Intellijel Metropolis Sequencer (Sneak Preview)


This is a sneak preview of the Intellijel Metropolis Sequencer – a new Euro step sequencer, based on the RYK M-185 sequencer.

Here’s a demo of this beast in action:


  • Sequencer modes:
  • Forward, Forward-fixed, Reverse, Reverse-fixed, PingPong, PingPong-Fixed, Random, Random-fixed, Brownian, Brownian-fixed
  • TB-303 style slide (constant time portamento) with adjustable time
  • Stage skipping (double click slide buttons)
  • Internal quantizing with selectable scales and keys
  • Can act as a master clk with BPM control or slave to an external (using clk src function)
  • Save/load panel settings
  • shuffle
  • Internal clock divider
  • Sync output (sets output pulse on last clock step of a sequence, used to slave other sequencers via reset)
  • Two assignable AUX inputs which can control: gate length, transpose, key shift, root shift, sequence length, and step divisor.
  • config menu to set slider pitch range, clock div type, clock offset
  • tap tempo when in internal clock mode and tempo lock with bpm detect in external mode.
  • All menu actions are one level deep. i.e. press the menu button and spin the encoder. There are no hidden levels or sub menus.

Demo notes, via :

Patch notes. Pamela is sending clock to Metropolis, Trigger Riot, Modcan Dual Delay, and Sound of Shadows. Metropolis is sending the same note info to three different oscillators. The third one going through a uScale first to create intervals. All going into the Dubmix. The Trigger Riot is controlling Tiptop drums, mixed through a VCA Matrix then an M277 for a little grit. That’s into channel 2 on the Dubmix, where I add a little Spring Reverb at one point.

The kik and snare are ultimately doubled with the Cwejman BLD and DPO. Lastly, I dialed into some sustained notes on the Pressure Points and a Modcan Triple OSC. The uStep is advancing the Pressure Points.

via  muffwiggler, patchpierre

7 thoughts on “Intellijel Metropolis Sequencer (Sneak Preview)

  1. “Brother.” The worker revives and pleads: “…the machine…Someone has to stay at the machine!” and Freder sacrificially proposes to take his place at the dehumanizing, tiring machine:

    Someone will stay at the machine…ME! Listen to me…I want to trade lives with you!

  2. I have yet to understand what an analog sequencer does that computers can’t do better.
    Is there an inimitable warmth to the tempo?

    1. For one, they put out clock pulses, and CVs. For people working with modular synthesizers, that is actually important. And it’s pretty difficult to clock a digital sequencer at audio rates and get desirable results, unlike an analog sequencer. I know it’s hard to believe, but some people still use modular synthesizers, and like to have a sequencer that’s instantly compatible with them.

    2. What an analogue sequencer does is put the musician back in control. You can re-program an analogue sequencer while it’s actually running, and this – in my opinion – makes them much better than the equivalent digital sequencer for live performances. They are also A LOT MORE FUN to use than digi-sequencers. The only down-side to the analogue sequencer is that you cannot save settings between tracks, if you want to hear a different sequence you have to manually re-program each of the CV knobs, or use another pre-programmed analogue sequencer.

      Analogue is the ONLY way! Dump the digital!

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