Frap Tools: Mat Watson, Modular Systems and the Art of Distorting Time

Watson’s entry into modular synthesis was catalysed by his acquisition of an EMS Synthi AKS in 2006—a machine that, for him, embodied the mysterious, limitless potential of electronic sound. The Synthi’s matrix-based patching and idiosyncratic behaviour became a touchstone for his creative process, leading him to explore Eurorack as a way to build a portable, customisable version of that experience. Rather than simply replicating the Synthi, Watson found himself drawn into the unique logic and quirks of each modular format.

In the video, Watson demonstrates a patching philosophy that resists default settings and encourages lateral thinking. He discusses the transition from the Synthi’s matrix to Eurorack’s point-to-point cabling, noting the increased need for attenuation and voltage conditioning. For Watson, modular is less about emulating classic machines and more about creating a personal sound world—embracing unpredictability, feedback, and the nuanced behaviour of each module. This ethos is evident in his patch examples, where sequencers, function generators, and gestural controllers are used to sculpt evolving, event-driven soundscapes.

Central to Watson’s patching style is the creative use of voltage control to animate parameters and subvert rhythmic expectations. In his breakdown of two key patches, he highlights how sequencers like Frap Tools’ USTA are used not just for melodies, but as engines for generating events—pulses, gates, and modulations that drive the system in unexpected directions. By varying stage lengths and gate durations, he crafts animated, non-repetitive patterns that blur the line between rhythm and texture.

Watson is particularly interested in distorting the perception of time within a patch. He often works in odd time signatures—fives, sevens, and nines—and uses manual or voltage-controlled shifts to move sequences off the grid. This approach is reinforced by his use of gestural controllers like the Intellijel Planar, allowing for real-time manipulation of FM, timbre, and spatial parameters. The result is a dynamic interplay between structure and chaos, where modulation is as much about feel and intuition as it is about technical precision.

The conversation concludes with a look toward the future of modular synthesis and the workflows that emerge from breaking away from tradition. Watson and the Frap Tools team discuss the potential for new modules—such as complex CV mixers or touchplate controllers—that could further expand the possibilities for performance and interaction. Watson expresses a desire for tools that facilitate the creation of “CV soup,” allowing for intricate blending and manipulation of control voltages with tactile, performative interfaces.

Underlying this discussion is a recurring theme: the importance of freedom and intentionality in modular practice. Watson sees the modular environment as a space for ongoing experimentation, where the boundaries between studio and stage, composition and improvisation, are constantly negotiated. The video closes with a sense of open-ended curiosity—an invitation to keep challenging the defaults and to find new ways of making modular systems serve the music, not the other way around.