Frap Tools: Tim Davies on Modular Jazz, House, and the Art of the Patch

Tim Davies’ musical path is a winding one, beginning with the trumpet in school jazz bands and evolving through drums, recording, and eventually the world of modular synthesis. His scientific background—he holds a Master’s in Physics—has shaped his creative process, encouraging a methodical yet exploratory approach to sound. Tim’s early exposure to electronic music came via computer-based tools like Ableton and Max, but he soon found himself drawn to the tactile, hands-on nature of hardware synthesis. The modular format, with its endless patching possibilities, offered a way to bridge his love of jazz improvisation and the sonic experimentation of electronic music.

What stands out in Tim’s story is the convergence of two seemingly disparate worlds: the collaborative, improvisational energy of jazz and the precise, sculptural possibilities of modular synthesis. He notes that while software can get you close to certain sounds, there’s a particular magic in using the “right tool for the job”—in this case, the physical modules themselves. The pandemic lockdowns provided the time and space for Tim to dive deep into modular, allowing him to chase the sounds he’d long imagined but couldn’t quite reach with software alone. For Tim, modular isn’t just a set of gear; it’s a way to physically engage with music, moving beyond the screen and into a space where voltage and intuition meet.

Tim’s compositional workflow is a hybrid affair, integrating the strengths of both DAW-based sequencing and modular hardware. In his main project, Marble Sun, he collaborates with singer Olivia Williams to create music that sits at the intersection of dance, jazz, and pop. The songwriting process often begins with piano-based chorale structures, focusing on voice leading and harmonic continuity—a nod to jazz tradition. These harmonic frameworks are then fleshed out with rhythm, bass, and modular arpeggios, resulting in tracks that are both harmonically rich and rhythmically engaging.

A key insight from Tim is the importance of shared notes and smooth transitions between chords, especially when sequencing modular synths with time-based effects or arpeggiators. By ensuring that adjacent chords have overlapping tones, he avoids unwanted dissonance and creates a foundation for modular parts to sit comfortably within the mix. Interestingly, melodies in Marble Sun’s tracks are often composed last, layered atop the existing harmonic and rhythmic scaffolding. This approach, while unusual in pop contexts, draws from jazz’s improvisational ethos and results in music that feels both natural and sophisticated.

The heart of the video is a detailed breakdown of Tim’s modular patch, which demonstrates how multiple voices and clever modulation can yield a cohesive, dynamic soundscape. Four main voices are at play: a subtractive bass voice using classic ladder filtering, two arpeggiator voices (one via Frap Tools BRENSO and another through the Pittsburgh Primary Oscillator with its distinctive fragments output), and a high pedal part sampled and manipulated via Morphagene and Fumana. Each voice is sculpted with its own envelope and filter path, with modulation sources carefully distributed to glue the patch together.

Tim’s approach to modulation is particularly instructive. Rather than flooding the system with unrelated mod sources, he uses a small number of sequencer lanes and random voltages, multed to several destinations. This strategy keeps the patch lively and evolving without descending into chaos—a lesson in restraint and intentionality. The result is a patch where envelope decays, filter cutoffs, and timbral shifts move in concert, producing a sound that’s both organic and tightly controlled.

The final section turns to Marble Sun, Tim’s main project, which exemplifies the fusion of jazz sensibility with dancefloor energy. Tracks like “Sunflower” showcase how Frap Tools modules such as Fumana can be used in unconventional ways—here, as a vocoder processing drum machines and synth chords. Tim and Olivia’s shared jazz background informs their approach, resulting in music that’s both harmonically adventurous and immediately accessible.

Practical workflow tips abound: Tim discusses the value of sonic consistency achieved by working with a limited palette of modules and instruments, and the importance of modulation strategies that are both performable and repeatable. The conversation closes with musings on future module designs—Tim dreams of a simple, slider-based CV sequencer for more hands-on control—and reflections on how modular’s constraints can actually deepen one’s understanding of both gear and musical structure. For those navigating the intersection of jazz, electronic music, and modular synthesis, Marble Sun’s approach offers a compelling blueprint.