A TAXONOMY OF SEQUENCER USER-INTERFACES
Matthew Duignan, James Noble
School of Mathematics, Statistics & Computer Science
Victoria University of Wellington, New Zealand
[email protected]
ABSTRACT
Sequencing tools play a central role in our ability to
create computer music. Despite their importance, there
has been little structured analysis of how the characteristics of sequencers impact our ability to use them effectively. This paper addresses this through a new taxonomy
for classifying sequencing tools. This taxonomy can be
used to help us better understand the strengths and weaknesses of current sequencer tools, and suggest novel possibilities for future sequencers.
1. INTRODUCTION
Using computers to sequence music has a long and rich
history that has resulted in the development of a vast number of different sequencing tools. In this paper we use the
term "sequencer" to refer to all computer tools used to sequence music, not just those conventionally described as
"sequencers". These tools have been developed in both
academic and commercial contexts and each have different strengths and weaknesses. While much work has focused on conceiving new sequencing applications there is
a need for a high level analysis examining the major characteristics of such applications and how these affect their
use.
In this paper we present a new high-level taxonomy for
sequencing software. This taxonomy consists of five axes
which cleanly categorise each of the four major classes of
sequencer in common use today. This taxonomy can be
used to highlight and explain the relative strengths and
weaknesses of various sequencer classes. Additionally,
our taxonomy lays out a landscape of actual and possible
sequencer types, only some of which have been explored.
In this way, the taxonomy can suggest new forms of sequencers that could complement existing sequencer tools.
This taxonomy can be used by sequencer designers who
wish to gain insight into the impacts of high level interface decisions on the resulting system.
2. TAXONOMY
This section presents the taxonomy we have developed
which categorises computer sequencing tools. The aim
of this taxonomy is to present an analytical framework for
understanding the characteristics of sequencer interfaces.
Robert Biddle
Human Oriented Technology Laboratory
Carleton University, Ottawa, Canada
[email protected]
This taxonomy can be used to classify and analyse any
music tool with a sequencing component, including systems that have synthesis or effects processing features in
addition to sequencing abilities. In these cases the classification is based solely on the sequencing characteristics.
2.1. Four common approaches to sequencing
As a starting point, our taxonomy must distinguish between the major groups of sequencing applications available today. The earliest sequencer applications were extensions and developments of programming systems built
in the computer languages of the time. These evolved into
special purpose textual based music programming languages
such the MusicN languages, and SuperCollider, and also
into extensions for existing programming languages such
as Siren in the Smalltalk language. All of these tools can
be described as textual language music tools.
At the same time, drum-machines and early analogue
sequencers have continued to develop, and these interfaces have shaped sampling and loop playing tools, for
both modern drum-machines, and hardware sequencers
such as the MPC2000. This group includes all manner
of pattern sequencers. We refer to this group as sample
and loop triggers.
Many of the concepts and interaction patterns from textual language music tools soon found their way into the
graphical domain in the guise of what we refer to as music
visual programming tools. These tools such as MAX are
often classic examples of the more general class of visual
programming languages, but are designed to be particularly suited to musical applications.
The fourth common class of sequencer are what we
will refer to as linear sequencers. These tools have become the high-profile face of sequencing, typically utilising a strong multi-track recorder user-interface metaphor
[1]. These tools evolved from the recording studio which
has increasingly become a location for composition and
experimentation, in addition to the straight recording of
musical performance. Modem linear sequencers such as
Pro Tools and Logic allow the user to sequence both recorded,
sampled and synthesised sound.
Now that we have identified the four types of common
sequencers, we can now itemise each of the five axes of
our taxonomy.
