Frap Tools Usta: Sequencing the Emerson Trick – Modular Mayhem in Motion

With the foundation in place, the demonstration shifts to programming the Usta for progressive speed changes. Instead of manually sweeping the clock, as seen in some tutorials, Giovanni opts to automate the acceleration. Usta’s four-track design allows each track to run at its own speed, so track two is set up to control the tempo in discrete stages.

By assigning each stage of track two a length matching the full pattern of track one, and programming a sequence of control voltages that increment by 0.5V per stage, the patch achieves a stepwise acceleration. These voltages are patched to modulate Bagai, and the CV attenuverter is used to intensify the effect. The result is a sequence that ramps up in speed, moving towards the audio-rate frenzy that defines the original performance’s climax.

As the sequence accelerates, a problem emerges: the changes between stages are a bit too abrupt, causing stepped jumps in tempo. To address this, Giovanni leverages Usta’s ability to slide between voltage stages. By enabling slides, the control voltages transition smoothly, creating a continuous ramp from 0 to 5.5V.

This approach not only solves the stepping issue but also introduces a more organic, linear acceleration. The demonstration highlights a subtle pitfall—integrating slides can affect how the sequence starts, as the ramp may begin from the last played value. Adjustments are made to ensure each stage integrates correctly, showing the importance of careful sequencing when pushing a module to its limits.

The next challenge is to make the sequence stop itself, just as in Emerson’s live performance—no manual intervention allowed. Giovanni sets up a gate track on Usta’s track two, using a constant high gate as a run signal patched into the auxiliary input. Usta’s project menu offers several run options, and after some trial and error, the appropriate mode is selected to allow the sequence to halt when a low gate is received.

By programming an extra stage with a low gate at the end of track two, the sequence is designed to incrementally speed up and then stop dead at the final stage. This cross-patching of gate outputs to auxiliary inputs is a classic modular move, demonstrating how Usta’s architecture can be bent to creative ends.

The result is a self-terminating sequence that mirrors the drama of the original performance. The approach is both elegant and slightly hacky—a testament to the flexibility of modular sequencing when you’re willing to experiment with signal routing.

No Emerson homage would be complete without a final explosion. To achieve this, Giovanni duplicates the noise signal and cross-patches it to another Kunsa filter, removing the original filter from the mix and driving the new one into maximum distortion. The initial idea was to use a gate from track two to trigger the explosion, but the stage was too short to produce a meaningful effect.

The solution is to create a third track on Usta, mirroring the structure of track two but with a final stage dedicated to firing a gate at the precise moment. This gate is patched to the filters, delivering the climactic burst of noise that caps off the sequence. The demonstration ends with a nod to the value of pushing a sequencer to its extremes—not just to mimic a classic, but to expand one’s own patching imagination.