Sometimes if I hit loop points in the opposite order I intended the visualization of looped sequence “wraps” around the edge of the grid to the opposite side, overlaying whats already displayed which can make it look like a hodge-podge off lights. Moving the loop points again can make that disappear.
Most likely that was the cause
Hi quick question - so far I’ve only used the Ansible as an extension to the Teletype. Intend to acquire a Grid sometime soon - is it ok to plug the Grid in or do I need to de-couple the Ansible from the Teletype?
you can definitely keep the i2c connection to teletype with a grid plugged in, and there are several teletype ops for the grid modes! one of my favorites
KR.SCALE allows you to remotely change the quantized scale of the Kria sequencer, thus allowing you to sequence chord/harmonic progressions if you wanted. there’s also many useful things such as individual channel clocking and reading the CV output values, well worth a quick look at the manual for all the details!
That’s great - thanks for the info will definitely be checking that out
I just had a quick question that can probably be easily answered, Is it possible to use the three port // included with Teletype to expand to just the Ansible? My Ansible unfortunately did not come with the single port // cable and in the monome store it currently says they are out of stock.
yes, that would work fine
Hi all, curious if there is a way to sync the various parameters in Kria when making changes to any of the specific parameters? Like if I’m changing a clock divider on the triggerb that it automatically changes division on the note, rachet, alt note, Oct, glide, gate length?
There is a parameter to keep loop length the same within tracks or between all tracks (which I meantioned a couple posts up), but as far as I know the clock dividers are always independent per parameter on purpose to promote phasing. This can lead to situations where a parameter is out of phase with the rest of the track parameters even if you change the clock divider back to its original setting, which can be frustrating but seems to be part of the package. A hard reset via the jack or button combo will reset all parameters to zero of their respective loop lengths.
6 months ago I bought the complete Orthogonal Devices wellness package: ER-101/102 + ER-301.
Since then I focused mostly on exploring the ER-101/102 – and developed a love/hate relationship with it. There’s a lot to love, like applying controlled random operations to definable groups of steps, but a few things are spoiling the experience. To me the ER-101/102 would be close to perfect – IF it would be a little more hands on, IF it would have a general Undo (current state: press one wrong button and your pattern is gone) and IF it would have a better implementation of quantizing.
OD is focussing almost entirely on the development of the ER-301, so I have little hopes for any changes of the ER-101/102 firmware apart from bugfixes in the near future.
That’s why I’m considering to switch to Teletype/Ansible + Grid. I learned a lot by following Teletype workflow, basics, and questions (BTW: a great community here!), but I’d like to know if any of you owned an ER-101/102 and switched to (or added) Teletype + Grid: What’s your experience? Was it the right decision? What are you missing?
What is the quantization implementation you are missing? Are you aware that it is possible to modify the ini file to have quantisation (ie mapping to the voltage table) after any transformations?
I used the 101/102 combo for a year and loved it but found that I became frustrated with only being able to see 1 step at a time. I have recently replaced them with a NerdSeq. I have only scratched the surface with it so far, so too early to compare properly.
I also have Teletype, Ansible, Grid, TXi, TXo. I would say that Teletype in combo with the telex expanders is potentially the most powerful sequencing option in eurorack, of which I’m aware.
Grid is a lovely controller if you need hands-on interaction with TT, otherwise you can get most of the other functionality of grid from using grid ops and grid view in TT without an actual Grid.
Thanks rikrak! Yes I used the Pre-lookup option already, but I couldn’t find the right slope setting. OD mastermind Brian helped me to figure it out now, but if you take a look at the solution (Transposing quantized pattern via Slope?) I would say this isn’t quite straight forward.
Another example: The default voltage tables of the ER-101 are based on the root note C. If I want to compose/think for instance in F minor, I can choose the MINOR scale and shift the note display offset to F. But if I want to play something on a keyboard and record it, I have also to transpose the keyboard to F to make it work. Of course I could generate and import specific Minor voltage tables for each root note, but again: this is quite complicated.
I agree: Seeing only 1 step at a time is the biggest downside, so yes, something hands-on would be important to me. I had a Grid and ARC a few years ago, but back then I wasn’t working with a modular yet (and there was no TT).
My favorite feature of the ER-101/102 is to apply math transforms / random in a very controlled way. Is there something comparable in the Monome world?
Teletype is about this almost to a fault. The biggest problem you’re going to have is finding room for all the specificity it invites!
On Ansible at least you’ll run into a similar problem. There’s no concept of transposition with Ansible scales. To get F minor (natural minor) you would either tune your oscillator to C and set up your scale basically as C Aeolian, and then your fourth note value is F and you can go up and down from there; or, you can set your Ansible scale to a natural minor setup and then tune your oscillator to F. Basically whichever breaks your brain less
Ansible won’t give you accidentals without a bit of trickery. My best thought would be to use up another channel and combine a half step up or down with the main channel’s pitch CV in an adder. Actually if folks have ideas about this (getting note sets with more than 7 notes in a sane way) I’d be all ears.
On the other hand, Kria and Meadowphysics are delightfully hands on and direct and pretty much oriented towards seeing your sequence in front of you and manipulating it live, plus other fun stuff (the polyphasic nature of sequence parameters in particular). But if you’re used to thinking in scales and that’s important to your workflow, you may find it gives you different problems.
I’m very interested in the ER-101/102 pretty much for this reason, for having a lot of flexibility in what the scales can contain. More chromatic ability, being able to do alternate scales/tunings in a controlled manner. That said, even without having touched an ER-101, I could see that only being able to see one note at a time would be frustrating.
Teletype you can theoretically do anything if you’re clever enough But again you’re not going to have named scales most likely; you’ll tune your oscillator to C and sequence
5 7 8 10 12 14 15 17, or tune your oscillator to F and sequence
0 2 3 5 7 9 10 12. Again, whichever breaks your brain less.
Kria’s alt note works like an adder! and pairing with Teletype I think you could do all kinds of transpositions via adding stuff if you’re clever.
This would have helped me actually complete the Gymnopedie Rats challenge on time I’ll give it a shot.
Hmm, though reading this, it looks like it’s additive in terms of the set scale, yeah? in other words, if your Kria scale is set to major, and you had a regular note of 2 (let’s say E if C Major), and then also an alt note of two, it would play the 4th note in the scale, which is G, rather than stacking two major 3rds on top of each other, which would give you G#.
I think I could get a ‘proper’ 12 note chromatic scale by having the scale be only half steps, and then using alt-notes to get beyond step 7. Though, that would definitely hurt my head
Also to be clear, I’m not at all criticizing the design decisions here - they’re oriented towards giving most people what they would actually want, especially in an improvised, on-the-fly performance. You don’t want to be accidentally falling into the chromatics when jamming. Unless you do! But, mostly you probably don’t.
think of it this way: if you’re in a major scale, act as though the root note is note 2, not note 1; so your first step will be a half-step, which gives you a way to add any sharp you might want.
How would you do that in Kria?
I was incorrect; doing so wouldn’t add a sharp but rather move one scale not up. You can define your own scales in Kria on the scale page, for which the Kria docs are a great reference; basically you choose the interval by which each scale step climbs.