This patch tries to push the parametric scanner controls to audio rate.

BRENSO's Pulse Shaper out to FUMANA's Main in.
BRENSO's Green Sine out to FUMANA's Scanner Width.
SAPÈL's clock output to FUMANA's Modulation input.

FUMANA Sounds #4: Audio-Rate Scanning

A patch that explores the interaction between SAPÈL and FUMANA.

The main audio source is BRENSO's Final output.
SAPÈL's S&H controls the Scanner position.
The Random Clock trigs an envelope on FALISTRI that controls the Tilt control.
The n+1 value controls BRENSO's pitch.

FUMANA Sounds #1: Random Parametric Scan & Tilt

Ring Kalimba

Feeding CUNSA with a digital sample of an electric piano arpeggio. We set the four filters as LP, BP, BP, and HP, tuned their frequencies very close, added a pinch of Q, and modulated their frequencies with an LFO patched to the Ping input to obtain this sort of analog resonant phaser with some overdrive through the Character circuit.

Rhodes Phaser

Four tracks controlled by the USTA sequencer. Sound sources: BRENSO and FALISTRI. CUNSA is being pinged by USTA’s gates and the four filters are swept through an offset from the 321 patched to the V/oct input.

Cunsa’s Main Theme

Feeding CUNSA's filters with trigs and pushing it right below the self-oscillation point creates this liquid sound.

Liquid

No external sound in this patch: two filters are oscillating and one is FM'ing the other. The carrier's input is then cross-patched to a pinged third filter. SAPÈL and FALISTRI are randomizing everything including the FM amount.

No-Input Krell

Drums

Pinging BRENSO and CUNSA at the same time and sweeping with multiple filters with high Q settings to achieve some voweling sounds.

Double Ping

Three-filter bass sweep plus a fourth filter pinged with resonance to add a rhythmic touch.

Bass Sweeps

BRENSO and SAPÈL's noise patched to CUNSA and mixed in stero: filters 1+2 on the right, and 3+4 on the left. BRENSO is TZFM'd by FALISTRI and CUNSA is pinged by USTA.

BRENSO FM Stereo

Classic east coast arpeggios with two BRENSO oscillators summed and slightly detuned.

Arpeggios

Feeding CUNSA with an accordion sample. We set the four filters as LP, BP, BP, and HP, tuned their frequencies very close, added a pinch of Q, and modulated their frequencies with an LFO patched to the Ping input to obtain this sort of analog resonant phaser with some overdrive through the Character circuit.

Accordion

A duophonic patch where each voice uses two filters. Filter 1 and 3 are lowpass, non-resonant and controlled by an envelope, filter 2 and 4 are bandpass, resonant, and free roaming through fluctuating random voltages.

Doom Pad

A snapppppppy synth lead with parallel filter processing: one filter is pinged and provides a snappy envelope, the other is more classically controlled by an envelope. Everything is controlled by the same V/oct signal.

Snappy Lead

Another lead with parallel filtering: BRENSO's FINAL output and sync'd green triangle are processed with two lowpass filter, one controlled through the Ping circuit and the other through a classic envelope.

Sync Lead

A duophonic V/oct controls two couples of filters just below the self-oscillation point. The keyboard trigs make them ring. Filters 1+2 and 3+4 are hard-panned. Each filter pair has a filter tuned to the fundamental frequency and another to a higher note.

No-Input Stereo Ringing Duophonic Patch

A saw wave is pre-mixed with a trig signal and fed into one filter in lowpass mode with a high Q setting. The trig makes the filter briefly ring, adding a plucked sound similar to a muted picked bass.

Ringing Muted Bass

Aquatarkus

Three pinged resonant filters provide a rhythmic pattern and a fourth bandpass filter is fed with 16th-note trigs for a steady sweeping hi-hat pattern.

Percussive Techno Pinging

Patch notes:

BRENSO Final output → CGM
FALISTRI EOF → 333 → BRENSO Ping / SAPÈL Clock in
FALISTRI 4QM out → BRENSO Yellow deviation CV in
SAPÈL n+1 out → BRENSO green V/oct in

The two FALISTRI generators are looping at different speeds.

Dialogue for BRENSO, FALISTRI, and SAPÈL

This is the first episode of a brand-new video & podcast interview! Giovanni from Frap Tools talks with Francesco Gennari, a talented musician who merges modular synths and classical counterpoint. We discuss his style, approach, background, and gear and make some patches along the way.

Also available on Spotify, Google, and Apple Podcasts.

Video: https://youtu.be/DygqHbm1rmg

Francesco's album: https://imprec.bandcamp.com/album/frammenti

https://frap.tools

00:00 Introducing our guest: Francesco Gennari
01:09 Noise punk, classical music, and electronic music
03:40 Skateboard, broken knees, and modular synths
05:50 On "Frammenti" and composing for the modular synthesizer
10:55 Counterpoint and randomization
16:55 The concept behind "Frammenti"
19:38 Francesco Gennari's patch
22:49 Francesco's patch breakdown
26:48 Patch discussion
31:48 On USTA, SAPÈL, FALISTRI and rhythm variations
40:56 Gödel, Escher, Bach
42:04 What could be the next Frap Tools module?
45:45 Giovanni's patch in the style of Francesco Gennari
47:39 Giovanni's patch breakdown

1. Francesco Gennari – Counterpoint, Modular Synthesizers, and Broken Knees

Giovanni from Frap Tools talks with Trevor Treglia, an American composer and synthesist whose work concerns text, microtonality, and alternative notation. Treglia resides in Los Angeles, California, and studies Composition and Experimental Sound Practices at California Institute of the Arts. He has produced several albums for the formforum label, most recently ‘Untitled,’ an album of long-form electronic compositions. Trevor has made several radio appearances on Dublab, N10.as, and hosts the monthly radio show 'No Escape Except Peace' on Internet Public Radio and Veneno Radio.

Trevor's album: https://treglia.bandcamp.com/album/untitled

Available on Spotify, Google, Apple Podcasts, and Soundcloud.

Video: https://youtu.be/mtHkiNTm7d8

00:00:00 Introducing Trevor Treglia
05:40 Trevor's influences: Eliane Radigue, Morton Feldman, John Cage
12:20 Compositional techniques
24:48 Trevor's patch
36:06 Patch breakdown and current projects
41:11 Musicians as composers and listeners
49:14 Where is the music? Texts, l 
56:51 What could be the next Frap Tools module?
1:02: Giovanni's patch

2. Trevor Treglia – Drones, Poetry, and Just Intonation

Rayhan Sudrajat is an Indonesian ethnomusicologist and composer also known as Baséput. His research focused on Kalimantan death rituals from the musical perspective. Baséput is his electronic music project, whose concept is to link between the voices and instruments of the indigenous people and the modular synthesizer to create a new form of experience in the modular world.

Baséput's EP: https://baseput.bandcamp.com/album/astungkara

Video: https://youtu.be/oDQLAuvnS-8

00:00:00 Rayhan Sudrajat’s music and research on Kalimantan death rituals
00:09:28 Sundanese traditional music and modular synthesizers
00:20:28 Rayhan’s patch
00:27:25 Sampling ancient Indonesian instruments and Buchla synths
00:40:18 Microtonal scales with the USTA sequencer and other performance techniques
00:57:28 Techno and the importance of keep learning
01:04:37 What could be the next Frap Tools module?
01:10:36 Giovanni’s Patch

3. Baséput – Sequencers, Kalimantan Death Rituals, and The Beatles

Lukas Hermann is a German scholar, musician, and teacher, whose music reflects his deep interest in literature. His compositions for modular synthesizer oscillate between lyrical forms and abstract sound sculptures. He releases his music on Hauch Records, Petite Victory Collective and on the label of Eurorack Ruhr, a music collective he co-founded. Hermann regularly organizes session evenings, concerts and workshops for Eurorack Ruhr in the Ruhr region and other cities in NRW.

Lukas' album: https://lukehrm.bandcamp.com/album/startling-cracks

Listen to the podcast here:
• Spotify https://open.spotify.com/show/0mfJXL5LGSl5sCM0pIFoOV?si=518eebac405f41e1
• Apple https://podcasts.apple.com/it/podcast/lets-talk-music/id1717656645
• Soundcloud https://soundcloud.com/fraptools/
• Google https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjgxNjEzMDMzMy9zb3VuZHMucnNz?sa=X&ved=0CAMQ4aUDahcKEwiwuPuHkIWEAxUAAAAAHQAAAAAQAg

Join our Discord community: https://discord.com/invite/TgAjm7aVWZ

00:00:00 Introduction and Lukas' musical journey
00:08:19 Adult & children education
00:14:15 Eurorack Ruhr and the Western German electronic scene
00:25:58 Luka's approach to music composition
00:31:36 Lukas' patch
00:45:01 Patch discussion: on feedback, instability, and interaction
01:03:48 Startling Cracks, Lukas' latest album
01:08:34 What could be the next Frap Tools module?
01:12:54 Giovanni's patch

Startling Cracks

Lukas Hermann's albu,

4. Lukas Hermann – Community Building, Literature, and Glitch Sounds

Isabella Forciniti is an Italian sound artist, researcher, and performer based in Vienna. Her projects focus on the artistic potential of digital networking and environmental data. Her academic background encompasses communication sciences, multimedia, and computer music. She was featured on the Shape+ platform's selection and performed in many of Europe's avantgarde music festivals, like Wien Modern, Ars Electronica, Unsound Festival, and more.

Isabella's music: https://isabella.klingt.org/

Video: https://youtu.be/XfK6I-0BUR8

00:00:00 Introduction
00:00:38 Isabella's background
00:17:48 Current projects: free will, nature, technology
00:37:43 Musical scores and the eternity of music
00:49:39 Isabella's patch
00:57:33 Silence and reverb
01:08:36 Isabella's influences and the visibility of women, non-binary, transgender, and gender fluid artists
01:35:04 What could be the next Frap Tools module?
01:42:57 Giovanni's patch

Listen to the podcast here:
• Spotify https://open.spotify.com/show/0mfJXL5LGSl5sCM0pIFoOV?si=518eebac405f41e1
• Apple https://podcasts.apple.com/it/podcast/lets-talk-music/id1717656645
• Soundcloud https://soundcloud.com/fraptools/
• Google https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zb3VuZGNsb3VkLmNvbS91c2Vycy9zb3VuZGNsb3VkOnVzZXJzOjgxNjEzMDMzMy9zb3VuZHMucnNz?sa=X&ved=0CAMQ4aUDahcKEwiwuPuHkIWEAxUAAAAAHQAAAAAQAg

Join our Discord community: https://discord.com/invite/TgAjm7aVWZ

5. Isabella Forciniti – Interaction, Free Will, and Awareness

A droning sound that uses the Timbre Modulation and Ring modulation, taking advantage of arbitrary detunings to achieve rhythmic pulsations.

Audio straight from the CGM mixer to the audio interface, no further processing nor FX.

BRENSO Sounds #5: Drone

Ping input and slew limiter over V/oct for an elastic bass sound.

Audio straight from the CGM mixer to the audio interface, no further processing nor FX.

BRENSO Sounds #1: Gum Bass

Pure Through-Zero FM. BRENSO is controlled by USTA under the heavy influence of FALISTRI and SAPÈL.

Audio straight from the CGM mixer to the audio interface, no further processing nor FX.

BRENSO Sounds #3: Glasses

A fast sequence being animated through the Timbre Modulation Bus. Kick drum by FALISTRI.

Audio straight from the CGM mixer to the audio interface, no further processing nor FX.

BRENSO Sounds #4: Four on the Floor

A patch that explores a blend of Flip Sync and Pulse Shaper.

Audio straight from the CGM mixer to the audio interface, no further processing nor FX.

BRENSO Sounds #2: Sync Sequence

Modular synth makers from Italy hosting a monthly podcast about music, art, and creativity. Every episode features a laid-back conversation and two synth patches: one by the guest, and another by the host.

Frap Tools

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