Editing Music sequencer

{{Short description|Device or software that records, edits or plays back musical notes}}

A '''music sequencer''' (or '''audio sequencer'''<ref name=Pejrolo>{{cite book| last=Pejrolo | first=Andrea| chapter=1.7.1 The Primary Goals You Want to Achieve with Your Audio Sequencer| title=Creative Sequencing Techniques for Music Production: A Practical Guide to Pro Tools, Logic, Digital Performer, and Cubase|chapter-url=https://books.google.com/books?id=k-vFPYjwpW0C&q=Music%20sequencer%20analog%20step%20digital%20realtime&pg=PR5| publisher = Taylor & Francis| date = 2011|isbn = 978-0-240-52216-6|page= 48}}</ref> or simply '''sequencer''') is a device or [[application software]] that can record, edit, or play back [[music]], by handling [[Musical note|note]] and performance information in several forms, typically [[CV/Gate]], [[MIDI]],<ref>{{cite web
 |author      = Margaret Rouse
 |date        = April 2005
 |url         = https://whatis.techtarget.com/definition/sequencer
 |title       = sequencer
 |work        = WhatIs.com
 |publisher   = TechTarget
 |quote       = 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. ...
 |url-status   = dead
 |archive-url  = https://web.archive.org/web/20150627101306/http://whatis.techtarget.com/definition/sequencer
 |archive-date = 2015-06-27
}}</ref> or [[Open Sound Control]], and possibly [[audio signal|audio]] and [[automation]] data for [[digital audio workstation]]s (DAWs) and [[Audio plugin|plug-ins]].

== Overview ==

=== Modern sequencers ===
{{multiple image | align = right | direction = vertical | width = 220
| image1   = Atari ST + TerraTec-Profimedia Midi Smart TMS3.jpg
| caption1 = 1980s typical software sequencer platform, using [[Atari ST|Atari Mega ST]] computer
| image2   = Cubase 6 feature collage.png
| caption2 = Today's typical software sequencer, supporting [[multitrack audio]] and [[audio plug-in|plug-ins]] ([[Steinberg Cubase|Steinberg Cubase 6]]<ref>
  {{cite web
 |title        = Cubase 6 screenshot licensed under CC-BY-SA-3.0
 |url          = https://www.steinberg.net/en/landing_pages/c6_creative_commons
 |publisher    = Steinberg Media Technologies GmbH
 |url-status   = live
 |archive-url  = https://web.archive.org/web/20111109011956/http://www.steinberg.net/en/landing_pages/c6_creative_commons
 |archive-date = 2011-11-09
}}</ref>)
| image3   = Cubase look and feel.jpg
| caption3 = User interface on Steinberg Cubase 6, a [[digital audio workstation]] with an integrated software sequencer
}}
{{More citations needed section|date=October 2011}}

The advent of [[Musical Instrument Digital Interface]] (MIDI) 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. 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 workstation]]s (DAWs).

Many modern sequencers can be used to control [[Software synthesizer|virtual instruments]] implemented as software [[Audio plug-in|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. [[Music workstation|Workstation keyboards]] have their own proprietary built-in MIDI sequencers. [[Drum machine]]s and some older synthesizers have their own step sequencer built in.  The market demand for [[List of music sequencers#Standalone MIDI sequencers|standalone hardware MIDI sequencers]] has diminished greatly due to the greater feature set of their software counterparts.<!--[[User:Kvng/RTH]]-->

== Types of music sequencer ==

Music sequencers can be categorized by handling data types, such as:
* [[MIDI]] data for MIDI sequencers (implemented as [[List of music sequencers#Hardware MIDI sequencers|hardware]] or [[List of music sequencers#Software MIDI sequencers|software]])<ref name=Rothstein1995>
  {{cite book | last = Rothstein | first = Joseph
   | title     = MIDI: A Comprehensive Introduction
   | series    = Computer Music and Digital Audio Series
   | volume    = 7
   | publisher = A-R Editions, Inc.
   | date = 1995
   | isbn     = 978-0-89579-309-6
   | pages     = [https://books.google.com/books?id=ajDaXh-qgDUC&pg=PA77 77], [https://books.google.com/books?id=ajDaXh-qgDUC&pg=PA122 122]
  }}</ref>
* [[CV/Gate]] data for [[analog sequencer]]s<ref name=Pinch2009>
  {{cite book | last1 = Pinch | first1 = Trevor. J.
   | last2     = Trocco | first2 = Frank
   | chapter   = Buchla's Box
   | chapter-url= https://books.google.com/books?id=CoUs2SSvG4EC&pg=PT48
   | title     = Analog Days: The Invention and Impact of the Moog Synthesizer
   | edition   = reprint
   | publisher = Harvard University Press
   | date = 2009
   | isbn     = 978-0-674-04216-2
   | pages     = [https://books.google.com/books?id=CoUs2SSvG4EC&dq=analog%20sequencer%20synthesizer&pg=PT55 55–56]
  }}<div style="margin-left:1em;font-size:90%;line-height:2.5ex;">"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 recycle ..."</div>Note: for a sequencer using a light source, see "Circle Machine" on [[#Analog sequencers]] and [[Raymond Scott#Electronics and research]].</ref> and possibly others <!-- (i.e. several [[step sequencer]]s and [[digital sequencer]]s) --> (via CV/Gate interfaces)
* [[Digital audio workstation#Common functionality|Automation]] data for [[mix automation|mixing-automation]] in DAWs,<ref group=note>
Automation parameters in DAWs are often interoperable with [[MIDI messages]], i.e. Control Changes (CC) or [[System Exclusive]] (SysEx); in that case, it can be controlled in [[real-time computing|real-time]] via pre-assigned MIDI messages generated by [[MIDI controller]]s or [[MIDI sequencer]]s, ''etc''. &emsp; And even more so, in several DAWs, automation parameters are explicitly recorded as MIDI messages on their embedded MIDI sequencers. (See {{harvnb|Price|2006}})
</ref><ref>
  {{cite magazine
 |ref         = {{sfnref|Price|2006}}
 |last        = Price
 |first       = Simon
 |title       = Using Mixer Automation In Reason – Reason Tips & Techniques
 |url         = https://www.soundonsound.com/sos/sep06/articles/reasontech_0906.htm
 |department  = Technique: Reason Notes
 |magazine    = Sound on Sound
 |issue       = September 2006
 |url-status  = live
 |archive-url = https://web.archive.org/web/20160310132431/http://www.soundonsound.com/sos/sep06/articles/reasontech_0906.htm
 |archive-date = 2016-03-10
}}<div style="margin-left:1em;font-size:90%;line-height:2.5ex;">"'''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, ...<!-- which is traditionally used to control parameters on MIDI synths, but can also be used to automate software synths and sometimes mixer parameters. --> In Reason, automation is MIDI Controller ''[Control Changes]'' data, but with some specialised tools for handling the data and playing it back. ...''",<br />"'''Recording Mixer Automation''' / ''As automation in Reason is MIDI CC data, it must be recorded on a sequencer track.''"</div></ref> and [[software effect processor|software effect]]&thinsp;/&thinsp;[[software instrument|instrument]] [[Audio plugin|plug-ins]] for [[List of music sequencers#Software sequencers and DAWs with sequencing features|DAWs with sequencing features]]
* [[Audio signal|Audio]] data in [[audio sequencer]]s<ref name=Pejrolo2011>
{{cite book
 | last      = Pejrolo | first = Andrea
 | chapter   = 1.7.1 The Primary Goals You Want to Achieve with Your Audio Sequencer
 | title     = Creative Sequencing Techniques for Music Production: A Practical Guide to Pro Tools, Logic, Digital Performer, and Cubase
 | chapter-url       = https://books.google.com/books?id=k-vFPYjwpW0C&q=Music%20sequencer%20analog%20step%20digital%20realtime&pg=PR5
 | publisher = Taylor & Francis
 | date = 2011
 | isbn     = 978-0-240-52216-6
 | page      = 48
}} (sub-section title contains the expression "''Audio Sequencer''")
</ref><ref group=note name="audio sequencer">
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]].
</ref> including DAWs, [[loop-based music software]], etc.; or [[Sampler (musical instrument)#Types|phrase samplers]] including [[groovebox]]s, etc.

Also, a music sequencer can be categorized by its construction and supported modes.

=== Analog sequencer ===
[[File:Korg SQ-10.JPG|thumb|right|150px|An analog sequencer <!-- INSUFFICIENT SPACE + MODEL NAME IS NOT REQUIRED ON HERE AT ALL: -->]]
{{See also|#Analog sequencers|List of music sequencers#Analog sequencers}}

[[Analog sequencer]]s 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 (music)|composition]] and [[live electronic music|live performance]]; users can change the musical notes at any time without regard to recording mode.  The time interval between each musical note (length of each step) may be independently adjustable.  Typically, analog sequencers are used to generate repeated [[minimal music|minimalistic phrases]] which may be reminiscent of [[Tangerine Dream]], [[Giorgio Moroder]] or [[trance music]].

=== {{Vanchor|Step sequencer}} (step recording mode) ===
<div style="clear:right;float:right;margin:-1.65ex 0 -1.65ex auto;">
{{multiple image |align=right |direction=vertical |width=150
 | <!-- header   = Step sequencers -->
 | image1   = Elektron MACHINEDRUM SPS-1.jpg
 | caption1 = A ''step rhythm sequencer'' on the drum machine <!-- INSUFFICIENT SPACE + MODEL NAME IS NOT REQUIRED ON HERE AT ALL: -->
 | image2   = Firstman SQ-01.png
 | caption2 = A ''step note sequencer'' on the bass machine
}}</div>
{{See also|#Step sequencers|List of music sequencers#Step sequencers (supported on)}}

On step sequencers, musical notes are rounded into steps of equal time intervals, and users can enter each musical note without exact timing; Instead, the timing and [[duration (music)|duration]] of each step can be designated in several different ways:
* On the [[drum machine]]s: select a trigger timing from a row of ''step-buttons''.
* On the [[acid bass machine|bass machines]]: select a step note (or [[rest (music)|rest]]) from a ''chromatic keypad'', then select a step duration (or [[tie (music)|tie]]) from a group of ''[[duration (music)|length]]-buttons'', sequentially.
* On the several [[electronic keyboard|home keyboards]]: in addition to the real-time sequencer, a pair of ''step trigger buttons'' is provided<!-- for "One Key Play" -->; using it, notes on the pre-recorded sequence can be triggered in arbitrary timings for the timing dedicated recordings or performances. (See {{slink|List of music sequencers|Step sequencers (supported on)}}).

In general, step mode, along with roughly quantized semi-realtime mode, is often supported on the <!-- analog --> drum machines, bass machines and several [[groovebox|groove machines]].

=== Realtime sequencer (realtime recording mode) ===
[[File:Sequential Circuits Six-Trak front.png|thumb|right|150px|A realtime sequencer on the synthesizer <!-- INSUFFICIENT SPACE + MODEL NAME IS NOT REQUIRED ON HERE AT ALL: ([[Sequential Circuits Six-Trak]]) -->]]
{{See also|#Digital sequencers|List of music sequencers#Digital sequencers|List of music sequencers#Software sequencers and DAWs with sequencing features}}

Realtime sequencers record the musical notes in [[real time (media)|real-time]] as on [[audio recorder]]s, and play back musical notes with designated [[tempo]], [[quantization (music)|quantizations]], and [[pitch (music)|pitch]].  For editing, usually "[[punch in/out|punch in/punch out]]" features originated in the [[tape recording]] are provided, although it requires sufficient skills to obtain the desired result. For detailed editing, possibly another visual editing mode under [[graphical user interface]] may be more suitable.  Anyway, this mode provides usability similar to audio recorders already familiar to musicians, and it is widely supported on software sequencers, DAWs, and built-in hardware sequencers.

=== Software sequencer ===
{{See also|List of music sequencers#Software sequencers and DAWs with sequencing features}}

A ''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 interface]]s or a specialized [[input device]]s, such as a [[MIDI controller]].

<div style="width:100%;overflow-x:auto;overflow-y:hidden; margin-left:0em; border:1px solid #CCC;">
{|style="margin:0 auto;padding:0; font-size:88%;line-height:100%;"
|+Typical features on software sequencers
|-style="vertical-align:top;padding:0;"
|style="width:91px;"|[[Image:Cheesetracker-shot.png|99px]]<!-- Modplug tracker 960.png --><br />Numerical editor on [[Tracker (music software)|Tracker]]
|style="width:110px;"|[[Image:Cubase6 Score Editor.png|110px]]<br />[[Score editor]]<br />&nbsp;
|style="width:112px;"|[[Image:Cubase6 Key Editor piano roll with Note Expression.jpg|112px]]<br />[[Piano roll]] editor <br />with [[strip chart]]
|style="width:117px;"|[[Image:Cubase6 main audio tracks.jpg|118px]]<!-- Protools9screen.png|85px --><br />Audio and MIDI tracks <!-- with strip chart --> on DAW
|style="width:135px;"|[[Image:Cubase 6 feature - software studio environment including software instruments and software effects.svg|135px]]<br />[[Mix automation|Automated]], [[Virtual Studio Technology|software studio environment]] including [[software synthesizer|instruments]] and [[software effect processor|effect processors]]
|style="width: 97px;"|[[Image:Cubase6 LoopMash 2 loop remixer (brighten).jpg|97px]]<br />[[Loop (music)#Modern looping|Loop]] sequencer <br />&nbsp;
|style="width:111px;"| <br />Sample editor <br />with [[beat slicing|beat slicer]]
|style="width:111px;"|[[Image:Cubase6 VariAudio vocal pitch editing.jpg|111px]]<br />Vocal editor <br />for [[pitch (music)|pitch]] and [[Timing (music)|timing]]
|}</div>

=== Audio sequencer ===
Alternative subsets of audio sequencers include:
<!-- Note: This usage of table is based on the guideline for list of items containing the image and long text. -->
{|class="wikitable"
|- style="vertical-align:top;"
|[[Image:Ardour-screenshot-big (tracks, mixer, x-fade - brighten).jpg|left|120px|A typica DAW ([[Ardour (software)|Ardour]])]]<!-- [[Image:Cubase6 main audio tracks.png|left|120px|A typical DAW (on [[Steinberg Cubase]])]] -->
<!-- | -->{{block indent |left=0.5|1=[[Digital audio workstation]] (DAW), [[hard disk recorder]] — a class of audio software or dedicated system primarily designed to record, edit, and play back [[digital audio]], first appeared in the late 1970s and emerging since the 1990s. After the 1990s–2000s, several DAWs for music production were integrated with music sequencer.

In today, "''DAW integrated with [[MIDI]] sequencer''" is often simply abbreviated as "DAW", or sometimes referred as "''Audio and MIDI sequencer''",<ref>
{{citation
 | title     = MusE – The open source sequencer
 | url       = https://muse-sequencer.org
 | quote     = MusE is a MIDI/Audio sequencer with recording and editing capabilities ...
}}</ref> ''etc''.  On the later usage, the term "''audio sequencer''" is just a synonym for the "''DAW''".</p>}}
|- style="vertical-align:top;"
|[[Image:Cubase6 LoopMash 2 loop remixer (brighten).jpg|left|120px|A typical loop-based music software ([[Cubase]] 6 LoopMash 2)]]
<!-- | -->{{block indent |left=0.5|1=[[Loop-based music software]] — a class of [[music software]] for [[Loop (music)|loop]]-based music compositions and remix, emerging since late 1990s. Typical software included [[ACID Pro]] (1998), [[Ableton Live]] (2001), [[GarageBand]] (2004), ''etc''. And now, several of them are referred as DAW, resulting of the expansions and/or integrations. <br />Its core feature, [[audio time stretching and pitch scaling]] allows user to handle audio samples (loops) with the analogy of [[MIDI]] data, in several aspects; user can designate [[pitch (music)|pitches]] and [[duration (music)|durations]] independently on short music samples, as on MIDI notes, to [[remix]] a song.
<p>
This type of software actually controls sequences of audio samples; thus, it can potentially be called an  "''audio sequencer''".</p>}}
|- style="vertical-align:top;"
|[[Image:Milkytracker Instrument.jpg|left|120px|A typical [[Music tracker|Tracker]] software ([[MilkyTracker]])]]
<!-- | -->{{block indent |left=0.5|1=[[Tracker (music software)]] — a class of software music sequencer with embedded [[sampler (musical instrument)|sample players]], developed since the 1980s. Although it provides earlier "sequence of sampling sound" similar to [[groovebox]]es and later [[loop-based music software]], its design is slightly dated, and rarely referred as ''audio sequencer''. }}
|- style="vertical-align:top;"
|[[Image:Akai MPC60.jpg|left|120px|A typical [[groovebox]] ([[Akai MPC60]]) providing sampler and sequencer]]
<!-- | -->{{block indent |left=0.5|1=[[sampler (musical instrument)#Types|Phrase sampler]] (or phrase sampling) — similar to above, musicians or [[remix]]ers sometimes remixed or composed songs by sampling relatively long phrases or part of songs, and then rearranging these on [[groovebox]]es or a combination of [[sampler (musical instrument)]] and sequencer.
<p>
This technique<!-- , called "''phrase sampling''", --> is possibly referred as "''audio sequencing''".</p>}}
|- style="vertical-align:top;"
| <!-- Deleted image removed: [[Image:Recycle mac screenshot.png|left|120px|A typical beat slicer ([[ReCycle]])]] -->
<!-- | -->{{block indent |left=0.5|1=[[Beat slicing]] — before the DAW became popular, several musicians sometimes derived various beats from limited drum sample [[loop (music)|loop]]s by slicing beats and rearranging them on [[sampler (musical instrument)|samplers]]. This technique, called "''beat slicing''", was popularized with the introduction of "beat slicer" tool, especially the "[[ReCycle]]" released in 1992.
<p>
Possibly it may be one origin of "''audio sequencing''".</p>}}

|}

== History ==

=== Early sequencers ===
{{See also|Category:Mechanical musical instruments|Music box#Evolving box production}}
{{multiple image | align = right | direction = horizontal
 | image1   = Barrel-organ 1.png| width1 = 155
 | caption1 = ''Barrel with pins'' on a large stationary [[barrel organ]] <!-- worked by hydraulic power, from Solomon de Caus, Les Raisons des forces mouvantes (Frankfort-on-Main, (1615) -->
 | image2   = DrehorgelLochkarte.jpg| width2 = 109
 | caption2 = ''[[Music roll]]'' on barrel organ
 | <!-- image3   = Welteorchestrion1862.jpg| width3 = 123 -->
 | <!-- caption3 = [[Orchestrion]] (1862) controlled by music roll -->
 | <!-- image4   = AeolianHammond Player Organ model BA, NYSFair 2011.jpg| width4 = 100 -->
 | <!-- caption4 = [[Hammond organ|Electric organ]] (1938) controlled by music roll]] -->
}}<!-- NOTE: Too wide image layout is not practical. -->

The early music sequencers were sound-producing devices such as [[:Category:Mechanical musical instruments|automatic musical instruments]], [[music box]]es, [[mechanical organ]]s, [[player piano]]s, and [[Orchestrion]]s. Player pianos, for example, had much in common with contemporary sequencers. Composers or arrangers transmitted music to [[piano roll]]s 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, the [[Persian people|Persian]] (Iranian) [[Banū Mūsā]] brothers invented a [[hydropower]]ed [[organ (music)|organ]] using exchangeable cylinders with pins,<ref>
{{cite journal
 | first     = Charles B. |last = Fowler
 | date      = October 1967
 | title     = The Museum of Music: A History of Mechanical Instruments
 | journal   = Music Educators Journal
 | volume    = 54 | issue = 2 | pages = 45–49
 | doi       = 10.2307/3391092  |jstor = 3391092
 |s2cid = 190524140
 }}
</ref> and also an [[automation|automatic]] [[flute]]-playing machine using [[steam power]],<ref name=Koetsier>
{{cite journal
 | last1     = Koetsier |first1=Teun
 | year      = 2001
 | title     = On the prehistory of programmable machines: musical automata, looms, calculators
 | journal   = Mechanism and Machine Theory
 | volume    = 36 | issue = 5 | pages = 589–603
 | doi       = 10.1016/S0094-114X(01)00005-2
}}
</ref><ref>
{{cite book
 | author     = [[Banu Musa]]
 | translator = [[Donald Routledge Hill]]
 | year       = 1979
 | title      = The book of ingenious devices (Kitāb al-ḥiyal)
 | publisher  = [[Springer Science+Business Media|Springer]]
 | isbn       = 9027708339
 | pages      = 76–7
}}
</ref> as described in their ''[[Book of Ingenious Devices#Mechanical musical machines|Book of Ingenious Devices]]''. The Banu Musa brothers' automatic flute player was the first [[Program (machine)|programmable]] music sequencer device,<ref>{{cite journal |last1=Long |first1=Jason |last2=Murphy |first2=Jim |last3=Carnegie |first3=Dale |last4=Kapur |first4=Ajay |title=Loudspeakers Optional: A history of non-loudspeaker-based electroacoustic music |journal=[[Organised Sound]] |date=12 July 2017 |volume=22 |issue=2 |pages=195–205 |publisher=[[Cambridge University Press]] |doi=10.1017/S1355771817000103|doi-access=free }}</ref> and the first example of repetitive [[music technology]], powered by [[hydraulics]].<ref>{{cite journal |last1=Levaux |first1=Christophe |title=The Forgotten History of Repetitive Audio Technologies |journal=[[Organised Sound]] |date=12 July 2017 |volume=22 |issue=2 |publisher=[[Cambridge University Press]] |pages=187–194 |doi=10.1017/S1355771817000097|doi-access=free }}</ref>

In 1206, [[Al-Jazari]], an [[List of inventions in the medieval Islamic world|Arab engineer]], invented programmable musical [[automata]],<ref name="Fowler 45–49">{{Cite journal|title=The Museum of Music: A History of Mechanical Instruments|first=Charles B.|last=Fowler|journal=Music Educators Journal|volume=54|issue=2|date=October 1967|pages=45–49|doi=10.2307/3391092|jstor=3391092|s2cid=190524140}}</ref> a "[[robot]] [[Musical ensemble|band]]" which performed "more than fifty facial and body actions during each musical selection."<ref>{{citation|title=The Museum of Music: A History of Mechanical Instruments |first=Charles B.|last=Fowler|journal=Music Educators Journal|volume=54|issue=2|date=October 1967|pages=45–49|doi=10.2307/3391092|publisher=MENC_ The National Association for Music Education|jstor=3391092|s2cid=190524140}}</ref> It was notably the first programmable [[drum machine]]. Among the four [[automaton]] musicians were two drummers. It was a drum machine where [[Wiktionary:peg|pegs]] ([[Cam (mechanism)|cam]]s) bump into little [[lever]]s that operated the percussion. The drummers could be made to play different rhythms and different drum patterns if the pegs were moved around.<ref name=Sharkey>[[Noel Sharkey]], [https://web.archive.org/web/20070629182810/http://www.shef.ac.uk/marcoms/eview/articles58/robot.html A 13th Century Programmable Robot (Archive)], [[University of Sheffield]].</ref>

In the 14th century, rotating cylinders with pins were used to play a [[carillon]] (steam organ) in Flanders,{{citation needed|date=November 2011}} and at least in the 15th century, [[barrel organ]]s were seen in the Netherlands.<ref>
{{cite EB1911
 | wstitle   = Barrel-organ
 | volume    = 3
 | pages     = 432–434
 | first     = Kathleen
 | last      = Schlesinger
}}</ref>

{{multiple image | align = right | direction = horizontal
 | image1   = Steinway piano - Duo-Art.ogv| width1 = 128
 | caption1 = [[Player piano]] (1920) controlled by [[piano roll]]
 | image2   = RCA Mark II Sound Synthesizer.jpg| width2 = 136
 | caption2 = [[RCA Mark II]] (1957), controlled via wide punched-paper roll
}}
In the late-18th or early-19th century, with technological advances of the [[Industrial Revolution]] various automatic musical instruments were invented. Some examples: [[music box]]es, [[barrel organ]]s and [[barrel piano]]s consisting of a barrel or cylinder with pins or a flat metal disc with punched holes; or [[mechanical organ]]s, [[player piano]]s and [[orchestrion]]s using [[book music]] / [[music roll]]s ([[piano roll]]s) with punched holes, etc.  These instruments were disseminated widely as popular entertainment devices prior to the inventions of [[phonograph]]s, [[radio]]s, and [[sound film]]s which eventually eclipsed all such home music production devices. Of them all, punched-paper-tape media had been used until the mid-20th century. The earliest programmable [[music synthesizer]]s including the [[RCA Mark II Sound Synthesizer]] in 1957<!-- for researching Mathematical Theory Of Music -->, and the Siemens Synthesizer in 1959, were also controlled via [[punch tape]]s similar to [[piano roll]]s.<ref name=rcamark2>
{{cite web
 |title       = The RCA Synthesiser
 |url         = https://120years.net/machines/rca/
 |work        = 120 Years of Electronic Music (120years.net)
 |url-status     = live
 |archive-url  = https://archive.wikiwix.com/cache/20111026223002/http://120years.net/machines/rca/
 |archive-date = 2011-10-26
|date = 2014-02-11
 }}—([https://www.mathieubosi.com/zikprojects/120YearsOfElectronicMusic.pdf PDF version] {{webarchive|url=https://web.archive.org/web/20120402113013/http://www.mathieubosi.com/zikprojects/120YearsOfElectronicMusic.pdf |date=2012-04-02 }} is available)
</ref><ref name=siemens>
{{cite web
 |title       = Das Siemens-Studio für elektronische Musik von Alexander Schaaf und Helmut Klein
 |url         = https://www.deutsches-museum.de/sammlungen/ausgewaehlte-objekte/meisterwerke-vi/siemens-studio/
 |language    = de
 |publisher   = [[Deutsches Museum]]
 |url-status     = dead
 |archive-url  = https://web.archive.org/web/20130930175905/http://www.deutsches-museum.de/sammlungen/ausgewaehlte-objekte/meisterwerke-vi/siemens-studio
 |archive-date = 2013-09-30
}}
</ref><ref name=holmes2012>
{{cite book
 |last             = Holmes
 |first            = Thom
 |chapter          = Early Synthesizers and Experimenters
 |chapter-url       = https://books.google.com/books?id=aT5nAQAAQBAJ&pg=PA175
 |title            = Electronic and Experimental Music: Technology, Music, and Culture
 |edition          = 4th
 |publisher        = Routledge
 |date = 2012
 |isbn             = 978-1-136-46895-7
 |pages            = [https://archive.org/details/electronicexperi00holm/page/190 190]–[https://archive.org/details/electronicexperi00holm/page/192 192]
}} See also excerpt from pp. 157-160 in [http://static1.squarespace.com/static/50e79ec7e4b07dba60068e4d/t/515704dce4b05239ba84e64c/1364657372465/Holmes4.pdf Chapter 6] of ''Early Synthesizers and Experimenters''.</ref>

<!-- [[Image:Films on Oramics move in this direction (clip).png|thumb|132px|[[Drawn sound]]&nbsp; films on [[Oramics]] (1957) <br />resembles strip chart]] -->
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 interface]]s. In this technique, notes and various sound parameters are triggered 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 ===
{{multiple image | align = right | direction = horizontal
 | <!-- image1   = Buchla 250e Arbitrary Function Generator.jpg| width1 = 132 -->
 | <!-- caption1 = [[Buchla 200e|Buchla 250e]] Arbitrary Function Generator (2004)<br />seems influenced <br />by [[Raymond Scott#Electronics and research|Circle Machine]] -->
 | image2   = Buchla 100 series at NYU.jpg| width2 = 132
 | caption2 = Early commercially available analog sequencers (bottom) on [[Buchla]] 100 (1964/1966)<ref name=holmes2008a>
{{cite book
 | last      = Holmes | first = Thom
 | year      = 2008
 | title     = Electronic and experimental music: technology, music, and culture
 | edition   = 3rd
 | publisher = Routledge
 | isbn      = 978-0-415-95781-6
 | page      = [https://books.google.com/books?id=Q0uTAgAAQBAJ&q=Buchla+100+sequencer&pg=PA222 222]
 | quote     = <span style="font-size:90%;">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."</span>
}}
</ref><!-- Temporarily comment out (can't re-verify enough): <ref name=miller2001>
{{citation
 | last      = Miller | first = David
 | year      = 2001   | date = May 9, 2001
 | title     = personal communication with Thom Holmes
}}
  </ref> -->
 | image3 = 1st commercial Moog synthesizer (1964, commissioned by the Alwin Nikolai Dance Theater of NY) @ Stearns Collection (Stearns 2035), University of Michigan.jpg| width3 = 132
 | caption3 = Moog sequencer module (top left, probably added after 1968) on <!-- the 1st commercial --> [[Moog modular synthesizer|Moog Modular]] (1964)
}}
{{Main|Analog sequencer}}
{{expand section|date=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 [[relay]]s (used on [[dial pulse]] [[telephone exchange]]), [[solenoid]]s, control switches, and tone circuits with 16 individual [[electronic oscillator|oscillators]].<ref name=wallofsound>
{{cite web
 |title       = Wall of Sound (sequencer)
 |url         = https://raymondscott.com/1946.htm
 |work        = RaymondScott.com
 |url-status   = dead
 |archive-url  = https://web.archive.org/web/20111113023228/http://raymondscott.com/1946.htm
 |archive-date = 2011-11-13
}}
</ref>  Later, [[Robert Moog]] would explain it in such terms as "the whole room would go 'clack – clack – clack', and the sounds would come out all over the place".<ref name=memories/>
The Circle Machine, developed in 1959, had [[incandescent bulbs]] each with its own [[rheostat]], arranged in a ring, and a rotating arm with [[photocell]] scanning over the ring, to generate an arbitrary waveform. Also, the rotating speed of the arm was controlled via the brightness of lights, and as a result, arbitrary rhythms were generated.<ref name=circlemachine>
{{cite web
 |title       = Circle Machine
 |url         = https://raymondscott.com/circle.html
 |work        = RaymondScott.com
 |url-status   = dead
 |archive-url  = https://web.archive.org/web/20110927232227/http://raymondscott.com/circle.html
 |archive-date = 2011-09-27
}}—includes 2 sound files: Raymond Scott's demonstration, and commercial soundtrack for new batteries of [[Ford Motors]].
</ref>
The first electronic sequencer was invented by Raymond Scott, using [[thyratron]]s and [[relay]]s.<ref>[https://www.raymondscott.net/docs/RS-Artifacts.pdf Raymond Scott Artifacts], p. 13</ref>

[[Clavivox]], developed since 1952, was a kind of keyboard synthesizer with sequencer.{{Verify source|date=November 2011|reason=Although it was quoted phrase from the article [[Clavivox]], "sequencer" function on Clavivox seems to be not found on any sources. Possibly it was confused with the film-based portamento function.}}  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]].<ref name=memories>
{{cite web
 |last        = Moog
 |first       = Robert
 |title       = Memories of Raymond Scott
 |url         = https://raymondscott.com/moog.html
 |work        = RaymondScott.com
 |url-status   = dead
 |archive-url  = https://web.archive.org/web/20111106035451/http://raymondscott.com/moog.html
 |archive-date = 2011-11-06
}}</ref>

In 1968, [[Ralph Lundsten]] and [[Leo Nilsson]] had a polyphonic synthesizer with sequencer called [[Andromatic]] built for them by [[Erkki Kurenniemi]].<ref>
{{cite web
 |last        = Städje
 |first       = Jörgen
 |date        = 2012-10-06
 |title       = Andromatic, den automatiska andromedaren
 |url         = https://www.idg.se/2.1085/1.445306/andromatic-den-automatiska-andromedaren
 |publisher   = International Data Group (IDG)
 |url-status  = live
 |archive-url = https://web.archive.org/web/20121007224640/http://www.idg.se/2.1085/1.445306/andromatic-den-automatiska-andromedaren
 |archive-date = 2012-10-07
}}</ref>

=== Step sequencers ===
{{multiple image | align=right | direction=horizontal
 | <!-- header    = Step sequencers -->
 <!-- Image 1 -->
 | image1    = Wurlitzer Sideman (1959) disc sequencer.jpg| width1    = 130
 | caption1  = Electro-mechanical disc sequencer on [[Drum machine#Early drum machines|early drum machine]] <!-- , [[Wurlitzer]] Sideman --> (1959)
 <!-- Image 2 -->
 | image2    = Eko ComputeRhythm.png| width2    = 131
 | caption2  = [[Eko guitars|Eko]] ComputeRhythm (1972),<ref name="jarrography-Eko">
{{cite web
 |title       = EKO Computerhythm (1972)
 |url         = https://www.jarrography.free.fr/details_equipement_audio.php?id_equip=117
 |work        = Jarrography – The ultimate Jean Michel Jarre discography
 |url-status  = live
 |archive-url = https://web.archive.org/web/20120503190624/http://www.jarrography.free.fr/details_equipement_audio.php?id_equip=117
 |archive-date = 2012-05-03
}}
</ref><ref name="synthmaster-Eko">
{{cite web
 |title        = EKO Computerhythm
 |url          = https://www.synthmaster.de/ekodrum.htm
 |work         = SynthMaster.de
 |url-status   = live
 |archive-url  = https://web.archive.org/web/20160304083316/http://www.synthmaster.de/ekodrum.htm
 |archive-date = 2016-03-04
}}
</ref> one of the earliest programmable drum machines
 <!-- Image 3 -->
 | image3    = Firstman SQ-01.png| width3    = 116
 | caption3  = [[Multivox#Digital sequencers|Firstman SQ-01]] (1980),<ref name="synrise-SQ01">
{{cite web
 | title     = Multivox International
 | url       = https://www.synrise.de/docs/types/f/firstman.htm
 | language  = de| work      = SYNRISE
 | archive-url= https://web.archive.org/web/20030420170643/http://www.synrise.de/docs/types/f/firstman.htm
 | archive-date=2003-04-20
}}
</ref> one of the earliest step [[Bass synth|bass]] machines
}}
{{See also|Drum machine|Bass synth|Groovebox}}
{{Confusing section|date=October 2011}}

The ''step sequencer''s played rigid patterns of notes using a grid of (usually) 16 buttons, or steps, each step being 1/16 of a [[bar (music)|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 machine]]s and [[groovebox]]es. 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.{{clarify|date=October 2011}}

=== Early computers ===
{{Main|Computer music}}

[[File:CSIRAC-Pano,-Melb.-Museum,-12.8.2008.jpg|thumb|265px|[[CSIRAC]] played the earliest [[computer music]] in 1951]]
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 ([[algorithmic 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.<ref name=csirac>{{cite web
 |title       = CSIRAC: Australia's first computer
 |url         = https://www.csiro.au/science/ps4f.html
 |publisher   = [[Commonwealth Scientific and Industrial Research Organisation]] (CSIRO)
 |location    = Australia
 |access-date  = 2007-12-21
 |url-status     = live
 |archive-url  = https://web.archive.org/web/20071116112251/http://www.csiro.au/science/ps4f.html
 |archive-date = 2007-11-16
}}</ref><ref name="bbc2008">{{cite news
 |last        = Fildes
 |first       = Jonathan
 |date        = 2008-06-17
 |title       = 'Oldest' computer music unveiled
 |url         = https://news.bbc.co.uk/1/hi/technology/7458479.stm
 |work        = [[BBC News Online]]
 |access-date  = 2008-06-18
 |url-status     = live
 |archive-url  = https://web.archive.org/web/20090111225358/http://news.bbc.co.uk/1/hi/technology/7458479.stm
 |archive-date = 2009-01-11
}}—another oldest known recording of [[computer music|computer realized <!-- generated -->music]] played by the [[Ferranti Mark 1]], captured by [[BBC]] in Autumn, 1951; the songs ''[[Baa Baa Black Sheep]]'' and ''[[In the Mood]]''.</ref> In 1956, [[Lejaren Hiller]] at the [[University of Illinois at Urbana–Champaign]] wrote one of the earliest programs for [[algorithmic music|computer music composition]] on [[ILLIAC]], and collaborated on the first piece, ''[[Illiac Suite]] for String Quartet'', with [[Leonard Issaction]].<ref name=hiller1981>{{cite journal
 | last      = Hiller | first = Lejaren
 | date      = Winter 1981
 | title     = Composing with Computer: A Progress Report
 | journal   = Computer Music Journal
 | volume    = 5 | number = 4
| pages = 7–21
 | doi = 10.2307/3679501
 | jstor = 3679501
 }} <br />also available in
{{cite book
 | editor    = Curtis Roads
 | title     = The Music Machine: Selected Readings from Computer Music Journal
 | pages     = [https://books.google.com/books?id=bqKfS3qQjMQC&q=Mathews&pg=PA75 75]
 | publisher = MIT Press (1989/1992)
 | isbn     = 978-0-262-68078-3
| date = 1992-10-08
 }}</ref> In 1957 [[Max Mathews]] at [[Bell Labs]] wrote [[MUSIC-N|MUSIC]], the first widely used program for sound generation, and a 17-second composition was performed by the [[IBM 704]] computer. Subsequently, computer music <!-- and computer sound generation --> was mainly researched on the expensive [[mainframe computer]]s in computer centers, until the 1970s when [[minicomputer]]s and then [[microcomputer]]s became available in this field.

==== In Japan ====
In Japan, experiments in computer music date back to 1962, when [[Keio University]] professor Sekine and [[Toshiba]] engineer Hayashi experimented with the [[:jp:TOSBAC|TOSBAC]] computer. This resulted in a piece entitled ''TOSBAC Suite''.<ref name="shimazu104">{{cite journal |last1=Shimazu |first1=Takehito |title=The History of Electronic and Computer Music in Japan: Significant Composers and Their Works |journal=Leonardo Music Journal |date=1994 |volume=4 |pages=102–106 |doi=10.2307/1513190 |jstor=1513190 |s2cid=193084745 }}</ref>

===Early computer music hardware===
{{multiple image
 | image1   = 3C DDP-24 computer card rack side.jpg |width1=115
 | image2   = 3C DDP-24 computer card rack.JPG      |width2=143
 | <!-- image3   = 3C DDP-24 computer card rack rear.JPG |width3=120 -->
 | footer   = DDP-24 S Block (expansion card rack unit) that is assumed <!-- to had been --> the [[Analog-to-digital converter|A/D converters]] used  for GROOVE (1970) by Max Mathews.
}} In 1965,<ref name=Ninke1965>{{citation
 | first     = William | last = Ninke
 | title     = Graphic 1: A Remote Graphical Display Console System
 | periodical= Proceedings of Fall Joint Computer Conference
 | volume    = 27
 | date = 1965
}}</ref> [[Max 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 [[algorithmic composition|composing computer-generated music]].<ref name=holmes2008b>{{cite book
  | last  = Holmes | first = Thom
  | year  = 2008
  | chapter=Digital Synthesis and Computer Music
  | title = Electronic and experimental music: technology, music, and culture
  | pages = [https://books.google.com/books?id=hCthQ-bec-QC&q=Mathews+MUSIC+GROOVE+%22Graphic+1%22&pg=PA254 254]
  | publisher = Taylor & Francis
  | isbn  = 978-0-415-95781-6
}}</ref><ref name=roads1980 /> 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 [[CV/gate|Voltage-controlled]] Equipment) system,<ref name=groove>{{cite journal
  | first1 = Mathews |last1 = Max V.
  | first2 = Moore   |last2 = F.R.
  | year   = 1970
  | title  = GROOVE—a program to compose, store, and edit functions of time
  | journal= Communications of the ACM
  | volume = 13 |issue=12
}}</ref> a first fully developed [[algorithmic composition|music synthesis]] system for interactive composition (that implies sequencer) and realtime performance, using 3C/[[Honeywell]] [[DDP-24]]<ref name=vercoe>{{cite web |author1=Nyssim Lefford |author2=Eric D. Scheirer |author3=Barry L. Vercoe |name-list-style=amp |title=An Interview with Barry Vercoe |url=https://www.media.mit.edu/events/EMS/bv-interview.html |work=Experimental Music Studio 25 |publisher=Machine Listening Group, MIT Media Laboratory |url-status=live |archive-url=https://web.archive.org/web/20120331173352/http://www.media.mit.edu/events/EMS/bv-interview.html |archive-date=2012-03-31 }}</ref> (or DDP-224<ref name=bogdanov2001 />) minicomputers. It used a CRT display to simplify the management of music synthesis in realtime, 12-bit [[D/A converter]] for realtime sound playback, an interface for [[CV/gate]] analog devices, and even several controllers including a musical keyboard, knobs, and rotating [[joystick]]s to capture realtime performance.<ref name=holmes2008b /><ref name=bogdanov2001>{{cite book
  | last  = Bogdanov | first = Vladimir
  | year  = 2001
  | title = All music guide to electronica: the definitive guide to electronic music
  | pages = [https://books.google.com/books?id=GJNXLSBlL7IC&q=GROOVE+Generated+Real-time+Output+Operations+on+Voltage-controlled+Equipment&pg=PT271 320]
  | publisher = Backbeat Books
  | isbn  = 978-0-87930-628-1
}}</ref><ref name=roads1980>{{cite journal
  | last  = Roads | first = Curtis
  | title = Interview with Max Mathews
  | date  = Winter 1980
  | journal = Computer Music Journal
  | volume=4 | number = 4 }} <br />in
{{cite book
  | editor= Curtis Roads
  | title = The Music Machine: Selected Readings from Computer Music Journal
  | pages = [https://books.google.com/books?id=bqKfS3qQjMQC&q=Mathews&pg=PA5 5]
  | publisher = MIT Press (1989/1992)
  | isbn  = 978-0-262-68078-3
| date = 1992-10-08
 }}</ref>

{{multiple image | align = right | direction = horizontal
 | image1   = EMS at MIM Sequencer.jpg| width1 = 125
 | caption1 = [[Electronic Music Studios|EMS]] Sequencer 256 (1971), branched from [[EMS Synthi 100|Synthi 100]].
}}

=== Digital sequencers ===
In 1971, [[Electronic Music Studios]] (EMS) released one of the first digital sequencer products as a module of [[EMS Synthi 100|Synthi 100]], and its derivation, [[Electronic Music Studios#Timeline of major products|Synthi Sequencer]] series.<ref name=synthi100>
{{cite web | last = Hinton | first = Graham | year = 2001 | title = Synthi 100 (1971, formerly Digitana, aka the Delaware) | url = https://www.ems-synthi.demon.co.uk/emsprods.html#synthi100 | publisher = Electronic Music Studios (Cornwall) | url-status = live | archive-url = https://web.archive.org/web/20131031040324/http://www.ems-synthi.demon.co.uk/emsprods.html#synthi100 | archive-date = 2013-10-31 }}
</ref><ref name=seq256>
{{cite web | last = Hinton | first = Graham | year = 2001 | title = Synthi Sequencer 256 (1971, formerly Synthi Moog Sequencer) | url = https://www.ems-synthi.demon.co.uk/emsprods.html#seq256 | publisher = Electronic Music Studios (Cornwall) | url-status = live | archive-url = https://web.archive.org/web/20131031040324/http://www.ems-synthi.demon.co.uk/emsprods.html#seq256 | archive-date = 2013-10-31 }}</ref>
After then, [[Oberheim]] released the DS-2 Digital Sequencer in 1974,<ref name=ds2>
{{cite book
 |author       = J.Michmerhuizen
 |author2      = Thomas E. Oberheim
 |date         = June 1974
 |title        = DS-2 Digital Sequencer Instruction and Service Manual
 |url          = https://www.cem3374.com/docs/Manuals/Oberheim/DS2_O&SM.pdf
 |archive-url  = https://web.archive.org/web/20111218194017/http://www.cem3374.com/docs/Manuals/Oberheim/DS2_O%26SM.pdf
 |url-status     = dead
 |archive-date = 2011-12-18
 |access-date  = 2017-12-06
}}
</ref> and [[Sequential Circuits]] released Model 800 in 1977 <ref name=model800>
{{cite web
 |title       = Model 800 Sequencer
 |url         = https://www.synthmuseum.com/sequ/seqseq80001.html
 |publisher   = SynthMuseum.com
 |url-status     = live
 |archive-url  = https://web.archive.org/web/20111011114838/http://synthmuseum.com/sequ/seqseq80001.html
 |archive-date = 2011-10-11
}}</ref>

==== In Japan ====
{{multiple image | align = right | direction = horizontal
 | image2   = Roland MC-8.jpg | width2 = 139
 | caption2 = [[Roland MC-8 MicroComposer]] (1977)
 | <!-- image3   = Roland MC-4 Microcomposer.jpg| width3 = 129 -->
 | <!-- caption3 = [[Roland MC-4 MicroComposer|Roland MC-4]] (1981), a successor of the [[Roland MC-8 MicroComposer|MC-8]] (1977)]] -->
}}
In 1977, [[Roland Corporation]] released the [[Roland MC-8 Microcomposer|MC-8 MicroComposer]], also called ''[[computer music]] composer'' by Roland. It was an early stand-alone, [[microprocessor]]-based, digital CV/gate sequencer,<ref name="russ">{{cite book
 | last      = Russ
 |first      = Martin
 | year      = 2008
 | title     = Sound Synthesis and Sampling
 | url       = https://books.google.com/books?id=_D2cTt5DPmEC&pg=PA346
 | publisher = [[Focal Press]]
 | isbn      = 978-0240521053
 | page      = 346
 | access-date = 21 June 2011
}}</ref><ref name="russ2012">{{cite book
| last      = Russ
| first     = Martin
| year      = 2012
| title     = Sound Synthesis and Sampling
| url       = https://books.google.com/books?id=X9h5AgAAQBAJ&pg=PA192
| publisher = [[CRC Press]]
| isbn      = 978-1136122149
| page      = 192 | access-date = 26 April 2017}}</ref> and an early [[polyphony and monophony in instruments|polyphonic]] sequencer.<ref>Paul Théberge (1997), [https://books.google.com/books?id=asBnYmKKz6kC&pg=PA223 ''Any Sound You Can Imagine: Making Music/Consuming Technology'', page 223], [[Wesleyan University Press]]</ref><ref>Herbert A. Deutsch (1985), [https://books.google.com/books?id=tjEJAQAAMAAJ ''Synthesis: an introduction to the history, theory & practice of electronic music''], page 96, [[Alfred Music]]</ref> It equipped a [[keypad]] to enter [[Musical note|notes]] as numeric codes, 16&nbsp;[[Kilobyte|KB]] of [[RAM]] for a maximum of 5200 notes (large for the time), and a [[polyphony]] function which allocated multiple pitch [[CV/gate|CVs]] to a single [[CV/gate|Gate]].<ref name="SOS Nov. 2004">
{{cite journal
 |last        = Reid
 |first       = Gordon
 |title       = The History Of Roland Part 1: 1930–1978
 |url         = https://www.soundonsound.com/sos/nov04/articles/roland.htm
 |issue       = Nov 2004
 |journal     = [[Sound on Sound]]
 |access-date = 2011-06-19
 |url-status  = live
 |archive-url = https://web.archive.org/web/20110629214447/http://www.soundonsound.com/sos/nov04/articles/roland.htm
 |archive-date= 2011-06-29
}}
</ref> It was capable of eight-channel polyphony, allowing the creation of [[polyrhythm]]ic sequences.<ref name="sos">[[Chris Carter (British musician)|Chris Carter]], [https://www.chriscarter.co.uk/content/sos/roland_mc8.html ROLAND MC8 MICROCOMPOSER] {{webarchive|url=https://web.archive.org/web/20170420095502/http://www.chriscarter.co.uk/content/sos/roland_mc8.html |date=2017-04-20 }}, ''[[Sound on Sound]]'', vol.12, no.5, March 1997</ref><ref name="russ"/><ref name="russ2012"/> The MC-8 had a significant impact on popular [[electronic music]], with the MC-8 and its descendants (such as the [[Roland MC-4 Microcomposer]]) impacting popular electronic music production in the 1970s and 1980s more than any other family of sequencers.<ref name="sos"/> The MC-8's earliest known users were [[Yellow Magic Orchestra]] in 1978.<ref name="discogs_ymo_lp">{{Discogs release|453067|Yellow Magic Orchestra—Yellow Magic Orchestra}}</ref><!-- VERIFICATION FAILED: they created new sounds not possible until then.{{Peacock term|date=October 2011}}<ref name="billboard_1979">
{{cite journal
 | title     = Artists and producers strive for inroads overseas
 | url       = https://books.google.com/books?id=_iQEAAAAMBAJ&pg=PT61
 | journal   = [[Billboard (magazine)|Billboard]]
 | publication-date = 26 May 1979
 | volume    = 91 | issue = 20 | page = 61
 | issn      = 0006-2510
 | access-date = 2011-05-29
}}</ref>{{Failed verification|date=October 2011|reason=Given article didn't mentioned on "Roland MC-8".}} -->

=== Music workstations ===
{{See also|Music workstation}}

{{multiple image |direction=horizontal |align=right
 | image1   = Synclavier1 JB.jpg| width1 = 116
 | caption1 = [[Synclavier]] I (1977)<!--, a product version of Dartmouth Digital Synthesizer (1973–1975) -->
 | image2   = Fairlight green screen.jpg| width2 = 148
 | caption2 = Fairlight CMI (1979)<!--, a successor of Quasar (1975–1977) --> {{nowrap|supporting MCL <!-- language (software --> {{smaller|(sequencer)}}}}
}}

In 1975, [[New England Digital]] (NED) released ABLE computer (microcomputer)<ref name=NEDhistory>
{{cite web
 |title       = Synclavier Early History
 |url         = http://www.500sound.com/synclavierhistory.html
 |publisher   = Synclavier European Services
 |url-status     = live
 |archive-url  = https://web.archive.org/web/20161114050731/http://www.500sound.com/synclavierhistory.html
 |archive-date = 2016-11-14
}}
</ref> 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,<ref name=chadabe2001>
{{cite journal
 |last        = Chadabe
 |first       = Joel
 |date        = May 1, 2001
 |title       = The Electronic Century Part IV: The Seeds of the Future
 |url         = https://emusician.com/tutorials/electronic_century4/
 |journal     = Electronic Musician
 |quote       = In September 1977, I bought the first Synclavier...
 |url-status  = dead
 |archive-url = https://web.archive.org/web/20091002070017/http://emusician.com/tutorials/electronic_century4/
 |archive-date= October 2, 2009
}}
</ref>  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|digital-audio]] and music-sequencer, on their Direct-to-Disk option in 1984, and later Tapeless Studio system.

{{multiple image | align = right | direction = horizontal
 | image1   = Fairlight II Page R.png| width1 = 125
 | caption1 = Page R on Fairlight
}}

In 1982, renewed the [[Fairlight CMI]] Series II and added new sequencer software "Page R", which combined [[step sequencer|step sequencing]] with [[sampling (music)|sample]] playback.<ref name=AudioMedia1996>
{{cite magazine
 |title       = Fairlight – The Whole Story
 |url         = https://www.anerd.com/fairlight/fairlightstory.htm
 |magazine    = [[Audio Media (magazine)|Audio Media]]
 |issue       = January 1996
 |quote       = ''<!-- The first Fairlight CMI had been capable of recording a player's movements on keyboard and storing up to 50,000 notes, and it also contained something called MCL (Music Composition Language). However, MCL was criticised for being rather too complex and laborious for practical purposes. To resolve the problem, -->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".''
 |url-status     = live
 |archive-url  = https://web.archive.org/web/20170504030342/http://www.anerd.com/fairlight/fairlightstory.htm
 |archive-date = 2017-05-04
}}
</ref>

While there were earlier microprocessor-based sequencers for digital polyphonic synthesizers,<ref group=note name=Microprocessor_based_sequencer_in_mid1970s>
In 1974–1975, Australian computer music engineer Tony Furse developed the MC6800-based [[Fairlight CMI#Details|Qasar M8]] with a software sequencer [[Fairlight CMI#MUSEQ 8|MUSEQ 8]], with a minimum price of $8,000. In 1976, it was licensed to [[Fairlight (company)|Fairlight Instruments Pty Ltd.]], and eventually Fairlight CMI was released in 1979 (for details, see [[Fairlight CMI]]).<br />
Also in 1975, [[New England Digital]] released original microprocessor-based [[Synclavier#Processor|ABLE computer]] (utilizing mini-computer architecture) as a future migration target of Dartmouth Digital Synthesizer. Their commercial version of digital synthesizer, [[Synclavier#Black panel models|Synclavier I]] was first shipped in 1977 (for details, see [[Synclavier]]).
</ref><!-- FALSEHOOD (both music & ASCII keyboard entries are supported): they were based on keyboard entry, and --> 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 [[List of music sequencers#Proprietary digital interfaces (pre MIDI era)|supported it along with MIDI as options]].

==== In Japan ====
[[Yamaha Corporation|Yamaha]]'s GS-1, their first [[FM synthesis|FM]] [[digital synthesizer]], was released in 1980.<ref>
{{cite book
 | last      = Roads
 | first     = Curtis
 | year      = 1996
 | title     = The computer music tutorial
 | url       = https://books.google.com/books?id=nZ-TetwzVcIC&pg=PA226
 | publisher = [[MIT Press]]
 | page      = 226
 | isbn      = 0-262-68082-3
 | access-date= 2011-06-05
}}</ref> To program the synthesizer, Yamaha built a custom computer workstation {{citation needed span|designed to be used as a sequencer for the GS-1|date=September 2017}}{{failed verification|date=September 2017}}. It was only available at Yamaha's headquarters in Japan ([[Hamamatsu]]) and the United States ([[Buena Park, California]]).{{citation needed|date=September 2018}}

=== MIDI sequencers ===
{{Main|MIDI}}
{{See also|Comparison of MIDI standards|Comparison of MIDI editors and sequencers|Groovebox}}

In June 1981, [[Roland Corporation]] founder [[Ikutaro Kakehashi]] proposed the concept of standardization between different manufacturers' instruments as well as computers, to [[Oberheim Electronics]] founder [[Tom Oberheim]] and [[Sequential Circuits]] president [[Dave Smith (engineer)|Dave Smith]]. In October 1981, Kakehashi, Oberheim and Smith discussed the concept with representatives from [[Yamaha Corporation|Yamaha]], [[Korg]] and [[Kawai Musical Instruments|Kawai]].<ref name="chadab5100">{{cite journal|last=Chadabe|first=Joel|author-link=Joel Chadabe|date=1 May 2000|title=Part IV: The Seeds of the Future|journal=Electronic Musician|publisher=Penton Media|volume=XVI|issue=5|url=http://www.emusician.com/gear/0769/the-electronic-century-part-iv-the-seeds-of-the-future/145415|url-status=dead|archive-url=https://web.archive.org/web/20120928230435/http://www.emusician.com/gear/0769/the-electronic-century-part-iv-the-seeds-of-the-future/145415|archive-date=28 September 2012}}</ref> In 1983, the [[MIDI|MIDI standard]] was unveiled by Kakehashi and Smith.<ref>{{cite web|url=https://www.grammy.com/news/technical-grammy-award-ikutaro-kakehashi-and-dave-smith|title=Technical GRAMMY Award: Ikutaro Kakehashi And Dave Smith|date=29 January 2013|url-status=live|archive-url=https://web.archive.org/web/20160822073641/http://www.grammy.com/news/technical-grammy-award-ikutaro-kakehashi-and-dave-smith|archive-date=22 August 2016}}</ref><ref>{{cite web|url=https://www.grammy.com/videos/technical-grammy-award-recipients-ikutaro-kakehashi-and-dave-smith-at-special-merit-awards|title=Ikutaro Kakehashi, Dave Smith: Technical GRAMMY Award Acceptance|date=9 February 2013|url-status=live|archive-url=https://web.archive.org/web/20141209022049/http://www.grammy.com/videos/technical-grammy-award-recipients-ikutaro-kakehashi-and-dave-smith-at-special-merit-awards|archive-date=9 December 2014}}</ref> The first MIDI sequencer was the Roland MSQ-700, released in 1983.<ref>{{cite web |url=https://www.roland.com/ca/company/history/ |title=Roland - Company - History - History |access-date=2017-05-17 |url-status=live |archive-url=https://web.archive.org/web/20170712075811/https://www.roland.com/ca/company/history/ |archive-date=2017-07-12 }}</ref>

It was not until the advent of MIDI that [[general-purpose computer]]s 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 synthesizer]]s to be controlled by a MIDI sequencer.<ref name="russ2012"/> Since its introduction, MIDI has remained the musical instrument industry standard interface through to the present day.<ref name="fact">[http://www.factmag.com/2017/04/02/ikutaro-kakehashi-life/ The life and times of Ikutaro Kakehashi, the Roland pioneer modern music owes everything to] {{webarchive|url=https://web.archive.org/web/20170403005512/http://www.factmag.com/2017/04/02/ikutaro-kakehashi-life/ |date=2017-04-03 }}, ''[[Fact (UK magazine)|Fact]]''</ref>

=== Personal computers ===
{{See also|MIDI|Computer music|Sampler (musical instrument)|Audio sequencer|Music tracker}}
{{Expand section|date=February 2023}}

{{multiple image | align = right | direction = horizontal
 | image1   = Moog Song Producer (1983, SN 1366, MIDI & CV-Gate interface for Commodore 64) on Lab Series SynAmp prototype (1978, SN E0471), at Cantos Music Foundation in 2009.jpg | width1 = 125
 | caption1 = <div style="line-height:120%;">Moog Song Producer (1983) {{smaller|MIDI & CV/Gate interface <!-- for [[Commodore 64]] --> on <!-- Lab Series --> SynAmp <!-- prototype (1978) -->}}</div>
 | image2   = Milkytracker Instrument.jpg| width2 = 125
 | caption2 = [[Music tracker|Tracker]] software (developed since 1987)
}}

In 1987, software sequencers called [[music tracker|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.

Modern computer digital audio software after the 2000s, such as [[Ableton Live]], incorporates aspects of sequencers among many other features.{{clarify|date=February 2023}}

==== In Japan ====
In 1978, Japanese [[personal computer]]s such as the <!-- [[Sharp MZ]] and --> [[Hitachi]] [[:ja:ベーシックマスター|Basic Master]] equipped the low-bit D/A converter to generate sound which can be sequenced using [[Music Macro Language]] (MML).<ref name="BASIC MASTER">
{{cite web | last1=Kunihiko | first1=Nagai | last2=Teruhiro | first2=Takezawa | last3=Kazuma | first3=Yoshimura | last4=KaTsutoshi | first4=Tajima | date=April 1979 | title=Micro computer Basic Master (MB-6880) | url=https://www.hitachihyoron.com/jp/pdf/1979/04/1979_04_26.pdf | language=ja | quote='''''{{nowrap|2.特長}}''' ... (4) スピーカーを内蔵しており、プログラムによる音楽の自動演奏が可能である。 / '''表 I''' 「ベーシックマスター」の主な仕様一覧 ... 音楽発生機能: 5ビットD/A変換のスピーカー再生 / '''{{nowrap|4.3 音楽発生機能}}''' ...'' | url-status=live | archive-url=https://web.archive.org/web/20170915071518/http://www.hitachihyoron.com/jp/pdf/1979/04/1979_04_26.pdf | archive-date=2017-09-15 }}<br />Published on: {{cite journal | title= Special Features: Micro computer and its application<!-- A micro-computer, the application method --> | url = https://www.hitachihyoron.com/jp/archive/1970s/1979/04.html | journal= Hitachi Hyoron | issue= April 1979 | location=Japan | publisher=[[Hitachi]] | access-date=15 September 2017 | url-status=live | archive-url=https://web.archive.org/web/20170915071500/http://www.hitachihyoron.com/jp/archive/1970s/1979/04.html | archive-date=15 September 2017 }}</ref> This was used to produce [[chiptune]] [[video game music]].<ref name="shimazu104"/>

It was not until the advent of [[MIDI]], introduced to the public in 1983, that [[general-purpose computer]]s really started to play a role as software sequencers.<ref name="russ2012"/> [[NEC]]'s personal computers, the [[PC-88]] and [[PC-98]], added support for [[MIDI]] sequencing with MML programming in 1982.<ref name="shimazu104"/> In 1983, [[Yamaha CX5M|Yamaha modules]] for the [[MSX]] featured music production capabilities,<ref>Martin Russ, [https://books.google.com/books?id=X9h5AgAAQBAJ&pg=PA84 ''Sound Synthesis and Sampling'', page 84], [[CRC Press]]</ref><ref name="ellis"/> real-time [[FM synthesis]] with sequencing, MIDI sequencing,<ref>{{cite book   | title     = Yamaha Music Computer CX5M Owner's Manual   | url     = https://download.yamaha.com/api/asset/file/?language=hu&site=hu.yamaha.com&asset_id=4605   | publisher     = Yamaha   | ref     = {{sfnref|CX5M Owner's Manual}}   | url-status     = dead   | archive-url     = https://web.archive.org/web/20151022170650/http://download.yamaha.com/api/asset/file/?language=hu&site=hu.yamaha.com&asset_id=4605   | archive-date     = 2015-10-22   | access-date     = 2018-12-26   }}</ref><ref name="ellis">David Ellis, [http://www.muzines.co.uk/articles/yamaha-cx5m/1481 Yamaha CX5M] {{webarchive|url=https://web.archive.org/web/20171026002632/http://www.muzines.co.uk/articles/yamaha-cx5m/1481 |date=2017-10-26 }}, ''Electronics & Music Maker'', October 1984</ref> and a [[graphical user interface]] for the software sequencer.<ref>{{cite book|url=https://archive.org/details/CX5MFlyer|title=Yamaha CX5M Music Computer Flyer (GB)|last=Yamaha|date=5 May 1984|access-date=5 May 2018|via=Internet Archive}}</ref><ref name="ellis"/> Also in 1983, [[Roland Corporation]]'s CMU-800 [[sound module]] introduced music synthesis and sequencing to the PC, [[Apple II]],<ref>[http://www.vintagesynth.com/roland/cmu800.php Roland CMU-800] {{webarchive|url=https://web.archive.org/web/20170604041554/http://www.vintagesynth.com/roland/cmu800.php |date=2017-06-04 }}, Vintage Synth Explorer</ref> and [[Commodore 64]].<ref>[https://www.theregister.co.uk/Print/2013/08/26/part_two_midi_spec_1_is_30_happy_birthday_musical_instrument_digital_interface/ Happy birthday MIDI 1.0: Slave to the rhythm] {{webarchive|url=https://web.archive.org/web/20171026002557/http://www.theregister.co.uk/Print/2013/08/26/part_two_midi_spec_1_is_30_happy_birthday_musical_instrument_digital_interface/ |date=2017-10-26 }}, ''[[The Register]]''</ref>

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<ref name="emusician-mpu"/> and sequencing.<ref>{{cite web|url=https://www.piclist.com/techref/io/serial/midi/mpu.html|title=Programming the MPU-401|website=www.piclist.com|access-date=5 May 2018|url-status=live|archive-url=https://web.archive.org/web/20170506080336/http://www.piclist.com/techref/io/serial/midi/mpu.html|archive-date=6 May 2017}}</ref><ref>[https://ftp.oldskool.org/pub/drivers/Roland/MPU-401%20technical%20reference%20manual.pdf MIDI PROCESSING UNIT MPU-401 TECHNICAL REFERENCE MANUAL], [[Roland Corporation]]</ref> After Roland sold MPU [[sound chip]]s to other sound card manufacturers,<ref name="emusician-mpu">[http://www.textfiles.com/music/midi-em.txt MIDI INTERFACES FOR THE IBM PC] {{webarchive|url=https://web.archive.org/web/20151021050032/http://textfiles.com/music/midi-em.txt |date=2015-10-21 }}, ''[[Electronic Musician]]'', September 1990</ref> it established a universal standard MIDI-to-PC interface.<ref>Peter Manning (2013), [https://books.google.com/books?id=ryet1i-8OlYC ''Electronic and Computer Music''], page 319, [[Oxford University Press]]</ref> Following the widespread adoption of MIDI, computer-based [[Comparison of MIDI editors and sequencers|MIDI software sequencers]] were developed.<ref name="russ2012"/>

=== Visual timeline of rhythm sequencers ===
{{Main|Drum machine|Groovebox|Beat slicing|Sampler (musical instrument)}}
<div style="width:100%;overflow-x:scroll; margin-left:1em; border:1px solid #CCC;">
{|style="margin:0;padding:0; font-size:88%;line-height:1.8ex;"
|-style="vertical-align:top;"
|[[Image:Welte Style 6 Concert Orchestrion No.198 (1895) - Assembly 06 (brighten, transformed & clipped).jpg|76px]]<br />
[[:Category:Mechanical musical instruments|Mechanical<!-- musical instruments -->]] (pre-20th century)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|[[Image:Joseph Schillinger and the Rhythmicon.jpg|37px]]<br />
[[Rhythmicon]] (1930)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|style="width:100px;"|<div style="width:70px;">[[Image:Wurlitzer Sideman drum machine (inside).jpg|57px]]</div>
[[Drum machine|Drum&nbsp;machine]] <br />(1959–)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|<div style="width:124px;">[[Image:Seeburg Select-A-Rhythm.jpg|122px]]<!-- [[Image:Maestro Rhythm MRQ-1.png|108px]] --></div><br />
[[Transistor]]ized drum machine (1964–)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|[[Image:Eko ComputeRhythm.png|100px]]<!-- |[[Image:Roland TR-808 drum machine.jpg|123px]] --><br />
Step [[drum machine]] (1972–)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|[[Image:Linn LM-1 Drum Computer.jpg|137px]]<br />
[[Sampler (musical instrument)|Digital drum]] machine (1980–)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|style="width:100px;"|[[File:Movement Computer Systems (MCS) Drum System II (or Percussion Computer II), circa 1981, United Kingdom - Knobcon 2014.jpg|100px]]<br />
[[Groovebox|Groove&nbsp;machine]] (1981–)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|[[Image:Fairlight II Page R.png|116px]]<br />
"Page R" on [[Fairlight CMI|Fairlight<!-- CMI II Rev.10~ -->]] (1982)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|[[Image:Milkytracker Instrument.jpg|98px]]<br />
[[Tracker (music software)|Tracker]] (1987–)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
| <!-- Deleted image removed: [[Image:Recycle mac screenshot.png|118px]] --><br />
[[Beat slicing|Beat slicer]] (1990s–)
|[[Image:Cubase6 LoopMash 2 loop remixer (brighten).jpg|114px]]
[[Loop (music)#Modern looping|Loop]] sequencer (1998–)
|<br /><br /><br />[[Image:Nuvola arrow right.svg|30px]]
|style="width:140px;"|[[Image:Polyphonic note separation & manipulation.jpg|112px]]<br />
[[Melodyne#Melodyne Direct Note Access|Note&nbsp;manipulation&nbsp;on audio&nbsp;tracks]]&nbsp;(2009–)
|}</div>

== See also ==
* {{slink|Combination action#Sequencers}} (for organs)
* [[Groovebox]]
* [[List of music sequencers]]
* [[List of music software]]
* [[Music tracker]]
* [[Music workstation]]

== Notes ==
{{Reflist|group=note}}

== References ==
{{Reflist}}

== Further reading ==
List of papers sharing a similar perspective with this Wikipedia article:
* {{cite journal
   | last1     = Arar  | first1 = Raphael
   | last2     = Kapur | first2 = Ajay
   | date      = 2013
   | title     = A History of Sequencers: Interfaces for Organizing Pattern-Based Music
   | url       = https://smcnetwork.org/system/files/A%20HISTORY%20OF%20SEQUENCERS%20INTERFACES%20FOR%20ORGANIZING%20PATTERN-BASED%20MUSIC.pdf
   | archive-url= https://web.archive.org/web/20150402095540/http://smcnetwork.org/system/files/A%20HISTORY%20OF%20SEQUENCERS%20INTERFACES%20FOR%20ORGANIZING%20PATTERN-BASED%20MUSIC.pdf
   | archive-date=2015-04-02
   | periodical= Proceedings of the Sound and Music Computing Conference 2013 (SMC 2013), Stockholm, Sweden
  }}<br />Note: although this conference paper emphasized the "Ace Tone FR-1 Rhythm Ace", it is not the music sequencer nor the first [[drum machine]] product.

== External links ==
{{wiktionary|sequencer}}
{{Commons category|Music sequencers}}
* {{cite web
   | title     = History of electronic musical instruments and sequencers
   | url       = https://www.120years.net
   | work      = 120 Years of Electronic Music (120years.net)
  }}
* {{cite web
   | title     = Early sequencer controllers
   | url       = https://www.vintagesynth.com/misc/sequencers.shtml
   | work      = Vintage Synth Explorer
  }}
* {{cite news
   | last      = Richmond | first = Leigh
   | title     = Computer hums its own music
   | url       = http://www.exoticsciences.com/ra_scrpbk/musicx.htm
   | newspaper = Evening Times | location = Melbourne, FL
   | date      = 11 November 1974
   | page      = A1
  }} (1974 newspaper article about digital sequencer)
* {{citation
     | title = German National Museum of Musical Automata in Bruchsal palace
     | url   = https://www.landesmuseum.de/website/Deutsch/Sammlungsausstellungen/Deutsches_Musikautomaten-Museum/Ausstellung.htm
     | work  = website of the Badisches Landesmuseum
    }}

{{Music technology}}
{{Authority control}}

[[Category:Music sequencers| ]]
[[Category:Electronic musical instruments]]
[[Category:MIDI]]
[[Category:Music software]]
[[Category:Sound production technology]]
[[Category:Synthesiser modules]]
[[Category:Articles containing video clips]]
[[Category:Arab inventions]]
[[Category:Iranian inventions]]