#210

I have 301, JF and Ansible connected to TT on the i2c.
I’m sending 7 channels of triggers from TT to the 301 using sc.tr.
I was only using 2 channels of Kria when the crash happened.
Meaning on i2c, it was just this and the kr.clk command being sent, though only kr.clk was being received as the 301 wasn’t setup to receive the triggers in this patch.

But as it happened also as @Leverkusen expressed without any i2c communication is surprising.

Hope we can get to the bottom of this as it will be a disaster if it happens during an actual performance!

#211

@csboling: Ok crashed again today. I still have it on in case you’re online and want me to try things out.

This time I had 4 channels of Kria running. I was on the Octave page of the second sequencer channel when this happened, I played around with some Octaves, then left the grid to tweak modules - this is when it crashed. Again it didn’t crash when I was directly working with Ansible or TT (except the clock).

  • Kria still responds to i2c commands (see video for kr.res command), and speeding up the metro or reducing it affects Kria (didn’t managed to video this).
  • Removing the grid and reconnecting it - at first there is no response, then it comes back on after about 10-20 seconds.
  • No alt-notes, glide, ratcheting were used, only Octaves and pulse length.
  • each sequence had a different loop length.

Videos:



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Ansible Development and Beta Firmware Discussion
Ansible Development and Beta Firmware Discussion
Ansible Development and Beta Firmware Discussion
#212

does anyone experiment with using kria as a modulation source instead of a melodic source? i suppose you could clock function generators / LFOs with the gate outs and run the cv outputs through slews (unless kria has slew now and i just completely missed that - edit: i just looked at the docs and yes, there is glide! yaya!).

i’ve been imagining a feature where kria can be switched into modulation mode. instead of programming scales you can select waveforms and map how they are scaled to the clock (in the spirt of the 4ms PEG).

i’m aware that this presents so many UI riddles. perhaps it’s better as a completely separate ansible mode…

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#213

It does, press the Octave page button a second time to program the glide amount per note. Using the tuning mode you can now reprogram a given output to have a totally different CV response if you want. Programming LFOs and stuff would be cool but might require changing some stuff about how the DAC updates in libavr32 work, so there are some technical challenges in addition to UI issues.

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#214

The max slew rate is pretty fast of I recall correctly. Maybe some sort of range control similar to the duration page could be useful?

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#215

I’m splitting it often when using my Verbos Harmonic Oscillator: CV 1 for melody, CV 2, 3 and 4 to drive individual harmonics. With the latter I’m focusing mostly on octave sequencing, because note sequencing is too subtle.

#216

I’m currently using Ansible 2.0, but I assume this was the same before: Is there a reason that the sequence is not visually running when pressing the Probability button? I think selectively editing the probability of specific steps would be much easier with visual feedback.

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#217

I’ve often thought this could use some sort of “current position” indication, as well.

#218

I love this idea! Also having a toggle, perhaps in the top right corner to define both rise and fall slew, because IIRC the slew is only applied to the rise, correct?

#219

The slew is applied in both directions, and the DAC code only has a single slew value, so separate rising and falling slews might be a bit of work. I really like the idea of having a time scale selection for the slew like the duration page, are people OK with giving up the top row of keys? Arguably you have more control over this if you have a top row that lets you scale up the slew time, I just need to convince myself that this won’t change the behavior of any existing presets.

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#220

I don’t know if this was discussed before, but it would be great to have a “Counter mod”, so for instance an octave shift of a specific step would only be applied every second, third, fourth… time. This could be implemented switchable instead of the Probability mod or on the “empty” Alt Duration page.

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#221

I’m currently composing a piece for performance and concentrating on building a playable arrangement on kria, and just came up with an idea that I think would be incredibly powerful and useful:

Each channel has its own sequence preset, so when you’re on the preset page, you’d be able to change patterns of each of the four tracks separately. For example, you have a bass line that you want to repeat but you want to change a lead melody. Instead of copying that bass line over to a new sequence, you’d simply just change the lead sequence while the bass remains on the same sequence.

Perhaps a stop function per channel could be implemented here too, where the channel freezes as opposed to being muted, with two options: one being a stop per track per sequence (so changing sequence would bring a voice back in or out), as well as a stop per track that keeps the voice from triggering even when changing sequence.

Would this be possible at all, @tehn, @csboling? And I don’t know if it would work at all with the current meta-sequence feature, but wow it would be so good! Maybe there could be a button above the sequencer page button that could toggle this functionality and the regular sequence page with meta-sequencing?

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#222

Why did I never think to self patch ansible in cycles mode before? It really opens things up. If you patch 2 of the gate outs into 1 and 2 you can get cycles that self perpetuate and speed/slow in strange ways depending on the divisions of the rings. Just posting in case anyone else didn’t think to do this yet. Lots of fun.

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#223

I think that it would be nice to add root not transposition greater than a fifth to Kria, maybe using an ALT key and a different shade of brightness? Perhaps this could allow for interesting jumps of greater than a fifth elsewhere in the scale too? Would that be tricky to do, @csboling?

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#224

Yes I would love a feature to transpose root note more then the it can currently go to be able to create scales from all 12 notes

#225

So I’m afraid that my nonexistent understanding of music theory makes this discussion go a bit over my head. However from the 2:44 mark of the video referenced in the thread and the source for the original White Whale Kria I believe I’ve got the compensate-shift functionality implemented in a new Ansible beta (c88f558) I’ve just posted here. This is accessed by holding down the scale page key while selecting a new scale note. Not sure if that is adequate to achieve the transposition function discussed in this thread?

#226

I’m not sure if it’s possible but I’d love to see a morph sequence function added to Kria like in Awake.
Saying this, the physical inputs would be the main issue as there are only two linked to clock amd reset. So I was thinking maybe using the reset as a morph input? They could share functionality so when you reset the sequence it also morphs? Or using the clock input at a selected division to choose when it morphs but I’m guessing this would involve far more work the linking morph to reset. It could also be an option to use crow connected to ansible for the extra inputs?
Either way I think it would be a great addition especially if it could be done only with ansible.

#227

This is great, thanks and likely to be super useful! But I don’t think it was quite what I was looking for. Put simply, the bottom row of the scale page allows us to increase the pitch of the scale by semitones (i.e. transposing it into a new key) but only allows a shift of up to 7 semitones maximum. What would be awesome would be if you could shift all the way up to 11 semitones. As it stands, if your oscillators are tuned to C (or if you’re using Just Friends over i2c for example) you can use all the keys from C through to G, but none higher than that - which is a bit weird. The workarounds described above involve using a different root note than the “real” root of the scale and changing the other intervals to kind of fake the scale. This works, but is a bit clunky and has other problems (for example, the highlights root note on the Earthsea grid will be in the wrong place). So, what I was hoping for was a way of adding an additional shift beyond the 7 semitones allowed by the grid.

Here’s one possible approach:

Use one of the spare keys on the bottom row as a shift key. Press a key on the scale editor - this lights up, but so does the last light on the row. The pitch shift for this row is then the sum of both lights. E.g. if you press the first light with the shift key pressed, you get the first light and the 7th light lit up, giving a total of 8 semitones.

Does this make sense?

Sorry for endlessly suggesting new features to Ansible - it’s already the greatest sequencer ever, so it does seem a little greedy :slight_smile: but this feature of only being able to play in some musical keys does feel peculiar and is a bit awkward to explain when I’m collaborating with other musicians!

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Ansible Development and Beta Firmware Discussion
#228

Yes this is the one thing that has been bugging me with Kira since i use its to have multiple scales in the different sequences and not able to get some of the desired scales.

i feel like the scale menu needs to be its own page. something like the first 2 rows are the scale presets vertically then an empty vertical row then the scale and then 12 options for each row of the scale. you could then get to the rest of the scale options by using the scale button again and have it blink similar to the functionality of the alt features on gates and notes.

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#229

Not sure if this is a limitation of the hardware, but I’d love to be able to change some of the CV out’s to do trig/gates. I only really control 2 melodic voices at once, it’d be lovely to get the other 4 output jacks to be used for drums.

Tangentially-related, it’d be nice to be able to implement accent out using an unused CV out.