives, so don't feel limited to your MIDI keyboard. Can't do it? Neither can a woodwind player. While you're at it, try listening back to the passage and holding your breath for the entire length of any continuous sections. However, if you play it naturally (but only one note at a time), then you can open the sequenced passage in your piano roll editor and remove any overlapping notes. All of which isn't the easiest thing to do when manually entering your part on a keyboard! If you're going to sequence, say, a flute or oboe solo, be mindful of the fact that your passages should be monophonic and that the notes should not overlap. Try copying a pre-fab drum fill pattern to your bass track and then shuffling the notes around, for example.Ĭonvincing replications of instrumental passages can be enhanced through thoughtful consideration of the source and careful sequencing. Shake things up by getting creative with your fills.
Traditionally, fills are played on drums, though you may also hear a somewhat clichéd reverse cymbal or trailing echo. They create tension and drama and can add considerable interest to a track. From drum beats to arpeggiations to guitar strums, you need never find yourself at a loss for material!įills can play an important role in any song, 'filling' the space left when the vocalist or lead instrumentalist isn't playing, and signalling changes in the arrangement. Use this facility to create a database of MIDI clips that can be dropped into any project. Some sequencers (such as Sonar and Logic) enable you to categorise and search for MIDI clips in their built-in loop browsers.
Standard MIDI Files represent an excellent source of useful grooves, licks and riffs for future use. For instance, you could quantise the timing of a performance, but leave the velocity information intact. If you must quantise, try only doing it to some aspects or sections. If you can't play a passage by hand, slow the tempo of the song down, play it slowly and then speed it up again. Don't be afraid to shut off the quantisation for a more natural performance.
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