VERSION 4.0 · COMPLETE MANUAL
Sequentia: the complete manual
A generative MIDI sequencer for hardware synths, drum machines and your DAW, on iPhone and iPad. Every module plays through the app with its built-in sound, and drives your synths over MIDI when you connect them. This page documents every module and every control. The same text ships inside the app under Menu, Help, Manual.
CONNECTING HARDWARE
Use an Apple data adapter
For a stable wired connection, use an Apple adapter made for data. Official Apple adapters reliably expose external MIDI devices to the phone. Some ordinary USB cables only provide power. They can charge the iPhone while carrying no data, so Sequentia will not see the connected synth, interface or hub. If a device charges but does not appear under MIDI, replace the cable or adapter with an Apple data adapter before troubleshooting the instrument.
On iPhone models with USB-C, connect your interface or synth directly, or through a powered hub when you use several devices at once.
On older iPhone models with a Lightning port, you need the Apple Lightning to USB Camera Adapter. Despite the name, it is the adapter that carries data, so class compliant MIDI devices appear in Sequentia. A plain Lightning to USB cable will only charge the phone. If your setup draws more power than the phone can supply, use the version of the adapter with a second Lightning port and connect a charger to it.
FOUNDATIONS
How it works
It drives your gear. Sequentia is a MIDI instrument first: each module plays a synth or drum machine you connect. No gear yet? Every module also has a built-in sound, so you hear your patterns straight from the phone.
Sound on the phone. The speaker on each plate turns its built-in sound on or off. Pick the voice under Sound in the module menu: acid, keys, pads, drum kits and more. It is monitoring only. It never changes the MIDI you send or export.
Modules are the blocks. Every part is a module: a bassline, a drum kit, a pad. Stack as many as you like. They share one tempo and one key.
Random and Mutate. Random rolls a whole new pattern. Mutate evolves the current one while it plays, and it is reversible.
One part per synth. Each module has its own MIDI device and channel, so one rack can drive several instruments at once.
Mix live. A Mixer module rides the mute, solo and level of your other parts while you perform.
Take it to a DAW. Any melodic part writes to a standard .mid file at the current tempo.
FIRST RUN
Getting started
1. Connect your gear. Plug in over USB-C, or pair Bluetooth MIDI. Each module lists your device under MIDI. No hardware? Skip this step: the built-in sounds play through the phone.
2. Add a module. Tap the plus and pick a type. It starts on channel 1.
3. Route it. Open the module menu, then MIDI, and choose the device and channel your synth is on. When gear connects, the phone’s own sound steps aside. Tap the plate’s speaker to bring it back.
4. Press Play. Everything runs on one tempo: the built-in sounds through the phone, MIDI to every synth you routed.
5. Shape it. Random for a new pattern, the knobs to dial it in, Mutate to let it move.
SHARED CONTROLS
The rack
Modules stack vertically. Each one sits on its own plate, and every plate carries the same header controls.
Drag handle. Reorder the rack by dragging a plate by its handle. Name. Hold to rename a module. Speaker. Turns the phone’s built in sound on or off for that module. It never affects MIDI. S, solo. Hear only this module. Note modules carry it; controllers do not, because a controller makes no sound of its own. M, mute. Stops the module. On a controller this is the real off switch: it stops sending. Menu. Opens parameters, Mutate, presets, MIDI routing, Clear, Export and Delete. Variations. The strip of pattern slots under the module. Plus adds one, a tap takes it on the next bar, holding a tile offers duplicate, move and delete. Collapse. Tap the plate title area to fold a module down.
Above the rack sit the transport and the project. Tempo and key belong to the whole project. Change either once and every module follows, in key and in time. Undo works across the whole rack, and a shake undoes the last step.
THREE SCREENS · ONE RACK
Modes: rack, Jam and Scenes
Three screens over one rack. The bar at the bottom moves between them and the music never stops while you do.
Rack: where you build. This is the workshop. Add the instruments and generators you want, plus utilities like a mixer or CC control. Set each one up here: roll its pattern with Random, keep it moving with Mutate, choose its sound, and point it at the synth and channel it should play. Everything the other two screens use is made here first.
Variations are the patterns. Every module keeps a strip of pattern slots called variations. Fill them with the takes you like: the main groove, a busier one, a breakdown, an eight bar turnaround. The plus adds a slot, and holding a tile lets you duplicate, reorder or delete it. Variations are the material both Jam and Scenes play with.
Jam: play them by hand. Every module shows its variations as a grid, and tapping a tile brings that pattern in. Tap the slot that is already playing to mute the module, tap it again to bring it back. Minimal view gives the patterns the whole screen; Standard keeps each module’s monitor, solo and mute buttons beside them.
Scenes: write the track. A scene remembers which variation every module is playing and which of them are silent. Set the rack up the way a section should sound, add it as a scene, and it is saved. Give each scene the number of bars it holds and the set moves on by itself. A scene can also leave on a drum fill.
How a set plays. Scenes can run in order, wait for your hand, or roll at random. In order they follow the list from the top and you choose what happens at the end, loop back or stop. By hand nothing moves until you tap, which is the safest way to play a set live. Play always starts from the first scene, and tapping a scene while it runs queues it for the next bar line.
Nothing switches mid beat. Patterns and scenes change on the bar line, never in the middle of one. That is why a tile you tap lights up before you hear it: it is waiting for the bar. Playback sets how long that wait is.
A scene can set up your synths. Give a scene a program change and it is sent the moment the scene starts, so the right patch is loaded before the first note. A scene can send CC as well, picked from the instrument’s own control map, and CC again as the scene leaves, to put the filter back where it was. A message aimed at a machine that is not connected is not sent, and the row says so, rather than landing on whatever else happens to be plugged in.
RACKS · PROJECTS
Racks and projects
A rack is everything you added. A project is the racks, the key, the tempo and the cover, and it keeps itself.
A rack is the whole stack. A project holds up to eight of them. A second rack can be the same track with other instruments, or the next track in the set. Jam and Scenes open on your racks: a card each, plus to add one, hold a card to rename, duplicate or delete it.
Racks change on the bar. Tap a card and the whole rack changes over. The slider icon in the header sets how the switch lands: instantly, on the next bar, or after two, four, eight or sixteen. Fill hands the change to the drums, which announce it a bar early. The count runs from the phrase, or from your tap if you prefer.
Build the next rack while this one plays. Open a rack you are not playing and it stands up as a workbench: full plates, every control live, and nothing you touch is heard until you take the rack.
The set plays itself. Turn on The set plays itself, under the slider icon in Jam, and the racks play in card order. Each card carries the number of bars it holds. A rack’s scenes can also hand over to the next rack when the list ends.
A project saves itself. There is no Save button. The rack you are working in is a project, and it is written as you go. Projects in the top bar is the shelf: a card each with its key and tempo, and a page where you can name it and leave a line about it.
A project has a face. Every project draws its own cover from its name, or takes a photograph of yours instead. The cover follows it everywhere: the shelf, the project page and the record on a Vinyl module.
History and undo. Undo goes back a hundred steps and survives closing the app. Menu, History lists what changed and when, so you can walk back to a moment. A shake takes back the last step.
The demo tracks. Seven finished projects ship with the app: Night Shift, First Light, Redline, Slow Motion, Voltage, Invaders and Live Jam. Each is an ordinary project, so open one and take it apart. If you delete them, Menu, Help, Demo tracks brings them back.
Every rack keeps its own tempo and key. A rack is a section, not just a set of parts: the breakdown can sit lower and slower than the drop. Switching racks live carries both across on the bar line, and a new rack starts from the one you were standing on, so nothing changes until you want it to.
THE MODULES
Sixteen modules
Most write their own part, three shape the rest of the rack, and one is there to be looked at. The Add menu sorts them into four families: do you write the notes, does the module write them, or does it work on the rest of the rack.
MODULE 01 · EIGHT LANE DRUM MACHINE
Drums
Drums is an eight lane drum machine. Each lane is one drum, from kick to hats. Roll for a full groove or program every step by hand, then send the kit to your drum machine or sampler.
How to use it. Pick a Style and press Random for a groove in that style. Tap steps to edit a lane. Route the whole kit to one channel, or give each drum its own. Use Fills for a variation into the next bar, and Humanize to loosen the timing. Sound holds the kits: ours, one rolled from a seed, or Custom Kit, which plays your own samples.
Controls. Random pulls a full groove from the authored library for the current style. Style chooses the genre. Kits, under Sound, offers fourteen kits, each one a different drum machine rather than a shade of the same one, and Roll a kit builds one nobody has heard, from a seed the project keeps. Steps sets the loop length. Mode changes playback. Mutate reshapes groove density while it runs. Roll gives one instrument a prepared roll every few cycles. Gate controls hit length. Humanize loosens timing and velocity. Mixer provides a fader, solo and mute per lane.
Custom Kit. Your own samples on the eight lanes. Give a lane one file, several, or a whole folder, and the folder becomes a pool the lane rolls from. Tune, Delay, Tone, Reverb and Gain ride each lane live, and Trim and Fade shape the sound itself. Save names the kit onto your shelf; holding a saved kit offers edit, duplicate, export and delete.
Tip. Solo a lane from the mixer to set its level against the rest, then unmute.
MODULE 02 · GENRE BASSLINE
Bass
Bass is a generative bassline that speaks in genres. Pick a style, from Acid or Techno to Dub, Hip Hop, EBM or Jazz, and it writes a line in that idiom, in your project key.
How to use it. Choose a Style and press Random until a line lands. Set Steps for loop length and Range for how many notes it may use. Density sets how busy it is, Drive how hard it hits, Gate how long notes hold. Mutate evolves it and Humanize loosens the feel.
Controls. Random rolls a fresh line. Style selects genre rhythm and phrasing. Steps sets loop length. Range chooses the nearest notes available, from a root pulse to the full style range. Density sets activity. Drive shapes velocity and accents. Oct moves register. Gate sets note length. Humanize loosens timing and velocity. Follow Chords tracks harmony. Mutate reshapes the line and returns to the original. Presets save and recall lines in any project key. Tip: use Range at one note for a pure rhythmic pulse, then open it as the track builds.
MODULE 03 · 303 STYLE BASSLINE
Acid
Acid is a generative bassline in the spirit of a Roland TB-303. It writes a rolling, in key line with slides and accents, the sound at the heart of acid house and techno. You do not draw the notes. You roll for a line you like, then shape its feel.
How to use it. Press Random until a line grabs you. Set Steps for the loop length and Fill for how busy it is. Use Range to keep it tight around the root or let it climb. Gate sets how connected the notes feel. Turn on Mutate to let it evolve across a take.
Controls. Random rolls a completely new line from a fresh seed. Fill chooses how many steps play, from a sparse pulse to a full sixteenth note roll. Steps ranges from 4 to 32. Range sets how far the line moves from the root. Gate sets how long each note holds, from a plucky stab to a legato slide. Mode changes the order the steps play in. Mutate keeps reshaping the line while it plays, then settles back to the original.
Tip. Short Steps with a high Fill gives the tight, hypnotic sixteenth note roll acid is known for.
MODULE 04 · YOUR OWN AUDIO
Sampler
Sampler plays your own audio from the rack. Load a sample and it runs with everything else, on the project tempo and in the project key.
How to use it. Add the module and point it at a file. Place the sample in time, set how it plays back, and it follows the transport with the rest of the rack. It uses the same plate controls as every other module, so mute, solo, the menu and the variation strip all behave the way you expect.
Controls. Sound holds the sample you loaded. Stretch fits the sample to the project tempo, and Repeat plays a trimmed piece at its own speed with the tile showing the repeat. The plate’s speaker turns its monitoring on and off. Variations keep different takes so you can switch between them on the bar. Mute stops it, and the module menu holds routing, Clear and Delete like everywhere else.
Tip. A Sampler and a Custom Kit in Drums cover two different jobs: the kit is one shot material on eight lanes, the Sampler is a single piece of audio placed against the track.
MODULE 05 · CHORDS IN THE KEY
Chords
Chords plays a progression that always stays in your project key. Use it as a sustained pad, or feed it into an Arp.
How to use it. Set how many chords are in the loop. Tap a chord to pick it, choose its quality and set how long it holds, up to sixteen bars.
Controls. Random rolls a progression while keeping the size and lengths you set. Size sets one to eight chords. A chord opens its quality and duration, including 7th, 9th and suspended choices. Harmony controls whether Random stays simple or uses richer authored progressions. Strum spreads notes up or down. Humanize changes timing and velocity each pass. Mutate reharmonises and shifts voicing before returning. Presets opens 417 authored progressions and your saves. Tip: add an Arp set to Follow Chords.
MODULE 06 · ARPEGGIATOR
Arp
Arp turns a chord into a line, playing notes one at a time. It can use its own chord or follow a Chords module live.
How to use it. Open Setup to choose chord, direction, rate, octave span, steps and gate. Follow Chords locks it to your progression.
Controls. Random rolls a setup. Setup contains chord, direction, rate, octave span, steps and gate. Follow Chords tracks the first Chords module. Mutate adds gentle drift without losing the shape. Presets saves and recalls setups. Tip: Follow Chords keeps the arp locked to a changing progression.
MODULE 07 · CHORD HITS
Stabs
Stabs plays short chord hits, from dub skank and deep techno to rave and garage. It writes hits in the project key with genre specific voicing.
How to use it. Choose a Style and press Random. Steps sets loop length. Voices sets chord thickness, Density sets frequency, Gate sets duration. Follow revoices under Chords and Mutate lets the part drift.
Controls. Random rolls a pattern. Style selects rhythm and voicing, with Random ignoring genre rules. Steps ranges from a 4 step cell to a 32 step phrase. Voices sets one to four notes per hit. Density sets hits per bar. Drive shapes velocity and accents. Oct sets register. Gate sets length. Follow Chords revoices under harmony. Mutate reshapes ornaments and returns. Presets saves the setup. Tip: use Dub Stab, low Density and high Gate for a reverb response after every hit.
MODULE 08 · DRAW YOUR OWN MELODY
Piano
Piano is the one module you write by hand. It is a piano roll for laying down a melody or a riff exactly as you hear it, in the project key or free chromatic.
How to use it. Tap an empty cell to place a note, drag it to move, drag its right edge to change length. Use the octave arrows to shift the window. Build longer parts by adding scenes, one page at a time. When you want a head start, press Random for a written phrase you can keep or edit.
Controls. Tap and drag adds, moves, resizes and deletes notes. In Key snaps the rows to the project scale; Chromatic shows all twelve semitones. Step length sets the grid resolution of a page: 16, 32 or 64 steps. Scenes are pages of the part; hold a scene to duplicate, copy, paste or delete it. Octave moves the whole melody, and the roll follows so nothing leaves the view. Random takes one short motif and develops it into a full phrase. Mutate drifts the melody in key while it plays, with the downbeats and the final note held in place.
Key change. What happens to your notes when the project key changes. Nearest picks the closest note in the new key, Up and Down fold in one direction, Shift moves the melody with the tonic. Your drawing is kept: switch the key back and it returns exactly.
Tip. Sketch a verse and a chorus as two scenes, then reorder them into an arrangement.
MODULE 09 · THREE RING POLYRHYTHM
Euclid
Euclid spreads hits evenly. Three rings run at once with independent counts, notes and lengths. A 12 step ring against a 16 step ring drifts apart and returns bars later.
How to use it. Tap a ring, then set Steps, Hits, rotation and Note. Accent, Wander, Oct and Gate are in the menu. Mutate rotates rings over time.
Controls. Random rolls all rings or the selected ring. Steps sets each ring from 2 to 16. Hits spreads events. Rot shifts the cycle. Note stays inside the project key. Wander moves hits through the scale. Follow Chords takes root, third and fifth. Accent creates a rhythm inside the rhythm. MIDI Out sends rings together or to separate channels. Oct and Gate affect all rings. Mutate rotates a ring every few bars. Save and Presets store patterns. Export writes the complete cycle until the rings meet again. Tip: set the low ring to 16 and the high ring to 10 or 12.
MODULE 10 · GENERATIVE NOTE DROPS
Rain
Rain scatters notes like rainfall, from a drizzle to a downpour, all in the project key. Every bar is a fresh fall.
How to use it. Density controls amount, Storm controls energy, Range and Oct set register, and Gate controls duration. Mutate moves weather fronts through the texture.
Controls. Random rolls a new seed. Density sets the number of drops. Storm raises loudness, fall speed and splash. Range sets octave span. Oct moves the shower. Gate sets note length. Mutate swells and eases density. Export asks for a duration up to five minutes and writes unique bars. Tip: low Density with long Gate creates sparse shimmer.
MODULE 11 · PHYSICS IN YOUR KEY
Bounce
Balls travel a box, and every wall they touch plays a note in the project key. It looks like chaos and runs on the grid, so it grooves.
How to use it. Set how many balls are flying and how fast they travel, then leave it running. The field is the pattern: hold it as a variation and it comes back exactly as it was. Presets keep the fields worth returning to.
Controls. Random throws a new field. Balls sets how many are in the box and Speed how fast they travel. Gate sets note length. Mutate keeps the field moving while it plays. Follow Chords takes the notes from a Chords module instead of the key alone. Variations, mute, solo and routing behave as they do on every other plate.
Export. Bounce never repeats itself, so it asks for a length like Rain does and writes that many unique bars into one file rather than one loop repeated.
MODULE 12 · KNOBS AND BUTTONS ON ANY CC
CC Control
Your synth’s knobs, on the plate. Each circle is one MIDI CC sent directly to hardware. Build the panel you actually reach for.
How to use it. Add a control, choose a machine from the library, or use Custom for any CC number. Drag knobs, tap buttons, and hold controls to rename, replace or delete. Values save with the project.
Controls. Knob sends 0 to 127. Button toggles its documented on and off values. Channel is stored per control, so one bank can address a multitimbral rig. The library covers 132 machines from 22 makers, every map read out of the machine’s own manual, and it also walks you through getting a controller talking to the app at all. Custom creates any CC. Record arms R and captures knob movement into a bar locked loop. Touching a recorded knob gives your hand priority until release. Motion opens the loop graph with 1 to 8 bar length, loop or ping pong, and Clear. Hold edits name, channel, replacement and deletion.
Incoming CC. Your controller can also turn the app itself. Random, Mutate and its depth, mutes, note length, octave, single drum lanes, fills and the transport are all reachable. The incoming CC channel picks the rack slot rather than the module’s output channel, so one controller reaches the whole rack. A searchable chart lists every CC the app answers, next to the switch that turns it on and a line showing the last message received.
MODULE 13 · MOVEMENT, NOT NOTES
Mod
Mod sends movement instead of notes. Each lane is an LFO on a MIDI CC, able to sweep a filter, amp or any mapped parameter.
How to use it. Add a lane, choose a wave shape, set Rate in beats and Depth, then point the CC at the synth parameter. Add up to three lanes.
Controls. Shape cycles LFO waves. Rate stays locked to tempo. Depth sets range. CC target picks the parameter. Fade eases depth in. Setup adds or removes lanes and sets centre, phase, bipolar and custom CC. Tip: target filter cutoff with a slow triangle for a breathing sweep.
MODULE 14 · MUTE, SOLO, LEVEL
Mixer
Mixer is a performance control surface. It makes no sound. It rides mute, solo and level for another module’s voices or every module at once.
How to use it. Point it at a module for a fader per voice, or select ALL for the entire rack.
Controls. Target selects a module or ALL. Mute silences a voice without stopping its playhead. Solo isolates selected voices. Level scales velocity. Tip: keep a Mixer on ALL for hands on level moves during a take.
MODULE 15 · REALTIME MUTATE AND MORPH
Live Performer
Live Performer plays the whole rack. One pad reshapes what every other module is already playing, then brings it home.
How to use it. Drag left to thin the arrangement, right to fill it, up to increase motion and dynamics, and down to calm it. Hold BREAK for a drop. The centre is HOME. Double tap returns there.
Controls. Material controls how much plays. Motion controls variation, dynamics and looseness. Break removes layers while held and returns with a fill. Mode chooses Hold, Snap or Spring after release. Return sets Spring time. Ride performs an automated intro, build, break, drop, peak and outro. Ride with Play starts and rewinds with transport. Mute disables the performer. Tip: hold BREAK, pull up slowly over eight bars, then release on the bar line.
MODULE 16 · THE RECORD ON YOUR RACK
Vinyl
Vinyl plays nothing. It is a record that turns while the set runs, with your name on it and the project’s cover as its label. The rack is a wall of controls, and a set filmed off the glass has no title card: this is the title card, and it keeps time.
How to use it. Add it and press Play. The platter takes a moment to reach speed, turns once a bar, and slows to a stop when you stop. The menu holds the three things it shows: the title, the artist, and the cover.
Controls. Title is the project’s name, and changing it here renames the project, so the record and the library card can never disagree. Artist is your name, the one credit the app has not already asked for; leave it empty and it follows the name in the header. Cover is the label on the record. Every project draws its own from its name, or you can put a photograph of yours there.
Tip. Film the set with the record in shot. It names the track for whoever watches it later.
MIDI
Routing and MIDI
Per module. Every module carries its own MIDI device and channel. There is no global output, so one rack can drive a whole desk of instruments.
Global tempo and key. Tempo and key belong to the whole project. Change either once and every module follows, in key and in time.
Audition. Each device row has a play control, so you can preview a part on an output before committing the routing.
Phone sound and hardware. When a synth is connected, the phone mutes its own sound for that part so it never doubles your gear. The plate’s speaker button always overrides. Monitoring is your choice, per module.
Your controller turns the app. CC also comes the other way. Switch Control input on in Settings and the knobs and buttons of your controller move the app itself: Random, Mutate and its depth, mutes, note length, octave, single drum lanes, fills, the variation slots and the transport. The channel picks the module’s place in the rack, so channel 1 is the first card and channel 2 the second, while the transport answers on any channel.
The CC chart. Settings, Control input, CC chart lists every CC the app answers, searchable by the word you already know. There is no learn mode: a controller is set up once against that page, and a line above it shows the last message that arrived.
Connections. USB-C takes a class compliant MIDI interface or synth straight in, and powered hubs work for several devices. Bluetooth MIDI pairs from inside the app. Network MIDI publishes a session, so a Mac on the same Wi-Fi can receive. Sequentia also publishes a virtual MIDI source of its own name, so Logic, Ableton and any other DAW can record what it plays. On a Mac, open Audio MIDI Setup, MIDI Studio: over USB double click the iPhone and press Enable; over Wi-Fi route to Network Session 1.
174 SOUNDS · FREE
Sound on the phone
The built in sound is free and on by default, so the app makes music before you own anything.
174 sounds. Acid voices on a real 303 emulation, polyphonic presets for bass, keys, plucks, pads, leads, organs, bells, strings, brass and modular textures, and fourteen drum kits. The last twenty eight were placed where a rack usually thins out rather than where a bank looked empty.
Picked per module. Each module opens on a sound that suits it, so a rack does not come out sounding like one instrument. Change it under Sound in the module menu, while the pattern plays, and pick by ear.
Level matched. Presets sit at the same loudness, so nothing jumps at you when you switch.
Your own kits. A Drums module can leave our kits behind and play your samples instead. See Custom Kit under Drums.
It steps aside. Plug in MIDI gear and the phone’s sound mutes for that part, so it never doubles your synth. The plate’s speaker button overrides this in both directions.
Monitoring only. It never changes the MIDI you send or the file you export.
ONE APP · BOTH DEVICES
On iPad
Everything the phone does, in the same build. One app, both devices, one purchase, laid out for the tablet rather than stretched onto it.
The rack is a grid of cards. You page through it, three across on a 13 inch and three on an 11 inch as well. A screen too short for the grid is laid out as a phone instead, so a small tablet is not a big screen with a cut card on it.
Menus arrive from the right. One drawer instead of a stack of sheets. It leaves the instrument where it is, so nothing you are looking at jumps while you reach for a setting, it is dragged by its edge, and every page inside it carries its own way out.
A module you open steps onto the middle of the screen, with its settings beside it rather than a sheet covering the thing you are editing. The library, the scenes and the export are rooms of their own on the tablet, and renaming happens in front of you.
Landscape, for a stand and two hands.
YOUR PROJECTS ON BOTH DEVICES
iCloud sync
Turn iCloud on and your work follows you. Start a track on the phone in the morning and open it on the tablet in the evening, with the presets, the samples and the covers already there.
Files, not a service. Four folders travel: Projects, Presets, Samples and Covers. They sit in a Sequentia folder in iCloud Drive, visible in Files, so a project is a file you can copy, send and keep like any other. There is no server of ours and no account of ours in the middle.
Off until you switch it on. The first time you turn it on with work already on both sides, the app asks what should happen to the two libraries instead of deciding for you: merge them, use the cloud, or replace the cloud. Nothing moves until you answer, and the answer that deletes sits behind a second question that names the count.
A library that cannot be read is not thrown away. It is read as far as it reads, what could not be parsed is kept, and a shelf that would not draw comes back on its own instead of being saved over empty.
STANDARD MIDI FILES
Export
How a part leaves Sequentia depends on what kind of part it is.
A written part. Acid, Bass, Stabs, Euclid, Drums, Chords, Arp and Piano export their loop as it stands. You dialled it in, so the file is that loop, and a DAW repeats it.
A generative part. Rain and Bounce never repeat, so they ask how long a stretch you want. Pick a length up to five minutes and it bounces that many unique bars into one file.
The file. A standard .mid at the current tempo. Share it straight to any DAW that reads MIDI.
A kit. A Custom Kit you saved can be exported from its hold menu, so a kit built out of your own samples travels between projects and phones.
Send to DAW. Separately from files, Sequentia appears as a live virtual MIDI source, so a DAW can record the performance as it happens.
The whole project in one step. One door for the project instead of one module at a time: take the rack out as MIDI, or every scene as its own folder, named so the session opens in your DAW already making sense. If there are samples in the rack, one tick brings the audio along, either as you hear it or as the original files.
APP SETUP
Settings
Devices lists every MIDI destination the phone can see, with the modules pointed at them.
Send MIDI Clock streams clock with Start and Stop so your gear follows the app’s tempo. Choose which devices receive it, so a synth that should stay free of clock can be left out.
Send to DAW publishes everything the rack plays to the virtual MIDI source, for recording on a computer.
Control input lets an incoming controller turn the app’s own knobs, with the CC chart beside the switch and a line showing the last message that arrived.
Playback sets how long a pattern or scene switch waits, and whether Jam shows the minimal view or the full one.
Appearance offers eleven themes, from the near black default to three that are not built on black at all.
Mix with other apps lets Sequentia share audio with other apps instead of taking the session for itself.
Help holds the manual, a walkthrough for wiring a synth, the intro again, and the button that brings the demo tracks back. About covers where Sequentia came from, who made it, and the licences of the open source audio work the built in sound stands on. Sequentia Pro shows your plan and what each one includes.
PLANS
Free and Pro
Free. The core modules and live play. Three drum styles. Your own samples in Drums. One project, one rack. The whole built in sound. Live Performer and CC Control in full.
Sequentia Pro. Pattern slots on every module. Scenes, and several racks in one project. Every drum style. The generative tools: Mutate, Fills, Humanize and Chop. Pattern and preset libraries. Unlimited projects. MIDI export and Send to DAW.
Pro sells the things that carry work out of the app and keep it: export, projects, and the arrangement. Whole modules stay open.