ARP 1601 User manual

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Table of
Contents
Copyright 1976, by ARP Instalments, Inc. INTRODUCTION...2
320 Needham Street, Newton, MA 0216-1
WHAT IS A SEQUENCER?.3
( ' y Vx i T if 1 Y " ^—n / a T i T i rtTfi oc.iiiiNooinKic.u.
wwwx) Id sch o ol-soun cl. c orn hooking up to your synthesizer.7
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PANEL CONTROL DESCRIPTION CHART.16
PATCHES. 18
STACKING TWO SEQUENCERS.32
SPECIFICATIONS.*.. . 36
1

I. Introduction
The sequencer is a device which has been around almost as long
as synthesizers. Before keyboards were developed that could
accurately control a VCO, sequencers were used to create patterns of
pre tuned pitches. They were primarily used for avant-garde
composition and for easily identifiable logos for various companies,
TV news programs, and the like. One of the earliest synthesizers ever
made, the RCA Mark II, is still in operation at Columbia University
and is essentially one giant sequencer.
ARP introduced its first sequencer in 1970. Called the Model
1027, this sequencer is part of the ARP 2500 modular, line. During
the last few years, this sequencer has been used to great effect by
musicians like Joe Walsh and Pete Townshend (remember the
cascading sounds in "Break the Mirror" from the 'Tommy" film’).
These earlier sequencers were better for studio work than for
live performance. The new ARP Sequencer has incorporated many
new live performance features, like the dual-quantizer, instant Start/
Stop, fully switched programming, and foot pedal activation. These
features make the new ARP Sequencer as useful on stage as it is in
the studio.
In describing the basic operation principles of the ARP
Sequencer, we will assume that you have already read the owner's
manual for your ARP synthesizer and are conversant with basic
synthesizer terminology. In order for you to understand the material
in this Sequencer Owner's Manual, you must have an understanding
of voltage control and basic synthesizer theory. Any of the ARP
synthesizer owner's manuals contain this information. Be sure you
understand it thoroughly before attempting to get started with the
Sequencer.
When you have mastered the ARP Sequencer, you will find that
it opens up hundreds of channels for new musical exploration.
Learning to use a sequencer is an exciting and exhilarating
experience. Your ARP Sequencer should give you many years of
flawless performance and provide a satisfying and broadening
musical experience.

A soquoncer is simply a control device. I.iku other control
devices (LFO's, foot pedals, etc.), the sequencer cannot produce
sound by itself. It must be attached to a synthesizer.
When the sequencer has been properly attached to a synthesizer,
it can be used instead of the keyboard. While the sequencer has
literally hundreds of musical applications, its primary use is to create
••sequences" of predetermined pitches. It creates sequences of
pitches by creating sequences of control voltages which in turn
control the VCOs in your synthesizer.
The ARP Sequencer is essentially an automatic 16 position
stepping switch. For each step the sequencer can produce a control
voltage which can be adjusted by one of the 16 slide controls. So,
a series of 16 preset pitches can be programmed, Various gate
signals, used to trigger tho envelope generator in your synthesizer,
are also available from tho sequencer. The sequencer contains its
own VCO which is used to determine the stepping speed of the
sequencer. The speed of this VCO will determine how fast the
sequence of notes you have set up will be played back.
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3

Packed with your sequencer you will find three 3' patch cords,
a fool switch, and a warranty card. Bo sine to send in your warranty
card immediately so that you will have full protection under the
warranty and so that you will receive updated information and
announcements from the factory.
Before you hook your sequencer up to your ARP synthesizer,
it will help to try a few silent experiments and familiarize yourself
with several of the sequencer’s features. Pluq in your sequencer and
turn on the power switch. The red pilot light on the switch should
go on and other panel lights may go on also. Set the controls on the
front panel exactly as shown in Diagram 1.
Find the area of the front panel that has the three slide controls
and push button (A) for the Clock Oscillator. Push the Clock Start/
Slop button (A) and notice that you can start and stop the
sequencing. With the clock running, move the CLOCK FREQ
control (B) up and down and observe that the stepping speed
changes with the position of the slider.
Stop the clock again by pressing the CLOCK START/STOP
button (A), and observe which of the 16 position lights is on. Mow
press the RESET button (C) and not* 1 that the sequencer jumps to
position 1. Press the STEP button (D) a few times and the sequencer
will advance one stop each time. Experiment with the STEP,
RESET, and CLOCK START/STOP push buttons until you
thoroughly understand their operation.
Next, locate the SKIP/OFF/RESET slide switch (E). Move this
switch to the skip position and start the clock. Now move the first
GATE ASSIGN switch from the center position to the bottom
position. Notice that the sequence now skips position 1 and goes
directly from position 16 to position 2. Move the GATE ASSIGN
switch 2 down also, and the sequencer will skip both the first and
second positions. Try moving other GATE ASSIGN switches down
to get a feeling for the “SKIP" function.
Return all the GATE ASSIGN switches to the middle position
Change the setting of the SKIP/OFF/RESET switch to "RESET.’'
With the clock running, drop GATE ASSIGN witch 9 to the bottom
position. Note that the sequencer counts up to 8, then resets. Drop
GATE ASSIGN switch 5 and notice that the count shortens to 4
steps. Notice that if more than one GATE ASSIGN switch is in the

lower position, the sequencer will reset upon encountering the first
switch in the series. Move the SKI P/OFF/RESET switch back to
"OFF," and the sequencer v/ill resume normal 16 step operation.
Return all the GATE ASSIGN switches to the middle position.
Next, find the SEQUENTIAL/RANDOM switch (G). With the
sequencer clock running, move this switch to the "RANDOM"
position. Notice that the normal sequential stepping changes to
random jumping from one position to another, Observe, however,
that the stepping is still very rhythmical and still determined by the
CLOCK FREQ control. If you watch the lights for a while, you v/ill
see that the sequence of stepping does not follow any pattern and is
truly random. Try skipping a few positions as you did earlier and
notice that this function still works in the random mode. When you
try to reset the sequencer using the ASSIGN switches, you’ll note
that the sequencer will return to position 1 instead of any position
v/here the GATE ASSIGN switch has been put in the lower position.
When you have finished experimenting with the RANDOM mode,
return tire switch (G) to "SEQUENTIAL." Return all other sv/ilches
to their original positions.
Now locate the switch labeled "16/1 - 8/2" (H). With the clock
running, move this switch to the “8/2" position. You'll see that
two lights go on for each step. If you slow the CLOCK FREQ down
for a closer look at what is happening, you should see that the two
lights move in parallel and that one is always in (he first eight
positions and the other in positions 9 through 16. You'll notice from
the panel graphics directly above the lights that the first 8 positions
are grouped together by a long arrow indicated by the letter "A."
Similarly, positions 9 through 16 are grouped together and called
DIAGRAM 1
5

"B." Essentially, the *'8/2” mode has broken your 16 step sequence
into two separate 8 step sequences. Move the SKIP/OFF/RESET
switch to "RESET" and lower GATE ASSIGN switch 5. Notice that
both sections of the sequencer count only four steps. Raise GATE
ASSIGN switch 5, and lower switch 13. You'll see that this has
exactly the same effect. Try experimenting with the "RESET" and
"SKIP" functions until you are completely familiar with the
operation of the "8/2" counting. Be sure to keep the CLOCK FREQ
low enough so that you can observe what is going on. When you
have finished, return all the switches to the original position.
Now plug the foot switch supplied with your sequencer into the
appropriate jack on the back panel. Notice that depressing the foot
switch has the same effect as pushing the CLOCK START/STOP
switch. Later you will loam how many other functions can be
accomplished with the foot switch by using patch cords.
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IV. Hooking Up
To Your
Synthesiser
Now that you have learned a little about the operation of your
sequencer's stepping controls and functions, it's time to connect the
sequencer to your synthesizer and begin making music.
The hook-up for the ARP Axxe and Odyssey are the same. For
the simplest hook-up, you will need two patch cords. Connect one
patch cord between the sequencer jack labelled “QUANTIZED
OUTPUT A" and the jack on the rear panel of your synthesizer
labeled “CV IN." Connect the other patch cord between the
sequencer jack labeled “CLOCK OUT" and the synthesizer jack
labeled “GATE IN." Diagram 2) illustrates these connections.
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7

If you own an ARP 2600, we
will start by connecting the
sequencer QUANTIZED OUTPUT
"A" jack an<I CLOCK OUT jack
to the KBD CV jack on VCO 1
and the S/H GATE jack
respectively. These connections
are illustrated in Diagram 3. Set the
switches and controls on the 2600
exactly as shown, paying
particular attention to the switch
directly above the S/H GATE
jack.
to. Sequencer
DIAGRAM 3
a

DIAGRAM 4
m
_
If you arc using an AXXE or
ODYSSEY, set the controls on
the panels as shown in Diagrams 4
or 5. Hook the AXXE or ODYSSEY
• up to an amplifier and speaker.
Set the volume so that the volume
is listenable when you open the
VCF FREQ slider. Bring the VCF
FREQ slider back down when you
have adjusted the volume.
DIAGRAM 5
9
l
'
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V. Experiments
The first series of experiments is designed to get you familiar
with the tuning of a repetitive sequence. •
1 .
TUNING A SEQUENCE
Start by setting all the controls on your sequencer as shown
back in Diagram 1. Stop the CLOCK and press '‘RESET" so that the
sequencer is waiting in position 1. Now open the VCF FREQ control
on your synthesizer so that you can hear the continuous sound of
the oscillator. Slowly raise the position 1 slkie control on the
sequencer. You will hear the pitch of the tone rise in precise
chromatic semitones. You will notice that the range of this control is
exactly two octaves from the bottom to the top. Bring the Position
1 slider back down when you have finished experimenting.
Now advance the sequencer to position 2 by depressing the
“STEP" button once. Notice that the position 2 slider is now active
and that it behaves exactly as the position 1 did. You will note that
the position 1 slider does not have any effect when the sequencer is
not in position 1.
Starting at the bottom, raise the position 2 slider until the tone
has gone up a major 3rd (4 semitones). Press the "RESET" button
and the "STEP" button alternately to hear the two notes of the
major third. Now advance the sequencer to position 3, and counting
from the bottom of the slider, advance the position 3 slider 7
semitones to make a major 5th. Hit "RESET" and then "STEP"
twice to hear all three notes of the major triad you have just tuned.
Continue tuning all 16 steps to play the sequence shown in this
musical example:
10

12 345678
_n_._j
_
M
TT,
- 4
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. ;
9 10 11 12 13 14 15 16
When you have finished, step through the whole sequence manually
to check it against the music.
Nov; close the VCF FREQ control so that the sound disappears.
Nov; start the sequencer CLOCK and the 16 notes you programmed
should be played back automatically. Try adjusting the CLOCK
FREQ control on the sequencer to make the sequencer go faster and
slower. Try hitting the “RESET” button in the middle of the*
sequence. Notice that the sequencer will return to position 1 at any
time. Notice also that hitting the “STEP” button will cause the
sequencer to advance one position, even when the CLOCK is also
running. 4
9
i
B
USING THE POSITION GATE SWITCHES
Set the SKIP/OFF/RESET switch to “SKIP.” Move various
GATE ASSIGN switches to the lowest position and notice hav; the
rhythmic and melodic effect of the sequence changes as you skip
different notes of the sequence. By eliminating all the major thirds
from the sequence, for instance, you can change the modality of the
sequence so that it can be considered either major or minor.
When you have finished experimenting with the “SKIP”
function, change to “RESET” and observe the effect of the
sequence when it is shortened. Notice, for instance, that by resetting
after 3 steps (GATE ASSIGN switch 4 down) you create triplets. By
raising switch 4 and lowering 5, you change to a 4/4 rhythm.
When you have finished experimenting with the RESET
function, change the SEQUENTIAL/RANDOM switch to
RANDOM. You will now be hearing the same 16 notes, but in
random order. Change to the SKIP function and you can eliminate
any notes from the sequence using the GATE ASSIGN switches.
CLOCK FM
As you will recall from earlier discussions, the CLOCK in the
sequencer is actually a VCO similar to the VCOs in your synthesizer.
It is designed, however, to operate only at subaudio frequencies. The
CLOCK FM input on the sequencer works in much the same way as
the FM inputs on the VCO in your synthesizer. The CLOCK FM
input on yout sequencer is normally connected through the jack to
the output of GATE BUS 1. The output of GATE BUS 1 will be
11

either zero volts or MO volts, depending on whether the GATE
ASSIGN switch for each position is set to GATE BUS 1 or not. In
other words, if the sequencer is in position one and the GATE
ASSIGN switch for position one is up, then a • 10 volt signal will
appear on GATE BUS 1. If the GATE ASSIGN switch is in any
other position, then GATE BUS 1 will show zero volts.
Start with all the GATE ASSIGN switches in the middle
position. Raise the CLOCK FM slide attenuator half-way up! Start
the CLOCK and set the CLOCK FREQ for a fairly slow tempo.
Move the first four GATE ASSIGN switches up to GATE BUS 1.
Notice that the sequencer steps through those positions about twice
as fast as through the others. Try to adjust the CLOCK FM slider so
that the first four positions arc exactly twice as fast as the others.
Then move different combinations of GATE ASSIGN switches to
the GATE BUS l position to qet different rhythmic effects.
Using the method described above, try modifying the sequence
you have tuned to create the following rhythm:
rhythm where the first three positions take the same time as the 4th '
does by itself.
Set the SKIP/OFF/RESET switch to “RESET." Put the 5th
GATE ASSIGN switch to the low position and observe that the
resultant four note sequence can still be modified rhythmically by
setting the various GATE ASSIGN switches to either GATE BUS 1
or the middle (GATE BUS 2) positions.
Try different rhythms and different combinations of GATE
ASSIGN switches. Notice that the SKIP function still works and that
any note in the sequence can still be eliminated by "skipping."
0 9 0
9 * 9 /
L \ _ .. . U _ i _
7 J _
- r f
/ . t
_ -j- - m
0 0 0 0 0 TI 0 0 0 0
l _
u
'
f ' 1
Nov; raise the CLOCK FM slider a little higher so that the
positions assigned to GATE BUS 1 will step three times faster than
normal. This adjustment can be facilitated by assigning the first
three positions to GATE BUS 1, skipping 4. assigning 5 through 7,
skipping 8, and so on This arrangement will produce a triplet
USING GATE ASSIGN FOR ACCENTS
Set all the GATE ASSIGN switches tip to the GATE BUS 1
position and close the CLOCK FM slider. Nov; remove the patch
cord from the CLOCK OUT jack and plug it into the jack marked
CLOCKED GATE 1 OUT. Set the release time on your synthesizer's
envelope generator about half way up. Nov; start the sequencer
CLOCK. Aside from the longer release time, you should not notice
any difference at this point. Now start moving GATE ASSIGN
switches back to the middle position. Notice that you will not gel a
new attack on a note unless the GATE ASSIGN switch is on GATE
BUS l. If you move all the GATE ASSIGN switches to the middle
position, there will be no sound at all. Try it! Try bringing the
GATE ASSIGN switches back up one at a time. Try using the GATE
ASSIGN switches, along with the RESET and SKIP functions to
create some interesting rhythms.
12

CLOCK PULSE WIDTH
Just like the VCO on your synthesizer, the CLOCK in your
sequencer produces a pulso wave output of variable duty cycle You
may recall the following illustration from your synthesizer owners'
manual:
UPPER PORTION +10V
LOWER PORTION OV ONE CLOCK CYCLE
During each cycle of the dock, the CLOCK OUT is at *10v for a
portion of the cycle, and then drops back to 0 volts for the
remainder of the cycle. If the ratio of the high portion to the low
portion is vory small, tho waveform is said to be a "narrow pulse/'
and if tho high portion and low portion are equal, then the
waveform is said to be a "square wave."
The PULSE WIDTH slider on the sequencer allows you to vary
the width of the CLOCK from very narrow to very wide. Remove
the patch cord from the CLOCK GATE 1 OUT jack and return it to
tho CLOCK OUT jack. Move tho Release time (R) on your
synthesizer's envelope generator to minimum. Start CLOCK and set
the CLOCK FREQ for a fairly slow tempo. Now vary the sotting of
the PULSE WIDTH control from bottom to top. Notice that the
notes change from staccato to legato. Note particularly that the
PULSE WIDTH control does not effect the tempo, only the duration
of the sound.
Like the VCOs in your synthesizer, the PULSE WIDTH can also
be voltage controlled. An input jack, marked PWM, is provided for
this purpose. With the sequencer running, set the PULSE WIDTH
slider almost all the way down so that you are hearing vory short
staccato notes. Plug one end of a patch cord into the jack marked
"PWM." Plug the other end into the jack marked GATE BUS 1. All
the GATE ASSIGN switches should bo in the middle position at this
point. Now raiso the GATE ASSIGN switches one at a time to the
GATE BUS 1 position and notice that as you do so, the notes
corresponding to these switches become long instead of staccato.
Alternatively, you can use the foot switch to select either long
or short notes. Remove the patch cord from the GATE BUS 1 jack
and plug it into the FOOT SWITCH OUT jack. Plug a dummy plug
or one end of another patch cord into the START/STOP jack so that
tho foot switch will not also start and stop the clock. Now when you
depress the foot switch, a positivo voltage is applied to the PWM
input which lengthens tho duty cycle of the Clock pulse. You might
wish to try using the foot switch with the CLOCK FM input and the
STEP AND RESET jacks while you arc experimenting with the foot
switch.
TRIG/GATE SWITCH
Remove all the patch cords ami dummy plugs except the two
13

patch cords connecting the sequencer to the synthesizer. Set up the
usual sequence so that you can start and stop the clock with the foot
switch. Turn the TRIG/GATE switch to GATE. Notice that the
clock will now run only when you are holding down either the
START/STOP button or the foot switch. If you supply a «lOv
GATE signal from your synthesizer to the START jack on the
sequencer, the CLOCK will run only as long as the ♦ 10 volts is
present. With the TRIG/GATE switch in the TRIG position, a signal
applied to the START input would start the clock. The clock would
then continue to run until a pulse is applied to cither the STOP or
the START/STOP inputs.
CV INPUT JACK
The CV INPUT jack allows you to "transpose" the melodic line
set upon your sequencer by using the keyboard on your synthesizer.
Saving the patch set up in 5.7, connect another patch cord from the
CV OUT jack on your synthesizer to the CV INPUT jack on the
sequencer. The voltage from your synthesizer keyboard will now be
added to the outputs of the sequencer, thereby transposing the
preset melodic pattern.
POSITION 1 OUT JACK
SEQUENCER OUTPUTS
The POSITION 1 OUT jack puts out a pulse each time the
sequencer steps to position one. Get all the controls as shown in
Diagram 2 again. Connect a patch cord from the jack marked
"STOP" to the jack marked "POSITION 1 OUT." Start the clock by
pressing the START/STOP button. The sequencer will go around
once and then stop automatically when it roaches the first position.
The pulse that the "POSITION 1 OUT" jack puts out when the
sequencer comes around to position 1 stops the clock. Take another
patch cord and connect it between the "TRIG OUT" jack on your
synthesizer and the “START" jack on the sequencer. You will now
be able to start the clock any time you hit a key on the keyboard
The sequencer will cycle throuqh one complete count and then stop
on position 1.
In the lower right hand corner of your sequencer you will find
two output jacks labeled SEQUENCER OUTPUTS. Set up the patch
shown in Diagram 2 once more, and hit the RESET button. You
will rocall that by moving the slider for position 1 up and down, you
get a chromatic scale. Nov/ remove the patch cord from
"QUANTIZED OUTPUT A" and plug it into the SEQUENCER
OUTPUT jack just above the MULTIPLE. You v/ill note two changes
in response to moving the position 1 slider. First, the pitch moves
continuously, rather than in semitone intervals. Secondly, the pitch
range of the slider is much greater approximately 10 octaves vs. 2
octaves for the QUANTIZED OUTPUT.
Because the SEQUENCER OUTPUTS are continuous and very
wide range, they are not recommended for determining pitch. You
14

will find it very tricky to tune an accurate melodic line with the . determine whether notes will be short or long. The higher the slider
SEQUENCER OUTPUTS. The wide range of these outputs can be '"setting, the more sustained the note. Slow down the clock, if
very useful for other effects, however. necessary, to observe the effect carefully.
Move the patch cord back to the QUANTIZED OUTPUT A. Set Alternatively, you can use the SEQUENCER OUTPUT to
up the patch shown in Diagram 6. Set the ATTACK and RELEASE control the brightness of the sound for each pitch, thereby creating
sliders on your synthesizer's envelope generator to minimum and set accents. This patch can be created easily on a 2600 by simply
the SUSTAIN control to maximum. Note that the sequencer is set connecting the SEQUENCER OUTPUT to the VCF control input,
for 8/2 operations When you start the clock, an eight note sequence On an AXXE or ODYSSEY, the sequencer can be connected to the
will be heard. The pitches of the eight note sequence are of course VCF by plugging an appropriate cable into the FOOT PEDAL jack
determined by the settings of the first eight sliders. The second eight and raising the FOOT PEDAL attenuator on the panel of the
sliders (9 • 16) are connected to the PWM input and hence will synthesizer. Patches for this effect can be found later in this book.
TO TO KBD
GATE IN CV IN
15

Panel
Control
Description
Chart
FOOTS WITCH INPUT. When footswitch is plugged in, allows START/STOP RESET STEP
and functions to be controlled by the foot, leaving hands free for playing keyboards or
manipulating sliders. (Some functions require use of patch cords to connect "footswitch out"
jackto desired feature to be controlled.)
POSITION GATE ASSIGNMENT
SWITCHES. These switches channel a gate
signal to one of three bus line outputs. These
outputs can be connected (via patch cords)
to control filters, amplifiers, or envelope /
inputs to create accents, syncopation, etc./
POSITION TUNING SLIDERS. Use these
for tuning individual steps of the sequence in
either the 2 octave quantized range or the 10
octave unquantized range. /
16/1 AND 8/2 MODE SWITCH. This switch
allows the sequencer to step 16 times and
then roset automatically; or step the "A"
bank 8 times in parallel with the “B" bank,
for harmonies, sequences of two-note
intervals and other uses.
'im.
luencer
E§E@=@E§EgEgE§E§E§E|
• 10 II IJ is 14 is is
SEQUENTIAL/RANDOM SWITCH. Allows
clock to advance to each successive position
or sets clock "strike" positions randomly,
much like a sample and hold on a
synthesizer.
16

GATE OUT JACKS (FROM GATE
ASSIGNMENT SWITCHES). Connect
these to filter control inputs, or other
inputs of synthesizer for variety of
musical or rhythmic effects.
POSITION ONE OUT. Use for accent
on first boat, or use to trigger another
sequence.
otMxriiio
OUIPUI u j
CLOCKED GATE ONE OUT. Use this into filter
or amplifier control input. Sharpen articulation with
Pulse Width(PW) sliders on clock.
QUANTIZED OUTPUT. Plug this into CV input
of oscillator. Position sliders will tune oscillators
in musical Vi steps using this output.
CV IN. Establishes voltage reference for sequencer.
Plug keyboard CV output into this jack for control
of oscillator from keyboard.
QUANTIZER INPUTS. When a patch cord is
plugged into these jacks, the connection from the
sequencer outputs is temporarily disconnected. The
quantizer can then be used separate from the
-^sequencer.
SEQUENCER OUTPUTS. An unquantized voltage
useful for opening or closing VCFs and VCAs, or
\use it to tune oscillators for a 10 octave range.
SKIP/RESET SWITCH. Automatically CLOCK CONTROLS. Jacks permit patch- 'j MULTIPLE JACKS. Allows you to divide one out-
skips or resets when used with Gate Bus ing into clock to control speed, START/ put into three for control of several functions at
3. These functions may also be accom- STOP, stepping and pulse width of clock. once. Can also be used to mix three inputs to
plished with external control inputs, or Pulse width can be used to affect release one output,
manually, with buttons. time of the envelope generator.
17

No doubt by this time you have discovered many new sound
textures using your sequencer and your own imagination. The
following patches are designed to help yofi create even more effects
so that you can experiment further and upgrade your own
knowledge of the characteristics of the sequencer.
Refer to Section IV, HOOKING UP TO YOUR
SYNTHESIZER, then patch the appropriate connections on your
sequencer to your synthesizer.
Odyssey owners may use the Axxe patches, hookups and slider
positions are the same.
Please note that all sliders not illustrated should be all the way
down, or all the way to the left on the 2600. Switch positions not
indicated will have no affect on the sound output.
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18
VI. Patches
J
FIVE EASY STEPS FOR AM INSTANT SEQUENCE
These five steps were designed to help you set a basic sequence,
very quickly. You should keep this format in mind whenever you set
up a sequential patch, even after you are experienced in the
manipulation of the controls.
Step 1. Interface the sequencer with your synthesizer as
described in Section IV.
Step 2. Set the controls on your sequencer as follows:
a. 16/1 sequential mode
b. stop clock
c. push reset button
Step 3. Set up the patch on the synthesizer that you wish to be
sequenced.
Step A. Open filter or amplifier so that you can hear the
oscillator that you are tuning. Tune each position, step
by step until you have completed the desired pattern.
Step 5. Hit the start/stop button, and go!

I. Song
of the
Congo
ibmi Sequencer
19