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!"

Wiggly LFOs on the BRENSO (credit: Make Noise)

video upload by Frap Tools

"When we saw this video on Make Noise's channel, we thought it was a great patch! [posted here]

So we wanted to recreate it on the BRENSO oscillator and use this technique in a different context. Basically, we're using an offset to throw the yellow oscillator at sub-audio rate and use the timbre modulation section to create some weird-shaped LFOs. We further expanded it through FUMANA, USTA, and FALISTRI.

Thanks again Walker and @MAKEN0ISEMUSIC for the inspiring patch!

00:00 Introduction
00:57 BRENSO yellow LFO
04:56 Adding a FUMANA Feedback
06:47 Clocking the USTA sequencer
10:00 Introducing a clock divider
12:20 Adding a second melody"

BRENSO and beyond (with some FUMANA feedback)

video upload by Frap Tools

"Animating BRENSO's final output through FUMANA's bands and some feedback!"

Frap Tools Fumana as Vocoder

video upload by Tiefengrund

"Carrier: 100% Sawtooth from Brenso

Modulator: Tiptop One with Silvies Voice.

Lyrics: Mick"

First patch with only Frap Tools Eurorack Modules long Version

video upload by Tiefengrund

"Frap Tools Brenso, Fumana, Falistri, Sapel, Ustra and other."

6 Minutes with the Make Noise XPO

video upload by Brett Naucke

"HEADPHONES / STEREO SPEAKERS ENCOURAGED FOR STEREO IMAGE

This is NOT a comprehensive demo of this module, rather a quick exploration of the XPO under heavy modulation, doing the things I've enjoyed with it the most over the past few months of using it with the Maths + Qpas.

The first segment uses shows the L doing PWM and R channel doing waveshaping. The 2nd segment shows dual wavefolding, sync in, and center modulation and the wild places this will take you.

Patch Notes:
Maths Ch 1 & Ch 2 Outputs to L & R XPO inputs
Maths Ch 1 & 2 EOR/EOC to Qpas L & R Inputs.
Maths SUM Out to Qpas Cv In

2nd Part
2 free LFOs modulate both Maths Channels
Frap Tools Brenso 'Final' output into Sync input.

Again, no demo by any means, just the low/wild/growls that this thing does on its own. The XPO really does often sound like multiple osc's. One of the best analog oscs ever made and it's stereo functions are 100% unique to it.

THANKS"

Float, by Old Blood Noise Endeavors

video upload by Matt Lowery

"Float is a stereo multimode filter by Old Blood Noise Endeavors. In this video, we briefly explore its features and controls, and then spend a fair amount of time running different instruments through the pedal.

00:00 Intro
01:00 What's a filter, anyway?
02:40 LFO control
03:15 LFO sync
03:40 LFO phase
05:20 with Lyra-8
06:10 Shoegazey Guitar (pt. 1)
06:54 with norns
08:53 with Plumbutter 2
10:20 with Soma Enner
12:18 Shoegazey Guitar (pt. 2)
14:30 with Brenso"

"FLOAT DUAL MOVING FILTER

299.00
Turning our predilection for parallel signals toward the world of filters and widening out to full stereo, we are pleased to unveil OBNE’s first digitally-controlled-analog pedal.

Float boasts two independently controllable filters and copious capabilities for motion. Utilizing the two filters in tandem can create stereo movement, linked reactive elements, and modulations that approach harmonic tremolo and phaser, as well as classic filter sounds.

Float features:

Two independent filters, each with control over filter type, cutoff frequency, LFO rate, envelope sensitivity, LFO shape, resonance, and volume

True stereo, parallel mono, or series mono operation via top-mounted jacks

Min/max toggle for precise sculpting of LFO and envelope range

Sync toggle to link the LFO or envelope elements of Filter 1 to Filter 2

Expression jack to externally control Cutoff or Rate for each filter

Soft touch switching with true relay bypass

Hidden settings for LFO phase and envelope speed

Pedalboard friendly size

Requires at least 100mA 9VDC center negative power"

BRENSO EXPLORATIONS: Drone #01

Trübüla

"A little Drone based on Brenso + some Falistri processed by Fumana."

Frap Tools Brenso & 1010 BitBox Micro Eurorack Modular Synthesizer Jam

Perfect Circuit

"In this jam we used the new Brenso oscillator from Frap Tools as the main synth voice, the 1010 Music Bitbox Micro is providing the drum samples and the sequencing is provided by the Make Noise 0-CTRL and ALM Pam’s New Workout.

The Brenso is a dual oscillator capable of frequency and amplitude modulation as well as the ability to sync the oscillators to each other. There is also a built in wave shaper that allows you to dynamically control harmonics. The wave shaper section can also be used as a VCA, this allows you to just add an envelope generator and have a complete synth voice. In this video we used the Frap Tools Falistri to generate envelopes to modulate the amplitude and FM amount. One of the patches uses a little bit of filtering from the new version of the Mutable Instruments Ripples. Using a sequencer like the 0-CTRL for this type of synth voice works well since you can control the pitch as well as other parameters. We also added some modulation with the XAOC Batumi quad LFO.

The drum sounds are all samples from the new 1010 Music Bitbox Micro which is a smaller version of the original Bitbox, even though it is smaller it still has 8 channels and is a good option to add sampling to your eurorack modular. The drums are sequenced by the Pam’s New Workout used as a clock divider.

Brenso available here: https://www.perfectcircuit.com/frap-t...

Bitbox Micro available here: https://www.perfectcircuit.com/1010-m..."