Teletype workflow for dummies

teletype

#26

Not to hijack this thread, but I keep thinking that having something that adds a certain tactile element to it might make it even more interesting. The expanders already add some knobs, which is great, but maybe I should look into adding a grid (will have to look up some videos). But a little question: I can’t connect the grid directly to the TT can I?


#27

The current tt beta adds grid operators and you can connect teletype directly (I think you might need one of the external power solutions tho, not sure about that)

I’m excited about the 16n faderbank project. It provides i2c over trs cable.


#29

100% necessary.

or


#30

I might be in the minority but I treat my Teletype more as a collection of modules that I can load for different situations. So basically I have a two separate modes I operate in, one with the Teletype keyboard plugged in, and one without.

I enter the former mode if I think of a unique use for Teletype while away from my system that I want to try out, or perhaps while I’m patching I find myself wishing I had a CV generating module that I don’t have (more LFOs, sample & hold, gate logic, envelope generation, pitch harmonizer or what-have-you). Once I’ve patched the basics of what I’ve wanted, I then try to figure out how else I can expand it to make use of all the ins and outs that Teletype provides, which can lead to some exciting new discoveries. Some of these may be inspired by or completely copied from examples posted by the community here in the forums.

For example, I recently created a quad slewed sample&hold scene with randomized gate lengths. I made use of my TXi to control slew times per channel, and summed the inputs with the sample and holds so could easily mix the S&H values with LFOs created from Batumi. I created this because I wanted to create some subtle variation with each note I played on my (musical) keyboard, and I didn’t have any module that could accomplish that easily. (I’ll share this scene in the code exchange soon, just haven’t got around to it).

Then I save my scene as a possible module to use, and go back to my ‘music making’ mode without the Teletype keyboard. For what it’s worth, part of this is influenced by the environment I usually make music in – I’m usually performing live improvisations with other musicians, so I can’t really be scripting scenes in a situation like that :smile:


#31

Thanks again for all the super helpful input. You guys totally sold me on the TT.


#32

I’m looking into Grid right now. Actually, I was just searching the forum looking for the best place to ask some Grid noob questions, specifically around using it as a main sequencer.


#33

this x 1000.

Teletype has challenged me to explore my needs around interface, compositional approach and performance. The little bits of syntax are easy to sort once you have the “big picture” that you’re going for. It gives you a platform to develop interactions that are unique to your goals. It’s the most monome thing, imho.


#34

Would be amazing if we could “swap” scripts like in the teletype exchange and maybe even a “beginners” area

I’m absolutely hopeless with my TT as ihavent had a chance to really spend the requires time with it but the ONLY tip I have is practice…I’m sorry I know that’s a bit captain obvious


#35

And by "sharing " I mean cut and paste…


#36

Although it’s more tedious, I think you can learn a lot by manually typing scripts posted in the forums rather than copying and pasting them. That said, you can copy and paste to a thumb drive to upload scripts to Teletype

Also I highly recommend going through the Teletype studies one by one, and spend a lot of time playing with the concepts learned after each study. I took several weeks to complete the studies, as I spent a couple hours on each one


#37

This was a bit of an exaggeration by @rikrak (emphasis my own) - I just tried some speed tests and found the OS became too sluggish to be sure of the speed around 20,000 script calls per second - and this was just incrementing a variable. So take @rikrak’s word on this with the proverbial pinch of salt.


#39

i recommend a footswitch (can be diy’d quite easily) or a usb numeric keypad for manual script launching.


#40

I’ve been meaning to get/build some of these guys for that purpose: http://www.landscape.fm/allfleshdiy
But I can add a +1 to foot switches (I just use the Monome Walk)


#41

i’m considering adding this gate controllers to my TT : http://www.addacsystem.com/product/addac300-series/addac304

Many thanks to all for the great insights there.

My main expérience with TT is that if i kind of understand most of the OPs, i find it difficult to create a cohesive scene… So i tend to grow lazy and simply jam with the genuine scenes i’ve built around, simple looping sequencers, random trigs sequencers etc.

I hope to dive deeper now, and may try to imitate a bunch of modules as a goal and a way to learn more. As a happy owner of a pair of telex i would like for example to code something close to a maths with two LFO and a logical AND / OR.


#42

Thanks! To follow up on the idea: I like to SCALE the param or txi knobs to very low resolution (something in the range of 2-5 options) to act as a selector of sorts that’s really easy to not accidentally turn to the wrong thing.

One thing I run into is too long line lengths as mentioned above (IF EQ PARAM 1: is a lot of chars). I’ve found out that it can be helpful to reorder lines and make the conditional a break statement before any lines I want to be able to conditionally execture or not with the knob. As an example, this would be using the param knob to make every other note a 5th of it’s normal when (CW). Something like this would be useful when you want to have a way to add in compositional complexity in a way that you can perform.

INIT SCRIPT

PARAM.SCALE 0 1
CV 1 N PN.NEXT 0
CV.OFF 1 N 0
IF NE PARAM 1: BREAK
EVERY 2: CV.OFF 1 N 5

EDIT: Also something that helped me actually learn and like fit this into my music-making mind was putting other (at the time) more comfortable sequencing things in the closet.

EDIT 2: Typing off the top of your head leads to syntax errors hah


#43

Line length can be a real weird challenge to contend with. Just another constraint.

I just want to add that you can think of Teletype as a sort of system glue or even a master control. It can do a lot. Most of my usage so far has been very simple pattern and routing work. Like any deep tool, expect to need to spend considerable time with it.


#44

Nice! I totally under-use PARAM. And BREAK.

I have used PARAM to control the energy of a patch by prefixing as many Ops as possible in the Scene with a probability check:

Init:
PARAM.SCALE 1 100

Examples:
PROB PARAM: CV.1 N X
PROB PARAM: TR.P 1
PROB PARAM: SCRIPT 4
Z RAND PARAM
PROB PARAM: CV.SLEW 2 * Z 10

And so on. A broad stroke, but as part of a larger patch, it can help when building a track in complexity - or reducing the movement towards the end of a recording (turning back anti-clockwise).

I’ve been considering a TXo, but your example makes me think that, from a performance point of view, rather just patch-building, the TXi could be very useful.


#46

If this is the Teletype noobs thread: does

EVERY X: …

share a universal counter among all EVERY statements or can I call multiple EVERY statements individually? I’d like the following script to go: - - 1 - 2 1 - - 1 2 - 1… Thanks!

EVERY 3: TR.PULSE 1
EVERY 5: TR.PULSE 2


#47

Oh right of course there’s loops! This should be fun getting up to speed with, especially with Just Type and the upcoming W/ support.


#48

another x 1000

https://learnrubythehardway.org/book/intro.html has this and other pieces of good advice that really helped me jump into learning TT.

but it for sure took me some time to settle into the right mindset. I jumped on any musical output I got and didn’t press on past basics for a while. eventually it clicked and lately, I’ve actually gone into sessions as “building”-focused vs “music”-focused, where I don’t patch a single cable and I just focus on the flow of data.

what do I want to happen, what control do I want to have (or not)? how do I want the exchange of action + reaction to play out?


idk if this helps, but sometimes I’ll write ideas in a notebook for TT that flow like:

  • r beny’s sequences aren’t straightforward; fuzzy clock?
  • how do I add accent notes/shamble to my sequences?
  • basically need an occasional note between notes…
  • replay last-played note right before next note…between metronome clicks
  • delay replaying the last note by a half metronome click

Which leads to this:
CV 1 N PN.NEXT 0 —> plays next note in the pattern on a trigger
DEL / M 2: CV 1 N PN.HERE 0 —> replays that note a half metronome click later

I did the thing I wanted to do!

Now I listen to that, realize it needs more variety, so maybe I make the metronome divisor a random number (which prompts me to look up RAND). Maybe I need the replay 40% of the time, so I try to throw a PROB 40: in front of that and see what happens. If it doesn’t work, I can sort out why not and how it could. It’s small steps.

Working toward concrete goals (either an event or module replication) really helps structure the learning and more importantly, gets you asking questions.