Frap Tools USTA in Action: Polyrhythms and Polymeters in Francesco Gennari’s Modular Labyrinth

Francesco Gennari opens the session with a performance of ‘Studio No.3’, a piece constructed around the exploration of polyrhythmic patterns and polymetric phrasing. The video immediately sets the tone for a journey into rhythmic complexity, with Gennari promising a post-performance walkthrough of the patching and compositional decisions that underpin the track.

The initial performance is a showcase of four interwoven voices, each contributing to a dense and evolving modular texture. Gennari’s approach is methodical, using the Frap Tools USTA sequencer as the central hub to coordinate pattern lengths and rhythmic structures. The result is a composition that feels both meticulously crafted and alive, with shifting harmonic and melodic landscapes emerging from the interplay of sequenced voices and live manipulation.

Gennari’s patch is a study in modulation, with the Bagai module taking centre stage for random voltage duties. Unlike the more expansive Sapèl, Bagai’s bipolar sample and hold outputs are put to work modulating parameters like pan and wave shaping, injecting unpredictable motion into the soundscape. The module’s independent clocking options allow for asynchronous modulation, further enhancing the organic feel of the performance.

Effects are handled with equal care. The Disting EX is configured as a dual ping pong delay, with each channel clocked differently—one by Bagai (divided via Falistri’s flip-flop), the other by a separate random clock. The Empress Zoia pedal is also brought into the modular fold, clocked by USTA and patched for both reverb-vibrato-distortion and reverb-delay-distortion chains, each switchable on the fly. This combination of random modulation and flexible effects routing gives the performance its distinctive, ever-evolving texture.

A key strength of the USTA sequencer, as demonstrated here, is its ability to switch patterns and manipulate sequence structure in real time. Gennari walks through how tracks can be set to play specific pattern ranges, and how these can be changed on the fly by entering performance mode and using the encoders. This allows for dynamic shifts in phrasing and rhythmic density, essential for keeping a modular performance engaging.

The video details how starting and ending patterns can be adjusted mid-performance, looping on a single pattern or expanding to a longer sequence as needed. This flexibility is further enhanced by USTA’s gate layers, which allow for ratcheting and probability-based variations. The result is a sequencer that feels less like a rigid grid and more like an improvisational partner, capable of responding to the performer’s intent in real time.

The closing section of ‘Studio No.3’ introduces a polymetric twist, with voice one shifting to a 15-note pattern while the other voices maintain their established structures. This creates a phase-shifting effect, as the voices drift in and out of alignment, producing a layered and non-repetitive phrasing that keeps the listener guessing.

To heighten the sense of space and movement, Gennari isolates voices three and four, routing them through additional effects and stereo panning. The Disting EX and Empress Zoia are used to full effect here, with delays and reverbs clocked independently to further decouple the rhythmic layers. The result is a finale that feels both meticulously constructed and delightfully unpredictable—a fitting end to a modular étude that celebrates complexity, modulation, and the art of live patching.