On Polyrhythms and Poymeters – live patching of Studio No.3 with Francesco Gennari

video upload by Frap Tools

"In today's episode, Francesco Gennari takes us on a true USTA masterclass, using it to weave a texture of four voices and a delay effect. Different pattern lengths and rhythmic structures create a complex and ever-changing harmonic and melodic landscape, but they also control the delay taps, pushing forward the limitations of sequencer-based compositions."

-Linktree: https://linktr.ee/francesco.gennari

Time stamps:
00:00 Introduction
00:18 Modular performance
02:53 Track Structure
03:21 Changing patterns live with Usta
04:01 First Voice: Brenso + Doepfer LPG
04:33 Bagai as a source of random modulation
05:07 Timbral shaping with Brenso
06:11 Second voice: Brenso + Doepfer SEM filter
06:45 Voice 3&4: Piston Honda MKIII + Optomix
08:29 Polyrhythmic interplay between voices
09:06 Ratcheting and randomness in Usta
09:44 Polymetric element in the ending section
10:35 Effects: Disting EX as a dual ping pong delay
11:22 Clocking Empress Zoia with Usta

Frap Tools Magnolia, 8-voice analog thru-zero FM polyphonic synthesizer | Project update

video upload by Frap Tools

Click CC at the bottom of the player for subtitles.

"Magnolia will be an 8-voice analog through-zero FM synthesizer, which we built to create sounds from the modular world through a classic keyboard interface.

Waveshapers, wavefolders, and, most importantly, analog linear through-zero FM unlock every sound associated with the 'West Coast' synthesis world. But that's not all! Fat resonant filters and powerful analog oscillators allow more traditional subtractive synthesis sounds as well.

A vast and flexible modulation section encourages complex patches with the twist of a knob, but it is always easy to keep track of what's going on thanks to LEDs on every source and destination. An arpeggiator and a sequencer complement the machine.

We are announcing and showcasing two pre-production units. We aim to release the final version at the end of summer, and it will show some differences. It may have a more refined interface, it will feature digital effects, and some of the features currently under evaluation may disappear.

We've been working on it for the last year, and we're eager to show it to the world!"

Follow-up to this post where you'll find additonal pics.

Update: press release follows:

Frap Tools to take on high-end keyboard synthesizer market with ‘West Coast’ MAGNOLIA making its public debut at SUPERBOOTH25

MEDOLLA, ITALY: Frap Tools, hitherto known as a manufacturer of Eurorack modules and accessories alongside professional audio compressors in the 500-Series format, is proud to venture into the world of high-end keyboard synthesizers with its introduction of MAGNOLIA — announced as an 8-VOICE ANALOG THRU-ZERO FM SYNTHESIZER built to unlock every sound associated with ‘West Coast’ modular synthesis through a classic keyboard interface — anchored around showcasing two pre-production units at SUPERBOOTH25, May 8-10, FEZ-Berlin, Germany…

As an 8-VOICE ANALOG THRU-ZERO FM SYNTHESIZER, MAGNOLIA unlocks every sound associated with the so-called ‘West Coast’ modular synthesis world with waveshapers, wavefolders, and, most importantly, analog linear TZFM (Through-Zero Frequency Modulation) Indeed, its intentions are made clear from the outset by the on point wording worked tastefully into its (initial) top panel design. No need to necessarily remain there, though, for fat resonant filters and powerful analogue oscillators also allow for more traditional subtractive synthesis sounds. And although a deep and flexible modulation section encourages complex patches with the push of a button and twist of a knob, switching modulations on and off with the TOGGLE function, it is always easy to keep track of what is going on thanks to the inclusion of LEDs (Light-Emitting Diodes) on every source and destination.

Digging deeper, MAGNOLIA features eight analogue voices with two oscillators — carrier and modulator — and 24 dB/oct resonant HIGH-PASS and LOW-PASS filters; the carrier oscillator has a through-zero core for precise, sideband-rich analogue FM (Frequency Modulation) sounds, so crystal-like pads to growling basses are available to all with the greatest of ease, while FM can be applied to the filters. Furthermore, sculpting sounds that have not been heard before on analogue polysynths are now perfectly possible, thanks to MAGNOLIA’s unique signal flow — think continuously variable waveform shapes and a wavefolder circuit per voice!

Those two oscillators are derived from Frap Tools’ BRENSO (https://frap.tools/products/brenso/), a Euroack module readily representing its creator’s primary analogue source of articulated waveforms whose degree of entanglement can be precisely set by the musician. MAGNOLIA’s Oscillator 1 is the ‘West Coast’ one with TZFM, wavefolder, and FLIP SYNC, while Oscillator 2 is the ‘East Coast’ one, with PWM (Pulse Width Modulation) and fine-tune. Whether wanting experimental FM sounds or punchy synth brass, they are always at anyone’s service. Speaking of Frap Tools’ unique modular soul, MAGNOLIA’s filter section is derived from CUNSA (https://frap.tools/products/cunsa/) — itself a quadruple analogue ping-able multimode resonant filter, saturator, mixer, and oscillator, no less!

Musically, MAGNOLIA sports a keyboard from fellow Italians FATAR, with polyphonic aftertouch capabilities for enhanced expressiveness, while a per-part ARPEGGIATOR and per-part 16-step SEQ (sequencer) serve to creatively complement the synthesizer still further. Features briefly worth drawing attention to here by way of ending on some more high notes include MAGNOLIA’s bi-timbral programs (with SINGLE, MORPH, DUAL, and SPLIT MODES); all-analogue signal path; three loop-able DAHDSR (DELAY, ATTACK, HOLD, DECAY, SUSTAIN, and RELEASE) envelopes; three digital LFOs (Low Frequency Oscillators); and 512 preset memory slots.

Anyone attending SUPERBOOTH25, May 8-10, FEZ-Berlin, Germany can get up close and personal with two MAGNOLIA pre-production units by swinging by Booth B049 there. Their creators will be showcasing them personally, eager to show the results of their hard work, while providing a passionate warm welcome. Frap Tools aim to release MAGNOLIA as a production product by the end of summer, albeit with some differences evident by then. The interface will likely be more refined, featuring digital effects, while some features currently under evaluation could conceivably be removed."

New Magnolia Keyboard Synth by Frap Tools Coming to SUPERBOOTH

via Frap Tools

Update: video here

"And here's what we'll bring to Superbooth: Magnolia is the prototype that kept us busy over the last year. It's gonna be an 8-voice analog throuhg-zero FM polyphonic synthesizer. At its heart, all the sounds you've met in our modules: Brenso, Cunsa, and so on. We could say a 'west coast polysynth', but it's capable of analog subtractive synthesis as well. We'll bring two pre-production units at @superbooth_berlin , so come check them out and stay in touch for some video and audio stuff!"

CLICK FOR MORE »

On cross-FM and fake polyphony | Performance breakdown with Francesco Gennari

video upload by Frap Tools

"In today's video, ‪@francescogennarimusic‬ walks us through the creative process behind his first study for modular synthesizer. It explores three main concepts:

1) Cross-FM with the Brenso oscillator: https://frap.tools/brenso
2) Fake polyphonic strings with the Verbos Multi Delay Processor
3) Creative uses of the mute function through the QSC Quad Stereo Channel and the Usta Sequencer. https://frap.tools/usta https://frap.tools/qsc"

BUCHLA & TIPTOP AUDIO 259T mega TUTORIAL with scope and explanations. All you need to know.

video upload by Flat Round Modular Music

"A complete demo and tutorial of the Buchla and tiptop audio 259t. The father of all the complex oscillator will show you all its secrets. So you'll can play with and understand all its sons, they work the same...DPO Brenso Further generator and more.

How complex oscillators work.
Waveshaping
Wavefolding
FM
Internal and external modulations
Cross modulation
Hard and soft sync

And don't forget to look at the scope.

Have a look."

Buchla and Tiptop Audio 259T. The godfather of all the complex oscillators. Sound exploration & jam

video upload by Flat Round Modular Music

"Back to the origines.
Daddy's here now.
DPO Brenso Mindphaser Furthrrr generator Three body Vortex and Verbos complex oscillator are proud of their father. Back to basics, it cane smooth or harsh and brutal.

SIMPLE: two oscillators with cross modulation - one modulator and one main plus as usually a wave folder and many more ...

It's time to explore the beast

Have a look."

Buchla/Tiptop 259T | A Legend Revived

video upload by Cinematic Laboratory

"I don't think this module needs any introduction in Eurorack. Don Buchla inspired countless complex oscillators before it inspired Serge Tcherepnin and digital FM pioneers like John Chowning who brought FM on a chip to Yamaha. The 259 is a landmark VCO. One could assume it would old compared to modern gear like the DPO, Cs-L, Furthrrr, Brenso, Verbos CO and many more, but the 259 has a unique sound you will not find anywhere else.

There's 50 years between the 259c and the Tiptop recreation. A lot has changed. The original featured eight vactrols, but the T has none due to Hazardous Substance Regulations (RoHS). It's fair to say it's impossible to stay faithful. Autotune wasn't finished yet, it relied on the forthcoming 300 series that never took off. Remote/local control relied on Easel programming card tech which is useless in its eurorack incarnation. Tiptop decided to add ART support, a proprietary protocol which supports autotuning VCO's.

Real Buchla 259's are extremely rare, they're mostly faithfully recreated clones. So I had no idea how the real thing sounds and the 1M $ question is obviously 'does it sound the same'. Spoiler alert: it does. This video also concludes my 259 origin story, so it's episode 04 in the 259 playlist, and episode 09 in my Tiptop 200 series playlist. It's a bit confusing but it it makes sense to me.

Bottom line, it's a beauty."

The power of stepped random voltages: create infinite textures with just thee modules

video upload by Frap Tools

"This Week Federico takes us for a tour of one of his favorite techniques: random S&H everywhere!

We will use a single S&H from Sapèl, multiply it through the 333, and patch it to many points of Brenso's complex section. Thanks to its many attenuverters, it will be possible to create a drone sound that will change its timber infinite times at every clock strike."

Frap Tools CUNSA in-depth tutorial | Eurorack quadruple multimode analog filter module

video upload by Frap Tools

"Time to dive deep into Cunsa's main features! In this first tutorial, we will explore how a single filter works and how to combine them together to get the signature "Cunsa sound." This should get you started with CUNSA and let you understand its basic functioning. In the next episodes, we will see more specific applications!

00:00 Intro & Cunsa overview
02:21 The 12 dB/oct lowpass filter
02:41 The Q parameter (resonance, emphasis)
03:42 How the Q affects the LPF cutoff point at 12 dB/oct
04:15 The Character parameter
05:15 Combining Q and Character
05:55 The 24 dB/oct lowpass filter
06:10 The Character behavior on the oscilloscope (12/24 dB/oct LPF)
08:00 How the Q affects the LPF cutoff point at 24 dB/oct
08:15 A comparison of the 12 and 24 lowpass curves with different Q settings
08:52 The 12 dB/oct bandpass and highpass filters
10:09 How Q and Character affect the bandpass and highpass curves
10:23 The Behavior switch (filter and combo mode)
11:50 CV inputs for cutoff, Q, and Character
12:31 Using CUNSA as an oscillator (self-resonating filters)
13:13 Oscilloscope views of the self-oscillating filters
13:37 Fine-tune cutoff frequency knob
13:46 BONUS TIP: double TZFM oscillator with Cunsa and Brenso
14:12 The Ping circuit: nonlinear integration
15:40 Ping circuit and combo mode
16:10 Ping v/s ring, a brief recap
17:03 Semi-normalled connections
17:19 The mixed outputs
18:19 The routing switches: complex filtering with four filters in parallel
19:45 Some examples of semi-normalled patching techniques
22:13 The Dry output and other complex patching examples
25:50 Outro"

Memes aside, let’s make Sandstorm by Darude on our Frap Tools system

video upload by Frap Tools

"Yeah, drones and experimental stuff are fine, but sometimes we only need a four-on-the-floor kick and an uplifting synth lead. Sandstorm by @darude has both so we thought we may give it a go on our Frap Tools system!

The modules we mostly used are our Brenso and Cunsa. In this video, Cunsa performs three tasks: a filter for the bass line, a kick drum, and a distortion effect for the lead. Quite flexible!

We hope we didn't get too close and avoid getting a copyright claim.

Timestamps:
00:00 Introduction
00:10 Bass
02:06 Kick drum and bass sidechain
05:45 Lead sound
12:15 Final result (cheating a bit here)"

‘Glass sounds‘ analog through-zero FM patch breakdown with Brenso and Cunsa!

video upload by Frap Tools

"As per request, here's a patch breakdown of this short video: [posted here]

It's a super crystalline sound thanks to Brenso's through-zero FM, and we took it a bit further by adding the Cunsa filter, which we didn't have back when the short clip was filmed."

Loquelic Iteritas Percido | Patch Tutorial & Survival Guide

video upload by Cinematic Laboratory

"This video is a bit like a community service. The Loquelic Iteritas Percido is often described as one of the most difficult and unpredictable VCO's in Eurorack, so maybe this video can finally help you out. But this 'issue' applies to all complex oscillators. They're complex. Where a sawtooth can only do a saw, a complex oscillator can make millions of sounds by combining two VCO's by clever 'algorithms', mod/fm busses and patches. It's not immediately obvious, but the LIP is also inspired by the Buchla 259. It has two independent VCO's, a mod bus and a wavefolder. What makes complex even more complicated is the built in ADR envelope that can affect pitch, amplitude and timbre in various degrees and strengths. It's easy to forget that you don't need to dial in everything to make a sound. Even if you don't own a LIP (and not planning to), this video could give you some new insights that will help to patch your more classic 259 designs (DPO, Furthrrr, Brenso, Cs-L, Verbos CO, 258T, etc).

00:00 Introduction
00:16 Neutral settings
00:48 2xVCO+Mod+Fold=259
01:04 Coarse and fine tuning pitch push encoders
01:33 Trig/Loop/Free
01:46 The Envelope
01:58 Algorithms
02:17 LIP on the Scope
06:10 Try to imagine a picture for a sound
08:12 The Damp knob
08:57 If you can't dial in a sound, maybe you'd need a filter.
09:51 Heavy Industry
10:49 The Moody Ambient Side
14:07 Brass sounds"

Let's make a synth brass sound with our CUNSA filter in the style of Steve Porcaro

video upload by Frap Tools

"Let us take a step back with the CUNSA filter and try to create some classic sounds. Probably the most iconic is the synth brass, and since we don't like reinventing the wheel, we'll rely on the excellent instructions by Steve Porcaro."

00:00 Introduction
01:38 Getting two sawtooths out of BRENSO
03:34 Envelopes, VCF, VCA
08:34 Adding the "blip"
10:41 Filter tracking
11:09 Filter ping
12:33 Character "blip"
14:05 Input VCA
15:03 Final result and closing remarks.

Programming the bass sound of West End Girls on a Frap setup was a tough challenge (but we did it)

video upload by Frap Tools

"So we were asked to remake the bass sound of West End Girls by @officialpetshopboys with only Frap modules, and here's how we did it! It's not completely there but still seems like a fair approximation. Got other ideas? Let us know in the comments!

Interview with Stephen Hague:
http://www.muzines.co.uk/articles/tra...

Modules used (all of them...)
BRENSO: https://frap.tools/brenso/
CUNSA: https://frap.tools/cunsa/
USTA: https://frap.tools/usta/
FALISTRI: https://frap.tools/falistri/
CGM: https://frap.tools/cgm/
321: https://frap.tools/321/
333: https://frap.tools/333/

00:00 Introduction and original patch breakdown by Stephen Hague
01:21 The FM 'thump' on the BRENSO
03:31 The Jupiter 6 sound on the CUNSA
05:37 The Emulator II kick drum on the CUNSA
07:59 Adding variation through the Ping input and decluttering the patch
09:23 Changing the envelope fall through the USTA sequencer
10:34 Balancing the resonance with USTA's COMBO mode
11:06 Adding an extra sawtooth to the Jupiter 6 sound through FALISTRI
15:14 Final result and closing remarks"

The legend of BRENSO’s pulse-width modulation

video upload by Frap Tools

"PWM is a huge part of everyday electronics, but it is also a classic synth sound, to the point it reached a cult (if not meme) status.

A Eurorack oscillator like BRENSO wouldn't have been completed without a PWM section, and today we're exploring it in detail. It might not be the most obvious feature, since it is nestled into the timbre modulation section, but it is capable of wild timbers.

Check also this PWM patch: [video below]

Timbre and Amplitude modulation:
BRENSO Waveforms: [posted here]
Overtones: [video below]

00:00 Overview
02:36 What is a comparator and why it's important for pulse-width modulation?
03:36 The difference between BRENSO's square waves.
04:37 Modulating the comparator threshold to change the pulse width.
05:04 What are the harmonics of a pulse wave?
06:09 How to fake more oscillators through PWM.
07:15 Pulse wave symmetry and phase.
09:51 Feeding BRENSO's comparator with the triangle shaper

Pulse-Width Modulation and Sync with BRENSO | East Coast Sounds 1 | Frap Ideas

video upload by Frap Tools

"A recent article on @PerfectCircuit’s blog inspired this exploration beyond the label of "West Coast" synthesis. We thus focused on two techniques for the BRENSO oscillator that go beyond the classic complex oscillator's palette: PWM and sync."

Ryan Gaston’s articles:
Pt.1 https://www.perfectcircuit.com/signal...
Pt.2 https://www.perfectcircuit.com/signal...

00:00 Introduction: East Coast and West Coast?
02:20 Pulse-width modulation (PWM) on the BRENSO
13:29 The "AAAAAH" moment
14:05 Flip Sync


What are overtones and why they might be more important than you imagine

video upload by Frap Tools

"Today's topic ties together notes, harmony, tuning, timbre, and even more. It's the overtones, and this is our introduction!"

00:00 Introduction
00:22 What is a note?
02:11 What are overtones?
04:06 Harmonic and inharmonic overtones
06:24 Electronic waveforms and overtones: triangle, square, sawtooth
09:42 Isolate waveform partials through CUNSA bandpass filters
12:56 Create a complex wave through harmonics in analog
15:04 From the harmonic series to the dominant chord: closing remarks

Recreating Prodigy's "Smack My Bitch Up" lead sounds with a Frap Tools system.

video upload by Frap Tools

"The idea for this video comes from this excellent tutorial by @AlexBallMusic , thanks a lot!

Full video by Alex Ball here: [posted here]

00:00 Introduction and patch overview: BRENSO and CUNSA
03:25 Adding envelopes and modulation through FALISTRI
06:18 Adding a wild distortion with the CGM creative mixer
08:22 Automating the filter sweep with the USTA sequencer
11:47 The final Smack My Bitch Up patch and closing remarks"

How does BRENSO generate its wave forms and how to win an extra analog sawtooth!

video upload by Frap Tools

"Today we'll explore BRENSO's core, its generation circuits, and by the end we'll add an extra waveform to the stock ones!

00:00 The 'canonic' analog waveforms: triangle, sawtooth, square, sine.
01:04 How does an oscillator generate a wave?
01:56 BRENSO's triangle and square waves
02:26 BRENSO's sine wave
03:27 BRENSO's sawtooth
04:47 How to create a second sawtooth with BRENSO, FALISTRI, and the 321
07:36 Double-sawtooth eas-coast fun and closing remarks"

Notes, intervals, tuning, temperament: the basics of music and their impact on the USTA sequencer

video upload by Frap Tools

In the previous video [posted here], we got a glimpse of how notes and overtones are related. Today, we'll see how we came to 12 notes in the West.

00:00 Introduction
00:48 Intervals and scales
01:13 Important disclaimer
01:49 Why seven notes? From the Greek tetrachord to Guido D'Arezzo
04:12 Where do 12 notes come from and what is the Pythagorean comma?
06:05 What is the difference between tuning and temperament?
08:32 Demoing the difference between temperament and tuning with the USTA sequencer"


Previously:

Why notes exist | Frap Talks

video upload by Frap Tools

"Let's talk about notes and why sometimes it's not clear how we're supposed to tune our instruments. What is A4? What is middle C? Why is there a C-1?

Timestamps:
00:00 The western musical notation
01:31 Why A4=440 Hz?
02:12 Playing together
03:12 Instrument ranges and note names
04:43 The scientific pitch notation
05:53 The MIDI note system
06:55 Absolute and relative note names
07:11 Notes on a modular synthesizer: USTA and BRENSO
09:41 Unipolar VS bipolar control voltages
10:59 Why do note names don't match sometimes
12:10 The difference between a note and a control signal
13:10 Final thoughts"

What is filter pinging (and filter ringing)? A demo with BRENSO and CUNSA

video upload by Frap Tools

"Today we'll see what's filter pinging, how to ping a filter, and why it can mean more things."

00:00 Introduction
00:13 Chris Meyer's definition of "pingable"
02:08 Pinging BRENSO and CUNSA
06:20 CUNSA's Combo Mode
08:06 Pinging a resonant filter: analog drums
09:26 Allen Strange's definition of "Ringing"
10:32 Ringing CUNSA
12:25 Adding V/oct and ringing more filters at once
14:19 Closing remark: filter pinging and filter ringing

More glass sound with BRENSO

video upload by Frap Tools

"The bright TZFM of our BRENSO allows us to get these bright and cheerful glass sounds! We patched an envelope to control the FM deviation, then a slow LFO to control SAPÈLs main clock. The sequence is random, of course, thanks to USTA’s variation capabilities!"