Sugar Bytes Consequence User guide

Consequence

User Manual

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Table of Contents

What is Consequence

Getting Started

Installation

WINDOWS

macOS

The Library

Uninstalling

Authorization

Consequence Structure

The Preset System

The Sound Section

Instruments
Filter
Effects Section

The Sequencer Section

Sequencer Global Controls
Modulation Sequencer
Performance Sequencer
Octave Sequencer
Glide sequencer
TIE Sequencer
MODE Sequencer
Trigger Sequencer
Gate Sequencer

The Chord Section

Chord Sequencer

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Chord Memory

Master Section

MIDI Export
Compressor
4/4 Kick
Master Envelope , Tune and Level

Host Integration

Cubase
Ableton Live
ProTools
Studio One
Sonar
Logic

Logic AU Workaround

FL Studio

MIDI remote

Tips and Tricks

Saving CPU and Ram
Instant percussion track
Complex Poly-Rhythmics
Interesting Rhythms and Triplets
Long Filter Sweep
Disco Ducking
Use multiple instances

License

Contact

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What is Consequence

While the word Synquencer expresses the combination of Synthesizer and Sequencer,
Consequence is so much more.

With this musical instrument, you have an unlimited source of inspiration and unheard
sounds at your hands. Consequence features different ways to create and sequence
chords, melodies and sound scapes.

A beautiful interface provides instant and easy access to all functions and enables a
smooth work flow to get the best out of this complex machine.

Consequence has been made to make your ideas come true – in the process surprising
you with new and unheard sounds.

Nomen est Omen: Consequence is a consequent solution for today’s production needs
and on-stage environments, containing a lot of new thinking and applied experience to
support your musical expression.

Getting Started

Load Consequence as a VST/Audio instrument in your sequencer.

Start your sequencer playback or hit the “Play” Button in the Sequencer Global Section.

Select different Global presets to get a feeling of all the stunning sounds, rhythms and
melodies you can easily create with Consequence.

Combine Sound- and Sequence- presets with each other. Dive into an unlimited depth of
possible combinations, making Consequence a truly infinite source of inspiration for new
songs/tracks/jingles/soundtracks. It´s simple math: 200 Sound Presets multiplied with
200 Sequence Presets and 20 Chord Banks equals 800000 possible sounds - just by
selecting presets!

Have a look into the sequencer section. The lowest sequencer chooses chords from the
Chord Memory which is the unit on the bottom of Consequence.

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Installation

Download (requires login) the latest version here.

The standalone version and the manual will be installed into
Windows: C:\Program Files\Sugar Bytes\Consequence
macOS: /Applications/Sugar Bytes/Consequence

Presets will be installed into Documents\Sugar Bytes\Consequence.
Do not move the Consequence presets after installation!

WINDOWS

Default installation paths:
VST C:\Program Files\VSTPlugins
AAX C:\Program Files\Common Files\Avid\Audio\Plug-Ins

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macOS

The Audio Unit, the VST Plugin and the AAX Plugin will be automatically installed into the
correct folders.

Default installation paths:
VST /Library/Audio/Plug-Ins/VST/
AU /Library/Audio/Plug-Ins/Components/
AAX /Library/Application Support/Avid/Audio/Plug-Ins

The Library

237 Instrument sounds are available. They all have been created exclusively for
Consequence by different sound designers. Included are natural instruments as well as
synthesizers.

The Library can be installed to a directory of your choice.
If you moved the instrument library manually, next time Consequence starts, it will bring
up a dialog box for you to tell Consequence the new library location.

Select the “Locate.me” file which is placed in the Consequence Instruments folder and
Consequence will find all Instruments.

Please never delete any files from The Sugar Bytes Instruments folder.

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Uninstalling

In order to uninstall Consequence, please take the following steps:

Windows: Uninstall Consequence under Control Panel/AddRemove Software.

macOS: Here is the way to delete everything regarding Consequence

/Applications/Sugar Bytes/Consequence
/Library/Audio/Plug-Ins/VST/Consequence.vst
/Library/Audio/Plug-Ins/Components/Consequence.component
/Library/Application Support/Avid/Audio/Plug-Ins/Consequence.aaxplugin

~/Documents/Sugar Bytes/Consequence
~/Library/Preferences/com.sugar-bytes.Consequence.plist

~ means: /Users/YOURLOGINNAME (your home folder)

(Please note that since OSX 10.7.x the library folder is a hidden folder.
Therefore please use the "Go To Folder" menu and then enter ~/Library.)

Authorization

The serial number is requested for installation.
If the serial number validation fails, the plugin will show that in the Consequence About
Screen.

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Consequence Structure

The Preset System

Consequence offers a versatile Preset System which allows you to combine Sound-,
Sequence- and Chord Memory presets to create millions of new sounds out of existing
parts.

Presets are organized in sub folders, so you can easily create your own categories.
For you to save your own presets we already created a “User” folder.

The four presets systems explained:

1 Global Preset: saves all Consequence settings.

2 Sound Preset: saves all settings from the sound area.

3 Sequence Preset: saves all settings from the sequencer area and the chord
memory.

4 Chord Banks: saves all 16 chords in the chord memory.

The presets can be found in the Consequence application folder under Content/Presets.

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The Sound Section

The Sound Section contains the 3 Instruments, as well as the Filter Section and the
Master Section. All settings of the Sound Section and the Effects Section are saved in the
exclusive “Sound” preset system.

Instruments

The three sample-based instruments offer a wide variety of sounds and timbres.
There are some nice trigger- and sound design features included to let each instrument
play its own interpretation of the current sequence.

Also, each instrument uses it´s own amplitude envelope and octave setting to realize
complex sounds.

The TRG, Each, Crush and Age functions available in each instrument are truly innovative
tools to cover some old and new fashioned rhythm- and sound design desires.
A quite unusual and very inspiring innovation is the trigger section of each instrument.
Basically, each instrument can choose whether it plays all triggers, or only chords, or only
arpeggios.

With just a few clicks you can create chords that overlay arpeggios and decide which
instrument is filtered and which one is not. This way you can use an unfiltered natural
instrument together with a filtered synth sound, which might result in some vibraphone
chords with a tricky synth-bassline playing along.

The “Each” control is a good tool to let the 3 instruments play individual rhythms to
create one complex rhythm. It makes an instrument use each, each 2nd, each 3rd... gate,
enabling you to select different intervals for each instrument to make them trigger at
different times - resulting in stunning sound textures and interesting rhythms.

Instrument (I, II, III):

Step through the Consequence instruments folders with the up/down buttons or open
the menu with a click on the instrument name or the “Open Menu” button.

You find the instruments sorted in categories (physical folders), so it is really easy for you
to find the desired sound.

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Octave
Here you set the base octave for the Instrument. Using that feature you can offset the
octaves between the Instruments.

Age
This parameter introduces a slight pitch-variation to the instruments, heard as detuning
effect with lower settings and noisy effects with higher settings. Will add unison-spread
and chorus effects.

Crush
Polyphonic sample rate reduction according the note´s pitch. Yummy!

Pan
The instrument´s position in the stereo field.

Attack
The time needed to fade in the audio level when a trigger comes in. The Attack time can
be longer than the time of one step, but using TIE you can create very long notes which
might require long Attack times.

Decay
The time needed to fade to the sustain level. In a step sequencer environment, the Decay
parameter controls the length of a note.

Sustain
Controls the audio level that is applied as long as a note is held after the Decay time is
over. Sustain is important to keep an instrument playing when TIE is used.

Release
The fade out time after a note has been released.

Level
The instrument’s output level.

On/Off (blue lamp)
Here you can switch the instrument on or off.

Note
The Arpeggiator plays 8 voices in circle, so long Release times will overlay up to 8 notes
with each other.

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TRG
Trigger mode of an instrument. Here you control how the instrument reacts to the

Performance/Mode Sequencer. In “ALL” mode, all notes will be played. In “CRD” mode,

only chord-steps will trigger the Instrument, in “ARP” mode, only arp steps (up, down,
stay) will trigger the instrument.

Each
Here you can decide if the instrument is triggered by each gate, each 2nd, each 3rd... and
so on. Using this feature, instruments can play different rhythms and melodies using the
same sequence.

MIDI Channel
Above the Instrument loader you can find the MIDI channel setting. Select the MIDI
channel on which the instrument sends it´s individual triggers and notes.
Note Range: Here you can select an exclusive note range for each instrument.
If incoming notes are outside of the selected note range, these notes will not be
triggered.

ATTENTION:

 The Instrument might not be triggered because it´s “TRG” Mode is set to ARP
but only chord steps are set or vice versa.

 The Instrument might not be triggered by each step because it´s “EACH” mode is set

to a different value than one, so it will only be triggered by each 2nd, 3rd..etc step.

 The Instrument might not be triggered by each step because it is assigned to the TIE

sequencer. Instruments require Sustain level to make use of the TIE feature which will
hold notes according to the steps set in the TIE sequencer.

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Filter

The Filter contains some excellent sounding, awarded analogue-modeled filters.
The Buttons LP, HP, BP, C and N define the filters working mode and the age algorithm
gives some dirt to the filter cutoff, which results in a real old, unstable and noisy sound
The Lowpass in Consequence has been optimized for a slight self-oscillation when used
with high resonance.
The Bandpass, Highpass, Notch and Comb Filter deliver the crisp and juicy performance
that you might know from our WOW Filterbox.

The Filter can run in Mono- and Poly mode.
In Poly mode (POLY: “ON”), each note will individually trigger the Filter Envelope, so each
note will have it´s own filter sweep according to the Filter Envelope settings.
In Mono mode (POLY: “OFF”), each note will trigger the Filter Envelope for all voices at
once.
Each instrument can be assigned to the filter independently.
Use the buttons I, II and III to assign an instrument to the filter.
The trigger options (TRG and Each) can be found in the filter as well as in the
instruments. These decide if the Filter Envelope is triggered by all gate steps, exclusively
by chord steps or arp steps. Also you can decide to use each, each 2nd, each 3rd... gate
to trigger the Filter Envelope.

The L/R button inverses the Filter Envelope sweep between left and right channel.
So a filter modulation, which is determined with the peak control, will be heard inversed
on the left and right channel.

LP, HP, BP, C, N
Choose the working mode of the filter here. Lowpass, Bandpass, Highpass, Notch and
Comb Filter are available.

Poly
Filters each voice individually (ON) or all at once (OFF).

Input
Assigns Instrument I, II and III to the Filter.

TRG
Decides which sequencer events trigger the Filter Envelope.

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Each
Decides if each note triggers the Filter Envelope or each 2nd, 3rd, 4th ... 8th

Age
Slight cutoff disturbance by smoothed noise.

Cutoff
The filter base frequency.

Reso
The filter depth. Creates high attenuation at the cutoff frequency.

Peak
The target filter frequency of the Filter Envelope. It starts at the cutoff, fades to the peak,
sustains at the peak and releases back to the cutoff. (see image below)
Mix: The filtered signal can be crossfaded with the dry signal. That makes it possible to
hear the filtered sound on top of the unfiltered sound.

ATTENTION:

● The Filter Envelope might not be triggered because it´s “TRG” Mode is set to ARP

but only chord steps are set or vice versa.

● The Filter Envelope might not be triggered by each step because it´s “EACH”

mode is set to a different value than one, so it will only be triggered by each 2nd,
3rd..etc step.

● The filter might not take effect because it´s not assigned to the desired instrument

● The filter might not be working hard enough because the “MIX” is not set to 100%

wet.

● The filter can arpeggiate a chord. So when you wonder why an instrument plays

an arpeggio although it´s “TRG” mode is set to “CRD”, the reason is that the filter is
working in Poly Mode and is triggered by Arp steps. That means, the filter will
extract one voice after another from an existing chord. Using only audible filter
frequencies or changing trigger modes might solve that issue.

● If the Peak control is higher than the Cutoff, the Filter envelope will work inversed,

because the envelope is used to fade between Cutoff and Peak.

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Effects Section

Right beside the Sugar Bytes logo you find the “VIEW” button which switches between

Sound- and Effects Section. The effects are running in chain (according to the effects
order in the user interface, from left to right) and can be mixed with the original signal.

Reverse
The reverser records an audio loop according to the size setting and plays it backwards.
The reverser resets together with the sequencer, so when Consequence is triggered, the
reverser creates a whole new file. The reversed sound comes in delayed by the time given
at the SIZE control.

Size: Size of reversed sound snippet. Goes from 1/32 note to 1/1 note.
Decay: Decay time of reverse snippet from 0 to 2000 ms.
Fade: Crossfades the reverse-loop-ends to care for a smoother sound.
Mix: Relation between effects signal and input signal.
On/Off (blue lamp): Here you can switch the effect on or off.

Chorus
The good old widening and thickening effect, using several detuning stages.

Rate: Speed of the Chorus effect.
Width: Stereo imaging intensity.
Depth: Intensity of the detuning effect.
Mix: Relation between effects signal and input signal.
On/Off (blue lamp): Here you can switch the effect on or off.

Phaser
Immediate width, depth and vintage style.

Rate: Speed of phasing effect.
Depth: Intensity of phasing and stereo imaging effect.
Feedback: Intensity of the internal feedback circuit. Adds sharpness.
Mix: Relation between effects signal and input signal.
On/Off (blue lamp): Here you can switch the effect on or off.

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Delay
Two delay algorithms are available. The Sync Delay works with note times working as
delay times (1/16 or 1/8 T for example). The 16th Delay uses 16th notes as delay times
and provides individual times for left and right.

Sync Delay

Time: The Delay time in sync values.
Width: Intensity of stereo imaging.
Feedback: Intensity of the internal feedback circuit.
Mix: Relation between effects signal and input signal.
On/Off (blue lamp): Here you can switch the effect on or off.

16th Delay

Time L, Time R: The Delay time in 16th notes, available for left and right channel.
Feedback: Intensity of the internal feedback circuit.
Mix: Relation between effects signal and input signal.
On/Off (blue lamp): Here you can switch the effect on or off.

Reverb
A classical reverb with stereo widening feature.

Room: Reverberating room size.
Width: Stereo imaging intensity.
Damp: Feedback Suppression.
Mix: Relation between effects signal and input signal.
On/Off (blue lamp): Here you can switch the effect on or off.

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The Sequencer Section

The Sequencer section is where notes and chords are triggered and tweaked. Here you
create melodies, glides, rolls and rhythms. 24 individual patterns are stored in the Pattern
Keys to be called up using MIDI notes. All settings of the Sequencing Section and the
Chord Memory Section are saved in the “Sequence” presets.

Sequencer Global Controls

On the bottom of the sequencing section you find the sequencer Global controls.
Here you can instantly start the sequencer (play button), set the sequence speed and
swing.
Two different sync sources are available as well as MIDI-note-controlled pattern selection.
On the left side you have copy, paste, rotate, random and initialize buttons to alternate
the whole sequence and spread it across the 24 available Pattern Keys. Also the
Randomizer Min/Max controls can be found here.

Swing
Retard each second step for swing feel.

Play Button
Displays if the sequencer plays or not and can be pressed to immediately start the
sequencer.

Tempo
Click and drag this control like a knob. Sets the sequencer speed in divisions of your song
tempo.

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Sync
Selects the clock- and trigger source.

Internal

Will trigger the sequence only when a MIDI note is pressed.

External

Will use the song position information of your host to synchronize Consequence to your
song.

Pattern Keys-MIDI
Here 24 alternative patterns are stored and called up. You can call the patterns with the
mouse, automation and MIDI notes. Just drag the blue arrow across the little pattern
keyboard to call a pattern with the mouse. The blue number on the right side identifies
the current pattern key. In order to call patterns with MIDI notes, set the Pattern Keys
button to “MIDI”.

C
Copy the complete visible sequence to the clipboard.

P
Paste the sequence from the clipboard to the visible sequence.

Random (Dice Icon)
Click this button to randomize the sequence. Min/Max settings for the randomizer can be
found in the Global section. If Min becomes bigger than Max, no values will be created
within the negative area.

X
Initialize the complete visible sequence.

< / >
Rotate the sequence.

Gate sequences and Modulation sequences can be copied/pasted with each other.

Loop Bar

On top of the sequencer you find the Loop Bar. Here you set a loop within the sequence.
Drag the edges to resize it and drag the center to move the loop bar.

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Modulation Sequencer

You have one of them available for each part of Consequence (Instrument 1-3, Filter,
Effects). Draw a curve and let the knobs fly!
For a better overview and handling, we only included the most important parameters
in the modulation system.
The Modulation remotes the parameter completely, so it makes no sense to automate or
touch the parameter. To deactivate a modulation just set the regarded modulation track
to entry “Off”.

I, II, III, F, FX
Click these buttons to call up the modulation sequencers for Instrument 1, 2, 3, Filter or
Effects.

Choose the modulation target in the menu below.

C
Copy the currently visible modulation sequence to the clipboard.

P
Paste the sequence from the clipboard to the visible modulation sequence.

X
Erase the currently visible modulation sequence.

< / >
Rotate the sequence.

Copy/Paste also works between presets and between plugin instances.

Ctrl+Mousing will switch to the “Line-Draw” mode, which will help you to create straight
lines within the sequence. Hold the Shift key, click the source value, then move the
mouse to the target value

Shift+Mousing will give you a finer mousing resolution.

Gate sequences and Modulation sequences can be copied/pasted with each other.

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Performance Sequencer

The five sequencing lines in the performance sequencer offer some nice features to
create interesting chord/melody-combinations, held notes, rolls, octave jumps and pitch
glides. Here you can create magical music with just a few clicks. The Arp Mode Menu
gives you some cool possibilities to define the behavior of your arpeggios. Here you can
restart an arpeggio with a certain event, define the note starting the arpeggio and select

from two overall arpeggio modes “Absolute” and “Relative”, defining the note order when

the ARP style changes (from up to down for example).

The performance sequencer features an advanced mousing mode which makes it easy to
create sequences on the fly:

 If you click on an empty step, an active step will be created.
 If you drag from an empty step, an active block of steps will be created.
 If you click on a step multiple times, you reach the different states of the step

(Mode and Trigger sequencers only), for example arp up, stay and down or multi­trigger 2x, 3x, 4x.

 If you drag from an active step, all following steps will become like the active step.

For example if you press an arp-up-step and then drag with the mouse, a block of
arp-up-steps will be created.

 Rightclick a step to delete it. Rightclick-drag to delete multiple steps.

Glide
The time needed to fade from one note to the next when a Glide Step is set.

TIE
Assign the TIE sequencer to the Instruments and the Filter individually.

Arp Mode
“Absol.” creates larger note jumps when the arp-figure changes, while “Relat.” plays one
note after another according to the notes set in the chord memory.
Please see the “Mode Sequencer” explanation for more info.

Restart
Decides at which event the Arp will restart (playing the first voice of the given chord). Set
it to “Play” to restart the Arp whenever you hit play in your sequencer. That results in
evolving melodies which might be much longer than one sequence.

Set it to “Wrap” to restart the Arp at the first sequencer step. That makes sure the
melody will always be repeated when the sequencer wraps around. “Block” will restart

the arp whenever a block of arpsteps is reached. That way you can restart a melody

multiple times within the sequence. “Style” will restart the arp when it changes between

the available modes up, stay, down or chord.
“Chord” restarts the arp whenever a chord step is reached. “MIDI” will restart the arp
whenever a MIDI-note arrives.

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Shift
Selects the voice the arp will start with. So you can make the arpeggiator start at voice 3
for example to select a distinct note that you want your melody to start with.

Octave Sequencer

Here you can set octave jumps for the whole sound section. While the Arp Style and
Chord/Arp switching is part of the TIE system (will not change during active TIE steps),
the octave sequencer can shift octaves at any time.

Glide sequencer

Use this sequencer to glide from one note to another. The fader on the left side controls
the time needed to glide from one note to the next one. Only Arpeggios make use of the
Glide steps.

TIE Sequencer

The TIE sequencer makes it possible to hold the gate and pitch of the previous step. More
active tie-steps together (blocks) make one long note. The TIE feature can be assigned to
each Instrument independently. That way you can hold a chord with one Instrument
while another Instrument plays an arpeggio on top of it. Therefore one Instrument must

be set to “CRD” and the TIE must be assigned to it. Another Instrument must be set to
“ARP” with TIE unassigned. When a note is held, you can make full use of the ADSR

Envelope. Now you can use long Attack and Decay times. The Filter, which also uses an
envelope, can be assigned to the TIE as well, which makes long filter sweeps possible.
The TIE holds gate and pitch, what means that multi-triggers will not be played during
active TIE (for the assigned Instruments or filter).

I, II, III, F
The Buttons I, II, III, F assign the TIE to Instrument 1, 2, 3 and Filter

ATTENTION:

 An Instrument might not play each step because TIE is assigned to it.

 An instrument must have a Sustain Level greater then 0 or a long Attach time to

work with TIE.

 Use looped sounds (Synths, Strings, Brass(/Winds, Vocals) with TIE. Oneshot-

Sounds like Bells, mallets, Percussions or Guitars are not suitable to be used with
TIE.

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MODE Sequencer

Here you manage your melody.
For each sequencer step you can choose to play a full chord or a melody where you can
decide for each step if it goes up or down or repeats the last note.

ARP MODE

The ARP MODE decides how the change of arp direction is handled.

In “RELATIVE” mode, the change of playback direction will always be relative to the last
played note. So if the arp runs upwards and now turns downwards, it will go downwards
from the last played note (look at the image).

In “ABSOLUTE” mode, the direction change will invert the arp playback, which results in
note jumps. If the arp played a 4 voice chord upward and changes the direction after it
played note 1, it will play note 4 as the first downward note. That creates more
interesting melodies because the next note is not always the closest to the previous
note. The Image below should explain that visually.

Relative Arp Mode Absolute Arp Mode

RESTART menu controls

The RESTART menu controls the moment when the arpeggiator restarts. It can be useful
to let the arp simply do its thing for long and unpredictable melodies. But it can also be
useful to restart the arp at certain events to create a certain melody. So the arp can be
retriggered when you hit play in your sequencer, when a block of arp steps is reached if
no arp was set before, when a MIDI note arrives, when the arp changes its playback mode
(style), or when the sequencer reached the first step (wrap).

Attention:

● An Instrument might remain silent because it is set to TRG Mode “ARP”, but only
chord steps are set.

● An Instrument might remain silent because it is set to TRG Mode “CRD”, but only
arp steps are set.

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Sequencer symbols

Chord step

Plays the full chord.

Arp step

Play the notes of the chord upward.

Repeat the last note.

Play the notes of the chord downward

If no Arp step is set, a chord will be played when the sequencer reaches that step. When

you set an Arp step, a single note will be played. If the “TRG” (Trigger-) Mode of an
Instrument is set to “ARP”, it will only be triggered by arp steps. If it´s set to “CRD”, it will

only be triggered by steps with no Arp set. If the TRG Mode of an Instrument is set to
“ALL”, it will be triggered by all existing steps.

The Arpeggiator also offers some interesting note handling and retriggering features.

Trigger Sequencer

Here you can make steps trigger multiple times. So for example if 2 is set, the step will be
triggered two times, at double speed. That’s a good feature to introduce flams, rolls,
strums and triolic feels. The multi-trigger is also used by the arpeggiator which results in
fast arpeggios on a single step. The multiple triggered notes have different velocity
values to avoid the machine gun effect.
Especially with a low tempo setting (1/4 or 1/8) you can create interesting rhythmical
structures using the multi-trigger sequencer. See the image below for a visual
explanation.

Please be aware that the swing feature will affect the multi-triggers. Since the swing
delays each second note, a multi-trigger is playing later and so might overlay the next
gate step.
So because the swing factor will affect the multi-trigger speed, each second step will play
a faster multi-trigger according to the swing factor.
This is to ensure that a multi-trigger has finished before the next step is played.

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Gate Sequencer

The Gate sequencer triggers the notes and chords. Each active step generates a note
event. For creating gate sequences on the fly, we have prepared a little pattern-maker
which contains 8 standard gate lines ready to be written into the gate sequencer. Just
choose an entry in the “Create Gate Pattern” menu and hit the arrow button to create a
gate sequence on the fly.

ATTENTION:

● An Instrument might remain silent because it is set to TRG Mode “ARP”, but only
chord steps are set.

● An Instrument might remain silent because it is set to TRG Mode “CRD”, but only
arp steps are set.

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The Chord Section

The chord section consists of two main parts: the chord memory and the chord
sequencer.

In the chord memory, 16 chords can be stored. These 16 chords represent a chord bank.
Chord Banks can be saved and loaded from the Chord Bank preset system.
The chord sequencer chooses from these 16 chords.
The currently played chord is represented by a number (1-16) which is displayed by a big
blue number right beside the keyboard and yellow numbers (which also work as buttons)
above the keyboard. The yellow numbers 1-16 can be used to select the current chord

when the “Select” control is set to “Manual”. In “Sequencer” Mode, these numbers will

display the currently selected chord.

The chord section can be bypassed (set “Select” to “MIDI”). That makes it possible to play

your own chords and melodies via MIDI and arrange them with the sequencer section.
Especially when you know exactly what you want to play, for a distinct musical piece or
live performance, it might be easier just to play manually and let the sequencing section
do its magic.

Chord Sequencer

This is the sequencer where the chords are called up. Each sequencer step represents
one of the 16 chords available in the chord memory and displays the chord number
directly in the sequencer bar. It features a tempo divider which can slow down the chord
sequence, so that you can have a chord sequence which is 2 or 4 times longer than all
other sequences. You will see that this is a central feature when it comes to classical
song structures where one chord is played for 2 or 4 bars.

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Chord Memory

A chord can play up to 8 notes at the same time. You can create these notes with the
mouse on the screen keyboard. Click into the keyboard to create or delete notes.

Another possibility to fill the chord memory with chords is the “Create Chord” feature.

Select a root note, a chord model and press write. That way you can adapt Consequence

to an existing song pretty quickly. We recommend to activate the “Select: Manual””

feature to make sure the chord sequencer will not change the chord while you are
creating it.
Copy/paste/init functions are available to copy and alternate chords within the 16
memory slots. The left/right arrows are used to shift the chord up and down on the
keyboard. Tiny indicators on top of the keyboard display the currently played notes. Red
lamps indicate that a chord is played, blue lamps indicate which note is played by the
arpeggiator.

Create Chord
Use the first menu to select a root note (for example c), then use the second menu to
select a chord model (for example minor6), then hit the arrow button to write that chord
into the chord memory.

Chord Bank
Save and recall a bank of chords (16 memory slots) here.

Select
Choose if the sequencer will call the chords, if you select them with the mouse (Manual)
or if you want to play MIDI notes (MIDI).
Numbers1-16
The 16 memory slots for the 16 chords which are called by the sequencer.

Chord display
Shows the currently selected chord or a MIDI icon if MIDI-in is activated.

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Master Section

In the Master section you find the master level control which can be controlled by an
envelope, master tuning controls, the Compressor, the Kickdrum and the MIDI Export
function.

MIDI Export

The MIDI data generated by Consequence can be saved to a MIDI File.

Just drag&drop the “Hand/Note” Icon to a MIDI track in your sequencer or to your

desktop and the file will be created.
Use the control on the left side to set the length of the MIDI file. The maximum length is
64 bars.

The generated file contains all MIDI information of activated instruments.
The number of channels in the exported MIDI file depends on the MIDI channels selected
in the instruments section.

Examples:

Instrument I: MIDI Channel 1
Instrument II: MIDI Channel 2
Instrument III: MIDI Channel 3
Will export a Multitrack MIDI file with 3 tracks.

Instrument I: MIDI Channel 1
Instrument II: MIDI Channel 2
Instrument III: MIDI deactivated
Will export a single track MIDI file containing all MIDI information of Instrument I and II.

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Compressor

The inbuilt compressor is meant to glue your consequence music together. Different
intensity and speed modes can be selected, so you can do decent compression for a
consistent leveling or do really hard disco compression with ducking and kickdrum
sidechaining. Make sure that you have your speaker-levels down when you deactivate
the compressor, the signal becomes louder when the compressor is off since the master
level is used to recover the gain reduction introduced by the compressor.

Comp
Controls the compression intensity.

Speed
Controls how fast the compressor reaction is.

4/4 Kick

The kickdrum feature has been implemented to give you a 4/4 base while you create
sequences without another instrument aside. It will show you where your groove is and

“where it should go” if something´s not right with it. Furthermore the kickdrum drives the

compressor and can introduce state of the art compression effects.For jamming on the
road or just for finding new cool melodies and rhythms, a kickdrum is on board. The Kick
always plays 4 to the floor, thus giving you an idea what rhythmical feeling your
sequence has.
A special feature of the kick is that you can mute it, while it still is added to the
compressor sidechain. That gives you the chance to use the kick to glue your
consequence-music together and duck it at each quarter note for discopumping without

compromises. When the kick runs in “sidechain only” mode, the kick level still can be

used to control the amount of impact which the kick has to the compression.

Kick
Kickdrum level, use it also to control the impact of the kick drum on the compressor
when in “SC only” Mode.

Tone
Control the Kick intensity and harmonic pulse-modulation.

SC Only
The kickdrum will be muted, but still be added to the compressor sidechain.
Use this feature for a fatter sound and for 4/4 ducking effects.

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Master Envelope , Tune and Level

The Master section is there to do some overall settings like tuning and level. Additionally
you have a master envelope which fades the master level in and out according to the
MIDI input. When you press a note, the Attack parameter will define the time needed to
fade in the Consequence audio output until the master level is reached. The release time
defines the fade-out time after you released the MIDI note. The sequencer will run as long
as the release phase is active.

Masterlevel
Final Audio level

Tune
Finetuning to adapt Consequence to an alternatively tuned piece.

Shift
Shifts the Consequence pitch in whole notes to quickly get in tune with your song.

Attack
Master -Envelope. The level-fade-in-curve that happens when you hit play or press a key.

Release
Master -Envelope. The level-fade-out-curve that happens after you released a key or hit
stop. The sequencer will keep running until the release time is over.

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Host Integration

Basically there are to 2 ways to work with Consequence.
The Clock Source determines how the Consequence engine is started and stopped.
First way is to set the Clock Source to INTERNAL.
Then Consequence will run if you trigger it via a MIDI note.
If the Clock Source is set to EXTERNAL, it will always run along with the host clock.

Please activate the 'Pattern Keys' option in Consequence.
Then switch to arrangement view and set MIDI Note events to trigger and select certain
Consequence Pattern. So you can trigger the related key at the exact location you want.

Cubase

Go to the Cubase plugin manager and make a full rescan there.
Ensure that Consequence.dll (Win) or Consequence.vst (macOS) file is in Cubase's
assigned VST Plugins folder.

In order to route the MIDI output of Consequence to other virtual instruments
go to devices->VST Instruments.
Then choose Consequence and in a further instance the synth you want to control.
Choose Consequence as MIDI input in the MIDI track for your synth (here Cyclop)

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Ableton Live

In Live it's highly recommended to use the VST version.
The installer will ask you for the VST plugins folder.
Make sure you set the VST Plugins folder that Live is using.
Please have a look in your VST folder and check whether the “Plugin”.dll is present beside
your other VST's.

At least in Live it can happen that a plugin gets marked as unloadable and will not be
rescanned automatically. You have to force a rescan by unchecking and checking the
'Use custom VST Folder' checkbox in Preferences/File Folder/Plug-In Sources.

The workaround with Live is quite simple. Your setup should look like this.
In the receiving track of your target instrument make sure to select Consequence twice
as input.

ProTools

When installing Consequence, make sure to select the AAX plug-in format.

In order to connect Consequence to another instrument in Pro Tools, create an
Instrument track and load Consequence as insert on that track.

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Now create the target instrument track and load the target instrument.
Activate Record on the target track and choose Consequence in the Instrument-Input
menu

Studio One

Go to the Studio One menu and choose Options, click on Locations, then VST Plug-Ins.

Click the Add button and select your VST Plugin folder. Press OK then close and re-open

Studio One. If you still don’t see your plugin, go back into that screen and click the “reset
blacklist” button, then close and open Studio One again.

Set up an Instrument Track and drag Consequence from the Instrument Box to the track.

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In order to route the MIDI output of Consequence to other virtual instruments choose the
synth you want to control in a further Instrument Track. Then set up Consequence as
MIDI input in the Instrument Track for your synth (here Unique).

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Sonar

Consequence is an Instrument,
so you should insert as a Soft
Synth.

Make sure to activate the MIDI
output option in the plugin
dialog from sonar.

Make sure you set the VST Plug-ins folder that Sonar is using.

Go to Utilities> Cakewalk Plug-in Manager. In the VST configuration section, click on
Options then click Add and select the folder your VST plugin is installed to. Press OK and
click the Scan VST Plug-ins button.

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Now you can route the MIDI
output from consequence to
any other synth.

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Logic

If you are using Logic as a host, you won't be able to use VST plugins directly.
The AU format does not send and receive MIDI data "out of the box," but we have created
a workaround to bring bliss to Logic users as well.

You can also use a sub-host in order to patch the Consequnce MIDI output to other
synths but the easiest way is to use the MIDI File drag and drop function in
Consequence!

Logic AU Workaround

Once you've installed Consequence, just follow this step-by-step procedure.
Once you have completed the steps in this workaround, we recommend saving the Logic
file as a template so that you start new projects right away without repeating the
workaround.
Open Audio-MIDI-Setup (by default in the Applications folder on your hard disk). At the
top of the Audio MIDI Setup window, you have a choice between Audio Devices and MIDI
Devices; choose MIDI Devices.

You will now see a window of icons representing the various real or virtual MIDI
connections to your computer. Double-click on the IAC Driver icon to open the IAC Driver
Properties window.
Make sure "Device is Online" is checked. You may then need to click on the "More
Information" arrow to open the rest of the window. Compare the settings in this
illustration to make sure your system is set up in the same way.
Now open Logic. To keep things easy, it might be best to open an empty project with no
audio tracks.
Create a Software Instrument Track and insert Consequence (choose under I/O AU
Instruments/Sugar Bytes/Consequence Stereo). Quickly make a sequence (or just raise
the Velocity Sequence step levels well above zero: see "Setting Up Consequence" above
for details.

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Insert a second Software Instrument Track and insert the software synthesizer of your
choice.
In Logic's "Window" menu, open the Environment. You should now see what looks like a
mixer, including the two tracks you just created. In the Environment window local menu
bar, click on "New" and select "Physical Input." This should be near the bottom of the list
of elements in the "New" menu.
If you plan to record the Consequence MIDI Output, also create a « Sequencer Input ».
From now on you have to make sure that the Consequence-Track is not selected,
otherwise it will send MIDI to itself.
You could create two IAC Busses, one for the Consequence-Synth connection and one
for the Consequence-Sequencer-Input connection. Then you only have to switch beween
both busses in the Consequence about screen in order to record the MIDIsignal or send it
to the synth directly.
In order to fix the timing issues brought in by the IAC Driver, you should move the track
to the right position (or use Track-Delay) and quantize the MIDI notes.
Click on the small arrow-like icon of your IAC-Bus at the top right, (below "SUM") on the
Physical Input module and drag a wire connection to the channel containing the soft
synth you inserted.

Now open the Consequence interface from the channel where it is inserted. If it is not
already open, you can do this by double-clicking on "Consequence" label in the blue I/O
slot in the channel stip.
Click on the Consequence or Sugar Bytes logo in the upper right corner of the
Consequence window. In the About screen that appears. Click on "Host," which appears
just underneath and choose IAC Driver IAC Bus 1. Click on anywhere inside the About
screen to close it.

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Now start Consequence (click on the start button). You should hear your synth!
Repeat the procedure to have more Consequence connections!

The IAC Driver Support is also available in the VST Plugin to support alternative
connections in other host applications.

FL Studio

Please go to Options -> File Settings and select the folder your VST plugin is installed to or
double check that you install the “Plug-In”.dll in the VST folder FL Studio is using.

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Go to Channels->Add one->Consequence

In order to route the MIDI output of Consequence to other virtual instruments choose the
synth you want to control in a further Channel.
Then set up Consequence as MIDI input in the Channel for your synth (here Unique).

MIDI remote

All relevant Consequence parameters can be controlled via Host Automation.

All relevant Consequence controls can be remoted via MIDI controllers.
You find the MIDI Learn function when you right click a control.

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Tips and Tricks

Saving CPU and Ram

Deactivate Effects and Instruments and run the Filter in “POLY: OFF” mode if you want

to save CPU. Use a small record buffer (Audio Recorder: bars: 1) to save Ram.

Instant percussion track

Use the instruments from the Percussion library. Do not sequence chords, just have one
chord running (maybe switch to manual chord select mode). Now draw notes into the
chord memory, but only use notes which call suitable percussion samples.
The mode sequencer will now play interesting percussion tracks which become
polyphonic when chord-steps are played.

Complex Poly-Rhythmics

Set two instruments to TRG: “ARP”. Assign one of them to the TIE sequencer.
Now draw some random tie steps. You will see that both instruments now play different
rhythms, because one is held by TIE steps, while the other one is not. Now set the third
instrument to EACH: 2. This one will now play a third different rhythm, because it only
plays each second note.

Interesting Rhythms and Triplets

Use a slow tempo division ( 1/4 or 1/8). Make a usual sequence. Now draw in Multitrigger
steps, a 2 here, a 3 there... You will now hear funny double-ups and triplets making your
rhythm stand out.

Long Filter Sweep

Draw a TIE sequence as long as the desired filter sweep. Now only assign the filter to the
TIE sequencer. Use large Attack and Decay settings, now the long Filter sweep is perfect.

Disco Ducking

Use the Kickdrum in SC Only mode and pull its volume up. Now set the Compressor to
“Too Much” and “Fast”. The Kickdrum will now make the compressor drop the Masterlevel
at each quarter note - fitting it perfectly into your dancefloor breaker. Fit perfectly into
your dancefloor breaker.

Use multiple instances

If you have a good theme, save the Global Preset. Now open another instance and load
that Global Preset. You can now change sequences and Instruments to create another
theme that plays along, for example a bassline, strings or guitar pickings.

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License

The Consequence License covers both the macOS and Windows versions and can be
used on two computers. For any use on more than two computers, you must buy an
additional license.

You may resell the software three months or more after purchase.

Contact

Sugar Bytes GmbH | Made of passion
Greifswalder Str. 29 | 10405 Berlin, Germany
phone:[phone]

[e-mail]
www.sugar-bytes.com

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