Steinberg Sequel 2 Operation Manual

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Setting up your system
Setting up audio
Connecting audio
Exactly how to set up your system depends on many dif-
ferent factors, e.g. the kind of project you wish to create, 
the external equipment you want to use, the computer 
hardware available to you, etc. Therefore, the following 
sections can only serve as examples.
How you connect your equipment, i.e. whether you use 
digital or analog connections, also depends on your indi-
vidual setup.
Stereo input and output – the simplest connection
If you only use a stereo input and output from Sequel, you 
can connect your audio hardware, e.g. the inputs of your 
audio card or your audio interface, directly to the input 
source and the outputs to a power amplifier and speaker.
A simple stereo audio setup.
This is probably the simplest of all setups – once you have 
set up the internal input and output busses, you can con-
nect your audio source, e.g. a microphone, to your audio 
interface and start recording.
Multi-channel input and output
You may have other audio equipment that you want to in-
tegrate with Sequel, using several input and output chan-
nels. Depending on the equipment available to you, there 
are two ways to go: either mixing using an external mixing 
desk, or mixing using the mixer inside Sequel.External mixing means having a hardware mixing device 
with a group or bus system that can be used for feeding 
inputs on your audio hardware.
In the example below, four busses are used for feeding signals to the au-
dio hardware’s inputs. The four outputs are connected back to the mixer 
for monitoring and playback. Remaining mixer inputs can be used for 
connecting audio sources like microphones, instruments, etc.
A multi-channel audio setup using an external mixer.
ÖWhen connecting an input source (like a mixer) to the 
audio hardware, you should use output busses, sends or 
similar that are separate from the mixer’s master output to 
avoid recording what you are playing back. You may also 
have mixing hardware that can be connected via FireWire.
When using the Mixer inside Sequel, you can use the in-
puts on your audio hardware to connect microphones 
and/or external devices. Use the outputs to connect your 
monitoring equipment.
Mixing inside Sequel
!Always make all connections with all equipment 
turned off! 
						

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Setting up your system
Recording from a CD player
Most computers come with a CD-ROM drive that can also 
be used as a regular CD player. In some cases the CD 
player is internally connected to the audio hardware so 
that you can record the output of the CD player directly 
into Sequel (consult the audio hardware documentation if 
you are uncertain).
 All routing and level adjustments for recording from a CD (if 
available) are done in the audio hardware setup application, 
see below.
About recording levels and inputs
When you connect your equipment, you should make sure 
that the impedance and levels of the audio sources and in-
puts are matched. Typically, different inputs may be de-
signed for use with microphones, consumer line level (-10 
dBV) or professional line level (+4 dBV), or you may be 
able to adjust input characteristics on the audio interface 
or in its control panel. Please check the audio hardware 
documentation for details.
ÖUsing the correct types of input is important to avoid 
distortion or noisy recordings.
Making settings for the audio hardware
Most audio cards come with one or more small applica-
tions that allow you to configure the inputs of the hard-
ware to your liking. This includes:
 Selecting which inputs/outputs are active.
 Setting up word clock synchronization (if available).
 Setting levels for each input. This is very important!
 Setting levels for the outputs, so that they match the equip-
ment you use for monitoring.
 Selecting digital input and output formats.
 Making settings for the audio buffers.
In many cases all available settings for the audio hardware 
are gathered in a control panel, which can be opened from 
within Sequel as described below (or opened separately, 
when Sequel isn’t running). In some cases, there may be 
several different applications and panels – please refer to 
the audio hardware documentation for details.
Selecting a driver and making audio settings in Sequel
The first thing you need to do is select the correct driver in 
Sequel to make sure that the program can communicate 
with the audio hardware:
1.Launch Sequel.
2.Select the Program Settings Page from the Multi 
Zone.
The Audio Settings section of the Program Settings Page.
3.Click in the Audio Connection field to open the driver 
pop-up menu and select your audio hardware driver.
Bring up the control panel for the audio hardware and ad-
just the settings as recommended by the audio hardware 
manufacturer.
!Sequel does not provide any input level adjustments 
for the signals coming in to your audio hardware, 
since these are handled differently for each card. Ad-
justing input levels is either done in a special applica-
tion included with the hardware or from its control 
panel (see below).
!Under Windows, we strongly recommend that you 
access your hardware via an ASIO driver written 
specifically for the hardware, if available. If no ASIO 
driver is installed, we recommend that you check 
with your audio hardware manufacturer if they have 
an ASIO driver available, for example for download 
via the Internet. 
						

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Setting up your system
Under Windows, you open the control panel by clicking 
the “Setup…” button.
The control panel that appears when you click this button is provided by 
the audio hardware manufacturer and not Sequel (unless you use Di-
rectX, see below). Hence it will be different for each audio card brand 
and model.
The Control panel for the ASIO DirectX driver is an exception, as it is 
provided by Steinberg, and is described in the dialog help, opened by 
clicking the Help button in the dialog. See also the notes below.
Under Mac OS X, you will find the control panel for your 
audio hardware in the System Preferences (“Other” sec-
tion), opened from the Apple menu or from the Dock.
If you are using the built-in audio hardware of the Macintosh, you use the 
“Sound” control panel in the System Preferences to set levels, balance, 
etc. If you are using ASIO audio hardware, you can click the Control 
Panel button to bring up its panel.
4.Click Apply and OK to close the dialog.
If you are using audio hardware with a DirectX driver 
(Windows only)
Sequel comes with a driver called “ASIO DirectX Full Du-
plex Driver” available for selection on the Audio Connec-
tion pop-up menu on the Program Settings Page.
ÖTo be able to take full advantage of DirectX Full Du-
plex, the audio hardware must support WDM (Windows 
Driver Model) in combination with DirectX version 8.1 or 
higher.
In all other cases, the audio inputs will be emulated by DirectX (see the 
dialog help for the ASIO DirectX Full Duplex Setup dialog for details 
about how this is reported).
ÖDuring the installation of Sequel, the latest DirectX 
driver will be installed on your computer.
When ASIO DirectX Full Duplex Driver is selected on the 
Audio Connections pop-up menu, you can click 
“Setup…” to open the ASIO Direct Sound Full Duplex 
Setup control panel and adjust the following settings:
Direct Sound Output and Input Ports 
In the list to the left in the window, all available Direct Sound output and 
input ports are listed. In many cases, there will be only one port in each 
list. To activate or deactivate a port in the list, click the checkbox in the 
left column.
You can edit the Buffer Size setting in this list if neces-
sary, by double-clicking on the value and typing in a new 
value.
In most cases, the default settings will work fine. Audio buffers are used 
when audio data is transferred between Sequel and the audio card. 
While larger buffers ensure that playback will occur without glitches, the 
latency (the time between the moment Sequel sends out the data and 
when it actually reaches the output) will be higher.
Offset
If a constant offset is audible during playback of Audio and MIDI record-
ings, you can adjust the output or input latency time using this value.
Setting up the input and output ports
Setting the inputs and outputs primarily depends on the 
configuration settings of your audio card. You can check 
the configuration by clicking on “Setup…” on the Program 
Settings Page.
If you have a stereo in/out audio card this will most likely 
be set up automatically.
Inputs
Setting the recording input for Sequel is discussed in 
“Adding an audio track” on page 13.
Outputs
Audio outputs can be selected on the Program Settings 
Page from the Output Selector pop-up.
Retrieving channel names (Mac only)
For some audio cards, it is possible to automatically re-
trieve the “ASIO” channel names for the ports of your au-
dio hardware:
1.Open the Program Settings Page in the Multi Zone. 
2.In the Audio Settings section, select your audio card 
from the “Audio connection” pop up menu.
3.Open the control panel for your audio hardware.
4.Activate the “Use CoreAudio Channel Names” option.
5.When you now open the Output selector pop-up in the 
Audio Settings section or the Input pop-up in track list for 
audio tracks, you will find that the port names correspond to 
the names that are used by the CoreAudio driver.
!If your Windows audio hardware doesn’t have a spe-
cific ASIO driver, a DirectX driver is the next best op-
tion. 
						

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Setting up your system
Port selection and activation (Mac only)
On the settings page for your audio card, you can specify 
which input and which output port should be active. This 
allows you e.g. to use the Microphone input instead of the 
Line input or even to deactivate the audio card input or 
output completely, if required.
ÖThis function is only available for Built-In Audio, stan-
dard USB audio devices and a certain number of other au-
dio cards (e. g. Pinnacle CineWave).
About monitoring
In Sequel, monitoring means listening to the input signal 
while preparing to record or while recording. Sequel al-
ways monitors the signal in real-time.
The audio passes from the input into Sequel, possibly 
through Sequel effects and EQ and then back to the out-
put. You control monitoring via settings in Sequel. This al-
lows you to control the monitoring level from Sequel and 
add effects to the monitored signal only.
Setting up MIDI
This section describes how to connect and set up MIDI 
equipment. If you have no MIDI equipment you can skip 
this section. Note that this is only an example – you might 
need or want to hook things up differently!
Connecting the MIDI equipment
In this example we assume that you have a MIDI keyboard. 
The keyboard is used for feeding the computer with MIDI 
messages for recording. Using Sequel’s automatic MIDI 
Thru feature you will be able to hear the correct sound 
from the instrument track while playing the keyboard or re-
cording.
A typical MIDI Setup
Setting up MIDI ports in Sequel
Sequel automatically finds any MIDI devices connected to 
your computer and allows them to be MIDI inputs for re-
cording.
Optimizing audio performance
This section gives you some hints and tips on how to get 
the most out of your Sequel system, audio performance-
wise. Some of this text refers to hardware properties and 
can be used as a guide when upgrading your system. 
Two aspects of performance
There are two distinct aspects of performance in respect 
to Sequel:
Tracks and effects
Simply put: the faster your computer, the more tracks, ef-
fects and EQ you will be able to play. Exactly what consti-
tutes a “fast computer” is almost a science in itself, but 
some hints are given below.
!Always make all connections with all equipment 
turned off! 
						

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Setting up your system
Short response times (latency)
Another aspect of performance is response time. The term 
“latency” refers to the “buffering”, i.e. the temporary stor-
ing, of small chunks of audio data during various steps of 
the recording and playback process on a computer. The 
more and larger those chunks, the higher the latency.
High latency is most irritating when using software instru-
ments and when monitoring through the computer, i.e. 
when listening to a live audio source via the Sequel mixer 
and effects. However, very long latency times (several 
hundred milliseconds) can also affect other processes like 
mixing, e.g. when the effect of a fader movement is heard 
only after a noticeable delay.
A  syst em that  responds  fas t will alwa ys be more convenient 
to work with.
Depending on your audio hardware, it may be possible 
to “trim” your latency times, usually by lowering the size 
and the number of buffers.
For details, refer to the audio hardware documentation, or, if you are using 
a DirectX driver under Windows, the dialog help.
System factors that affect performance
CPU and processor cache
It goes without saying that the faster the computer’s pro-
cessor, the better. But there are a number of factors that 
affect the apparent speed of a computer: the bus speed 
and type (PCI is strongly recommended), the processor 
cache size and of course, the processor type and brand. 
Sequel relies heavily on floating point calculations. When 
shopping for a processor, please make sure you get one 
that is powerful in calculating floating point arithmetics.
Note also that Sequel features full support for multi-pro-
cessor systems. So if you own a computer system with 
more than one processor, Sequel can take advantage of 
the total capacity and evenly distribute the processing 
load to all available processors.
Hard disk and controller
The number of hard disk tracks you can record and play 
back at the same time also depends on the speed of your 
hard disk and hard disk controller. If you use E-IDE disks 
and controllers, make sure that the transfer mode is DMA 
Busmaster. Under Windows, you can check the current 
mode by launching the Windows Device Manager and looking for properties of the IDE ATA/ATAPI Controller’s 
primary and secondary channel. DMA transfer mode is en-
abled by default, but may be turned off by the system 
should hardware problems occur.
ÖIn Sequel you can record up to eight stereo tracks at a 
time.
Audio hardware and driver
The hardware and its driver can have some effect on reg-
ular performance. A badly written driver can reduce the 
performance of your computer. But where the hardware 
driver design makes the most difference is with latency.
This is especially true when using Sequel for Windows.
Under Windows, ASIO drivers written specifically for 
the hardware are more efficient than a DirectX driver and 
produce shorter latency times.
Under Mac OS X, audio hardware with properly written 
Mac OS X (Core Audio) drivers can be very efficient and 
produce very low latency times.
Optimizing processor scheduling (Windows 
only)
To get the lowest possible latencies when using ASIO un-
der Windows XP (on a single CPU system), the system 
performance has to be optimized for “Background ser-
vices”:
1.Open the Windows Control Panel from the “Start” 
menu and select “System”.
2.Select the “Advanced” tab and click the “Settings” 
button in the “Performance” section. The “Performance 
Options” dialog is opened.
3.Select the “Advanced” tab.
4.In the “Processor Scheduling” section, select “Adjust 
for best performance of: Background services”.
5.Click “OK” to close the dialogs.
!Again, we strongly recommend that you use audio 
hardware for which there is a specific ASIO driver! 
						

							12
Key commands 
						

							97
Key commands
Introduction
This chapter contains a list of the available key commands 
in Sequel, structured according to the different edit cate-
gories in the program.
The available key commands
File commands
Edit commandsProject commands
Navigate commands
Option Key command
New Project [Ctrl]/[Command] + [N]
Open Project [Ctrl]/[Command] + [O]
Save Project [Ctrl]/[Command] + [S]
Save As [Ctrl]/[Command] + [Shift] + [S]
Manage Projects [Ctrl]/[Command] + [Shift] + [M]
Help [F1]
Quit [Ctrl]/[Command] + [Q]
Option Key command
Undo [Ctrl]/[Command] + [Z]
Redo [Ctrl]/[Command] + [Shift] + [Z]
Cut [Ctrl]/[Command] + [X]
Copy [Ctrl]/[Command] + [C]
Paste [Ctrl]/[Command] + [V]
Delete [Delete] or [Backspace] 
Select All [Ctrl]/[Command] + [A]
Select None [Ctrl]/[Command] + [Shift] + [A] 
Duplicate [Ctrl]/[Command] + [D]
Split at Cursor [Ctrl]/[Command] + [T]
Move to Cursor [Ctrl]/[Command] + [L]
Solo [S]
Mute selected track(s) [M]
Mute objects [Ctrl]/[Command] + [M]
Snap on/off [J]
Quantize [Q]
Record Ready [R]
Option Key command
Add Track [Ctrl]/[Command] + [+]
Remove Track [Ctrl]/[Command] + [Delete] or [Backspace]
Toggle Automation Mode [A]
Show Mixer [1]
Show Inspector [2]
Show Media [3]
Show Editor [4]
Show Arranger Page [5]
Show/Hide Multi Zone [E]
Show/Hide Virtual 
Keyboard[K]
Change Virtual Keyboard 
Display Type[Tab]
Metronome on [C]
Show/Hide Tuner [T]
Show/Hide Track Pictures 
in Track List[I]
Enter the Edit Remote Con-
trol Assignment mode[F]
Show Program Setttings [6]
Set Cycle to Selection [P]
Option Key command
Left [Left Arrow]
Right [Right Arrow]
Up [Up Arrow]
Down [Down Arrow]
Add Left [Shift] + [Left Arrow]
Add Right [Shift] + [Right Arrow]
Add Up [Shift] + [Up Arrow]
Add Down [Shift] + [Down Arrow]
Bottom [End]
Select/deselect MediaBay 
Page filter[Ctrl]/[Command] + [Space] 
						

							98
Key commands
Virtual Keyboard - Navigate commands
ÖWhen the Virtual Keyboard is active, the usual key 
commands are blocked. The only exceptions are: [*] (“mul-
tiply” on the numeric keypad) for recording, [Space] for 
start/stop and [Home]/[Command]+ [Home] to jump to 
the project start.
Zoom commands
Transport commands
Option Key command
One Octave down [Left Arrow]
One Octave up  [Right Arrow]
One Volume step up  [Up Arrow]
One Volume step down [Down Arrow]
Option Key command
Zoom In [H]
Zoom Out  [G]
Zoom Last [Shift] + [H]
Zoom Full [Shift] + [G]
Zoom to Parts [Shift] + [P]
Option Key command
Locate Selection [L]
To Left Locator [Home] (PC)/[Command]+ [Home] (Mac)/
[.] (Notebooks)
Start [Enter] (numeric keypad)
Stop [0] (numeric keypad)
Start / Stop [Space]
Record [*] (“multiply” on the numeric keypad) or [Ins] 
Rewind [-] (“subtract” on the numeric keypad)
Forward [+] (“add” on the numeric keypad)
Return to Zero [.] or [,] on the numeric keypad
Cycle [/] (“divide” on the numeric keypad)
Locate next Marker [Shift] + [N]
Locate Previous Marker [Shift] + [B]
One Button Record [Ctrl]/[Command] + [R], 
[Ctrl]/[Command] + [*] (Num) 
						

							13
Effects reference 
						

							100
Effects reference
Introduction
This chapter describes the effects and instruments in-
cluded with Sequel. How to use these is described in the 
section “The Track Inspector Page” on page 62.
Track/Global Effects
Delay Effects
PingPongDelay
As the name implies, PingPongdelay creates a bouncing ef-
fect. This will bounce the signal between left and right.
“SyncNote” allows you to sync the bouncing effect to the 
tempo. “Feedback” determines how long the delay will last. 
Using the “Spatial” parameter you can increase the dis-
tance between the bounces. This sounds great on solos. 
The “Mix” parameter determines how much original signal 
you hear versus the affected signal.
StereoDelay
StereoDelay is great for giving your tracks a sense of space. 
It includes two delays. One for the left channel and one for 
the right channel. “SyncNote” allows you to sync the delay 
effect to the tempo. “Feedback” determines how long the 
delay will last. The “Mix” parameter determines how much 
original signal you hear versus the affected signal.
Distortion Effects
AmpSimulator
The AmpSimulator allows you to make it sound like your 
tracks were recorded through an electric guitar or bass 
amplifier.
“Drive” gives a boost to the signal and simulates an over-
drive pedal. “Bass” adds low end to the signal. “Mid” 
boosts the middle frequencies of the signal. “Treble” adds 
high end to the signal. “Volume” allows you to give that ex-
tra boost to the signal without adding any distortion.
There are a number of AmpSimulator presets available. 
Try out the different presets to find the desired amp sound.
Distortion
Distortion is great for adding crunch to your tracks. This ef-
fect is easy to use with only two parameters, but it is ex-
tremely effective. “Boost” cranks up the distortion amount. 
“Output” raises or lowers the signal going out of the effect.
Dynamics Effects
Gate
Gate, as the name implies, allows you to create a “gate” 
which will let only audio through if it meets a volume re-
quirement that you control. “Threshold” sets the volume 
level that the signal has to reach in order to be heard. “Re-
lease” controls how quickly the “gate” will close after it 
has been opened.
Maximizer
Maximizers are commonly used in the mastering stage to 
raise the overall level of the mix. The Optimize setting raises 
the level of your tracks without clipping the output. Turning 
this up all the way creates a “brick wall” type effect that is 
often used on drum tracks in electronic music.
Filter Effects
DualFilter
This effect filters out certain frequencies while allowing oth-
ers to pass through. Moving the Position slider changes the 
focus frequency of the filter. If the position is higher, only 
high frequencies are heard. If the position is lower, only low 
frequencies are heard. “Resonance” adds a ringing effect 
to the filtered sound.
Modulation Effects
AutoPan
AutoPan automatically moves the track’s signal from left to 
right and back again. “Rate” determines how quickly the 
signal moves back and forth. “Width” adjusts how far to 
the left and right the signal will go.