In this modern age of pedal-pushing future vibe, there are some interesting crossover opportunities available that have never been possible before. Guitarists and bassists can now play the role of the synth tweaker without learning a new instrument or having to shell out big bucks for a new instrument. As gearheads, many of us have taken the dive into the world of synth and discovered a Marianas Trench of tonal possibilities outside of our little world of guitars, amps and pedals. But, somehow it just isn’t in our DNA to be physically satisfied tapping on keys to get our noises. Luckily for us, tomorrow’s tones are available today and we can transform our wood and wire world into a universe of waveshapes and ramp up into the tonal cosmos without an extra pair of hands.
I could write endlessly about synth-like pedals and how they enable us to become more than human musically, but today I wanted to zoom in on one of my favorite song generating assets that was previously unavailable to the strictly stringed instrument folk: the step sequencer. Similar to looping—which most of us are familiar with—a step sequencer is a somewhat self-generative programmable musical sequence that can act as a pulse to propel a track. Let’s explore a few stompers and algorithms that bring the choppy, rhythmic vibe of a synthesizer’s step-sequencer to the guitarist’s pedalboard.
Hologram Dream Sequence
Hailing from my hometown of Knoxville, TN, Hologram Electronics busted out of the gate with a box seemingly dedicated to turning a guitar (or any signal source really) into a vintage synth pulsar capable of inspiring not only a few tracks, but also an entirely new approach to one’s instrument. In their own words “it’s a sequencer, an envelope shaper, a pitch shifter, a sampler and more.” If this sounds like a frightening pedal to the more “meat-and potatoes” pedal pushers, there is no need to worry. Even one or two presets on this light-laden big box can inspire a new riff or two (hundred) and even reveal microcosms of rhythmic intrigue that will keep one playing, scheming and dreaming for hours.
Perhaps the most difficult thing to achieve with a step sequencer type pedal is locking in with a live drummer and The Dream Sequence solves this age-old conundrum by employing a very clever feature: ADSR morphing on the rhythmic gate. I feel the fear already with this kind of synthy tech-talk, but all this translates to—in simplified terms—that the Tap Tempo smoothly morphs with the gate, so there are no hiccups in the groove when tapping back into a drifting human drummer. This is the beauty of this big groovy box: one can use it as a loop sampler, octaver, tremolo or even snap a guitar to the MIDI grid within a DAW. The Dream Sequence is all about bringing the realms of digital, analog, synthesis, guitar and rhythm all together. It’s a line straddling retro-future machine with a million possibilities.
Eventide HarPeggiator from PitchFactor and H9
It is time to tip the hat to the pioneers of guitar transformation: Eventide. The HarPeggiator is an insane algorithm that employs two pitch shifters, two rhythm generators and two special effects units. The special effects include five filters, five fuzzes and five glitch effects. As if that wasn’t mind bending enough, the two arpeggio sequencers allow 16 steps of insane rhythmic and tonal possibilities. I could write a feature on the spec of this algorithm alone, but personally, I like to just chaotically turn knobs until something pulses me into a musical-mechanical, transcendental state.
With HarPeggiator, I can plug straight into an interface and hardpan the stereo inputs for a universe of 3D sound without any other pedals. Because of the synth-like nature of this effect, I am reticent to add any extraneous effects that could potentially obscure the rhythmic pulses this thing generates, but when I do, it is all about the Malekko B:Assmaster with its extreme gating and blatty octave squidge. These are the perfect pair of pedals for otherworldly mechanoid menace—highly recommended for those in a riff writing rut.
Source Audio Stingray Multi-Filter
My Source Audio Stingray isn’t featured often as a step sequencer, but the Random Sample and Hold setting with the Multi Peak Filter certainly gives me that urge to get rollicking in a cyclical motion of riffage. With an expression pedal set to control the onboard Drive parameter, I can rock into a pseudo dirty organ dank-dank-style reverse sawtooth wave that sounds like a Vox Repeat Percussion running through an angry overdriving step sequencer.
With the drive disengaged, Speed set slower and the Mod Source set to Random Sample and Hold, the frequencies fold and lapse into vowel layers of dizzying diction. I highly recommend this little stomper to those that want to twist and save presets without menu diving.
Boss SY-300
This big blue beasty is perhaps the most comprehensive and overt attempt at turning the guitar or bass into a full-blown synthesizer. Roland pretty much pioneered the concept of the guitar synth in the ‘80s, but gone are the days when a highly modified instrument, mess of cables and surfboard-sized controller are required to tap into it. The SY-300 is the plug-and-play synth stomp we have been waiting for and perhaps one of the most powerful and ambitious stompboxes of all time next to the Eventide H9.
Each of the SY-300’s three onboard oscillators contains a 16-step, fully programmable sequencer. Guided by just a single note, the sequencer can launch into pitch patterns so complex and alluring, they would make Ms. Pac-Man blush away from her bits. What is so unique about SY-300 is the full control one has straight away with no computer or iOS device required. The simple menu pages are icon-based and one can limit the sequencer steps and repetitions, dial in exact BPMs and make pitch adjustments for each step on the fly. Theoretically, one could play a whole set of future-shock-electro-rock using just their index finger. It is good to know that if I mangle my fretting hand in a caravan fire or sheet metal factory, I will still be able to make forward-thinking guitar music.
Out of Step from the Norm
I know that there are many more pedals out there that do this kind of thing, but the four mentioned in this piece are the ones I have had the most fun and experience with. The purpose of this article was to perhaps help those in a creative rut—it happens to us all—who want to either add that special something to the set, or propel the guitar into the new sound waves of tomorrow. Whatever your reasons are for trying out these daring devices, one thing is for certain . . . you will write a new riff when flirting with step sequencing and that is worth the price of a pedal and a bit of planning any day. Plus, you will not sound like everyone else doing it. Why let the synth heads have all the tripped out fun?