MAKING USE OF PROBABILITY

Probability-based sequencing is increasingly prevalent in recent years, which is great, as it provides a simple and easy-to-achieve route to spicing up otherwise static sequences. In the hardware realm, the Conditional Trigs of Elektron’s sequencers are one of the best applications of this idea, but lots of other gear features similar capabilities, such as Arturia’s new KeyStep Pro, or numerous modular sequencers. While the application can change a little from sequencer to sequencer, the idea is broadly the same – allowing users to set a probability level controlling how likely the sequencer is to engage a specific trigger each time the sequencer lands on the corresponding step. At 100% probability you’ll hear a trigger each time a sequencer cycles, at 0% you’ll never hear it, and any value between these will result in a certain amount of variation.

This is a randomised process, in that the sequencer is effectively throwing a dice each time it reaches a step, but it’s not the same as fully randomising a sequence as we retain control over what, where and how frequently triggers appear. In practice, this is great for adding variety to simple bass or lead riffs.

Try programming ‘ghost notes’ with lower velocities or gate lengths around the main notes in a simple riff, with probability values in the 20-50% region. This is a great way to add variations; programming these notes an octave above or below the main riff sounds particularly great.

Probability is a great tool for use with hi-hats too. Try combining 16th-note closed hats with a pattern of randomised open hats for an effect that’s more akin to a real life drummer improvising.