The sequencers can be triggered by MIDI, or they can trigger each other, or they can loop in time with each other. The simplest way to use a sequencer is to set its MODE to LOOP, then set one of the envelopes to use its output. But even with that there are many possibilities...

  • Each envelope can be triggered by any number of sequencers.
  • Each sequencer can trigger any of envelopes 1-3 polyphonically.
  • In the sequencer panel, each sequencer can modulate the pitch and velocity of other sequencers.
  • Each sequencer can loop, perform polyphonic "1hosts", and can trigger step advancement of the other sequencers.

Moreover, Matrix 2 provides even more ways to modulate sequencer parameters.

Sequencers are also available as trigger, gate, and modulation sources throughout the rest of the instrument.

0.1. Tips and Tricks

  • Instead of using the chordgen panel, set multiple sequencers to Mstep and send them to the same envelope for polyphonic chords that change each time you press the same MIDI key.
  • Also using Mstep, send multiple sequencers to different envelopes with different durations for chords with notes of different lengths.
  • Set different predelays for each envelope for delay-like effects.
  • After editing settings, you may need to stop and start the sequences with the ON button, so that the clock resets and the sequencers are then back in sync with each other.

What if you want to have a sequence transposed each cycle? Then for example:

  • Set seq1 to LOOP with 4 steps at 1/1.
  • Set seq2 to be triggered by sequencer 1 (1SHOT) with 8 steps at 1/8.
  • Using SEQ>P, set seq2 pitch to be modulated by seq1 pitch.
  • Set an envelope to use Seq2 output.

What if you want a sequencer pitch pattern with a sequencer velocity pattern of a different length? then set for example:

  • An 8-step looping sequence on seq1.
  • A 6-step looping sequence on seq2 with the same rate.
  • Set velocity the same for all steps on seq1
  • Using SEQ>V, modulate seq1 velocity by seq2 velocity.

0.2. ON

Tturns on and off all five sequencers. When turned on, the clock counter is also reset to 0.

0.3. ZOOM

Just causes the view to show just those enabled steps for each sequencer, and does not otherwise affect the sound.

0.4. MODE

For the MIDI modes, the sequence is transposed by the played MIDI key around middle C. For example, playing the D above middle C causes the sequence to be transposed up two semitones; but only for the MIDI modes! You can also use the event matrix to transpose the sequence; for example, sequencer 2 can transpose sequencer 1.

0.5. LOOP

The sequence loops, and the sequencers synchronize their steps.

For all MIDI triggers, the sequence pitch is also transposed by midi around middle C.

  • MSTEP: A MIDI note advances the sequence one step.
  • MGATE: MIDI notes gate multiple transposed loops, all loops in time with each other.
  • MSYNC: each MIDI note starts a new loop synchronized with the note-on event, and the loop plays until its note is released. Multiple notes cause overlapping loops.
  • MHLD: Like MSYNC, but loops continue until all keys are released and a new key is pressed.
  • MSHOT: Each MIDI note starts a separate polyphonic sequence which plays once then stops. If a previous sequence is playing, the sequences overlay each other polyphonically.
  • SEQ 1/2/3/4/5 SHOT: Like MSHOT, but triggered by a sequencer step with a velocity higher than zero.
  • SEQ CYC: Like MSHOT, but triggered when the other sequencer starts its sequence.
  • LFO1/2/3: when a voice on the corresponding LFO passes from 0 to 1, the sequencer advances one step.
  • FOOT1/2: when the sustain (foot1) or hold (foot2) pedal is pressed, the sequencer advances one step.
  • M1/2: sequencer is triggered by modifer units going over 0.
  • SEQ1/2/3/4/5: Any combination of other sequencers can step each sequencer forward. Triggers are only generated if the velocity of the sequencer generating the trigger is over 0.

0.6. RATE

Sets the duration of each step in tempo units.

0.7. LEN

Sets the number of steps that are played in one iteration through the sequence.

0.8. START

Sets the start point of the sequence. If the length, when added to the start point, is more than 32, the sequencer step wraps back to the beginning of the sequence.

0.9. SEQ>P

Selects one or more sequencers which transpose the pitch of the output. Pitch transposition is additive around the center line (middle C) for each sequencer.

0.10. SEQ>V

Selects one or more sequencers that adjust the gain.

Gain adjustment is multiplicative: if the velocity of any source sequencer is zero, the target sequencer will produce no output step.


Delays alternate notes. If positive, even notes are delayed; if negative, odd notes are delayed. At maximum settings, the delay is such that the delayed note overlaps the next note from the sequencer.

0.12. SEQ

Selects the sequencer for table edits in the A panel, and also selects the sequencer for permutations.


The PERMUTE module lets you edit the sequences in various ways.

0.14. SEQ

Selects the sequencer for the pattern segment.

0.15. STEP1

Selects the first step for all sequencers, added to the individual START values for each sequencer.


Copies and pastes the current pattern segment to edit buffer.

0.17. FLIP

Flips the selected pattern segment from left to right, so that the last step becomes the first and the first step becomes the last.

0.18. <, >

Shifts the selected pattern segment to the left or right.

0.19. <<, >>

Rotates the selected pattern segment.

0.20. UP, DOWN

Shifts the selected pattern segment up or down one step.

1. Polyphonic Modulation by Sequencer

The instrument routes pitch and velocity modulations from the sequencers as monophonic sources, because when the sequencers change values, the synthesizer otherwise has no way to know to which voice the change should go.

The Sample and Hold modules have three additional modulation sources, the pitch from each of the envelopes (before modification by global pitch). This lets you use the pitch from the envelopes as a polyphonic modulation source.

The simplest way is to use one of env1-3 as an audio source, gated by a sequencer, and select that envelope as the source in the sample and hold module. The S&H trigger can be the envelope gate, with HI, LO, or GATE mode selecting when the sequencer value is applied. Alternatively the S&H module's special EXP and LOG modes can create curved pitch response curves.

But also you can select a different trigger source, so that the sequencer values are sampled in different ways.

Also you can route sequencer velocity polyphonically by selecting sequencer velocity as the S&H source.

1.1. Matrix 1: Pitch and Oscillators

  • SEMITONE, XPOSE: 100 semitones in semitone steps.
  • FINE TUNE: +/- 1 semitone in cent steps.
  • GLIDE: Attenuates glide time as percentage of set glide duration. For example a +50% modulation of glide time reduces glide to 1/8.
  • MATRIX PAN: pans oscillator modulations between the oscillator pair.
  • AM/FM: Sets amount of modulator as percentage of value that has been set by the oscillator panel's AM/FM level control. If AM is switched off and the AM level is above zero, then source modulations directly attenuate oscillator gain. Likewise FM can be switched off, and the FM level in the oscillator panel set above zero, in which case the modulation affects oscillator pitch exponentially.
  • PH/WAVESET: For Sync oscillators, modulates the phase; for waveset oscillators, changes the waveset. Modulations are added to those set in the panel, and values at range boundaries are clipped.
  • CONTOUR: For width-modulated (W) oscillators, modulates the width ratio over a total range of 5% to 95%. For Waveset oscillators, modulates the wave start position, with each percentage step changing start position by 1 oscillation. For NoiseQ, sets the amount of noise resonance over total range of +/-0.98Q. Modulations are added to those set in the panel, and values at range boundaries are clipped.
  • SUBMIX A/B/C/D/E/F: Modulates mix of inputs 1 and 2. Modulations are added to those set in the panel, and values at range boundaries are clipped.
  • FREQ: Modulates filter cutoff frequency in semitone steps. Modulations are added to those set in the panel, and values at range boundaries are clipped.
  • RES: Modulates filter resonance over a total range of +/-0.98Q. Modulations are added to those set in the panel, and values at range boundaries are clipped.
  • FM: Sets amount of filter FM modulator as percentage of value that has been set by the filter panel's FM level control. If FM is switched off and the FM level is above zero, then modulations change filter cutoff frequency exponentially. MIX: Modulates filter mix/saturation level depending on filter settings over a total gain range of +/-1. Modulations are added to those set in the panel, and values at range boundaries are clipped.DISTORT LVL and SYM: Modulates distortion level and symmetry over total range of +/-1. Modulations are added to those set in the panel, and values at range boundaries are clipped.
  • SHAPER DRIVE: Modulates shaper drive level over total range of +/-1. Modulations are added to those set in the panel, and values at range boundaries are clipped.
  • SHAPER SCENE: Morphs shaper output between preset, user1, and user2 curves. Modulations are added to those set in the panel, and values at range boundaries are clipped.
  • CHANNEL LVL: Adds to level set in output mixer.
  • PAN: Adds to pan set in output mixer. Values exceeding range are wrapped.
  • ECHO: Adds to echo send level as set in output mixer.
  • EPAN: Pans channel between left and right echo channels.
  • CHOR: Adds to chorus send level as set in output mixer.
  • EFFECTS Monophonic. Routes modulations to target.

1.2. Matrix 2: ENV, SEQ, FX

Except for sustain, envelope modulation values are latched at gate-on time. Sustain modulations are continuous, so for example an LFO can modulate the sustain level of a playing note.


Percentage is added to the base set period. For example, if modulation amount is 50% and predelay time was set to , then resulting predelay time is . Negative modulations decrease the period. Values below the event rate period (2.5 msec by default) are clipped.

1.2.2. ATT, DEC, REL.

Modulation multiplied by 100 and added to A/D/R time. For example if attack modulation amount is 50% then attack time increases by 50. Negative values decrease the period. Values below 0 are clipped.

1.2.3. SUS, VEL.

Directly adds to level as a percentage. For example if modulation is 50% then sustain level is increased by 0.5. Resulting values above 1 or below 0 are clipped.

2. Sequencer Mdoulations

The instrument contains special logic to adjust the sequencer modulation range, depending whether it is modulating another sequencer's pitch, or modulating something else:

    • For modulation of one sequencer's pitch by another in semitones, set the matrix LVL to 1 (with +- button off). Then, if modulating sequencer 1 by sequencer 2's pitch for example, then values at the bottom of sequencer 2's table have no effect; values one semitone up increase sequencer 1's output by one semitone; two rows up increase sequencer 1 by two semitones. If you set LVL to 12, then each row changes pitch by octaves; setting LVL to 5 causes each row to change pitch by fifths; and so on. Sequencers can modulate each other's pitch in series or in parallel. (Note: a sequencer can modulate another's pitch and also drive an audio envelope at the same time).

Similarly, you can modulate sequencer pitch by an LFO. If the LFO is set to full amplitude (with the LFO's XY slider) then setting LVL to 12 causes the LFO to modulate the sequencer pitch over a one-octave range; setting LVL to 1 provides a one-semitone range; and so on.

    • Instead of modulating a sequencer's pitch directly, you can send the modulation to the global pitch or oscillator units. For example, say you want a sequencer to modulate global pitch. There are a total of 25 levels in the sequencer tables, so if you set LVL to 4, then each row in the sequencer changes the global pitch by 1 semitone. If you set level 48, then each row in the sequencer changes pitch by an octave. Note, if keyscale remapping or microtuning is enabled, then fractional semitones can cause different results depending on the note.
    • What's the difference between modulation sequencer pitch and modulating global or oscillator pitch? The sequencers only output a new value on their next step, so changes in between each sequencer step don't have any effect; whereas if you send the modulation to global pitch directly, then the pitch changes immediately.

When a sequencer is modulating anything besides another sequencer's pitch, pitch modulations sent to that sequencer are ignored. Instead the sequencer's modulation output is always scaled so that its output is 0 at the table's bottom and +1 at the table's top. This is to say, pitch modulations sent to a sequencer only affect the pitch that the sequencer sends to the output envelopes, and nothing else.

    • What if you want to modulate something by sequencer after it has been modulated by something else? Then simply trigger an envelope from the sequencer, and use the envelope pitch as the modulation source, instead of the sequencer pitch.

Some bizarre strange permutations are possible: for example you can modulate a sequencer's pitch with its own pitch, causing a rising or descending tone until it is inaudible. If you modulate a sequencer pitch by an oscillator, the sequencer and oscillator actually modulate each other, causing fractional tones.

2.1.1. PITCH

When modulation amount is 1%, a single semitone change from another sequencer or pitch source changes sequencer pitch by one semitone. If set to 12%, a single-semitone change from the pitch source transposes sequencer output by an octave. Pitch values outside the audible range are clipped.

2.1.2. SHUFFLE

Positive values increase shuffle.

2.1.3. LENGTH

Positive values increase length.

2.1.4. BEGIN

A modulation amount of 1% increases the begin step by 1.

3. LFOs

For monophonic destinations, the modulation is taken from voice 1, otherwise the LFO is polyphonic.

  • FREQUENCY: Modulations change frequency as a percentage of the current set frequency. For example, if set frequency is 10Hz then a modulation of 100% sets frequency to 100Hz.
  • AMPLITUDE: Same as for envelope sustain.
  • WIDTH: Modulation amount adds to current set width. Values below 0% and above 100% are clipped. Width modulations have no effect on the saw waveform output.
  • TEMPO: Modulates the tempo, affecting sequencer, envelopes, LFOs, and glide time (but not echo time).

4. Downloads and More Documentation


Thank you for your interest in Yofiel's metamusic. I hope you enjoy our Reaktor instruments!

-Ernest Leonardo Meyer