I’ve been enjoying using Kria like a live instrument, with no patterns saved, building up sequences on the fly. As part of this approach I tend to use one or two channels as clocks for things like delays and other sequencers and a couple of channels to drive oscillators. I usually end up having a whole load of different loop lengths and clock divisions and then want to bring things back into sync. This is where I’m hitting a bit of a roadblock. I can resynchronise everything by pressing the top left button in the pattern menu (since I’m not saving patterns this is always the current one). But often this isn’t what I want because it messes up clocks that are tempo syncing my delays or whatever. I’d like to be able to bring only some selected tracks into sync. Is there a way to do this that I’m missing?
(It would be awesome if there was a way to jump the playhead of the tracks to a selected location. I guess you can do this by selecting loop points but this seems impossible to do on multiple tracks simultaneously, and so doesn’t solve my synchronisation problem. Hope this makes sense!)
Thanks in advance for any tips from more expert Kria users than me!
You could try using the pattern cue function to potentially keep things in time, though I’m not sure if that would work with your improv work flow… you can also reset individual channels via Teletype
I, too, have found Kria to be a wonderful live instrument. One thing I’ve gotten a lot of milage out for note sequencing is setting up two short patterns on the note and alternate note pages, then making slight change in each over a period of time. Throw in meta sequencing and down the rabbit hope you go.
I could imagine it would be like the trigger page in having all four tracks simultaneously. But instead of toggling triggers, pressing a button would jump to that point on the next clock tick. The tricky thing is that within a channel, trigger/pitch/octave/duration can have different lengths and clock divisions, so it would take a bit of thought to figure out how to handle this. One possibility would be to simply disable this feature when loop sync mode was disabled. Better would be to jump to some point based on the modulo of the position in the sixteen steps across the grid. (Hope this makes sense!)
If you already have teletype in the mix, you might want to check out this kria remote scene that i made. i’m not sure, but i think it will let you mostly do what you’re asking for.
it lets you move around loops using a grid ops-built interface that i think is more performance friendly for this specific purpose.
no modifier key to hold down and you can have different parameters for each track all available at the same time.
with some non-trivial elbow grease, you could modify it so that the 4 loop rows are decoupled from their corresponding tracks so that you could change multiple param loops on the same track at the same time.
would be less difficult to add reset buttons for specific params.
Thanks! That’s really opened my eyes to customising Kria via Teletype… lots to think about.
My main aim with the modular at the moment is to try and create an instrument that allows me to start from scratch every time. My hope is to be able to perform my live sets starting completely unpatched with the only saved “presets” being in Teletype, and building up Kria sequences on the fly. I’m not sure how easy this will be, but somehow it feels like a more appropriate approach to modular for the audience to see the whole process of creation in front of their eyes (apart from the Teletype coding, I guess… I think that would be just too hard to do completely live!). Also, I’ve started to think about what makes live music interesting (especially live electronic music), and have come to the conclusion that a lot of it is about danger - about the feeling that something might go wrong, and you’re witnessing something slightly wild and unstable. Or at least, that’s what engages me!
Of all the sequencers I’ve used, Kria seems to be the most appropriate for this, because you can get from a blank slate to highly complex patterns very very quickly!
Duration should have some effect on the strike input but it’s pretty subtle in my experience. I usually find duration can have some expressive impact when modifying various elements (e.g. envelopes, logic gates, timbre controls) of the corresponding sequence.