Frap Tools: Crafting Dynamic Stereo with Cunsa and Fumana

The video opens with Giovanni at Frap Tools introducing a patch that’s been simmering in his mind since the early days of Fumana. The core idea is to use Fumana’s odd and even band outputs to create a stereo spread from a mono bassline, a technique now fully realised thanks to the addition of Cunsa’s four flexible filters. The initial sound source is a robust, overtone-rich bass, with Cunsa’s filter set to 12 dB per octave to preserve those upper harmonics. There’s mention of adding extra crispness via Cunsa’s cube function, but the real focus is on what happens when this signal is routed through Fumana.

Once patched, Fumana’s odd and even outputs are hard-panned left and right, instantly delivering a wide stereo effect. Giovanni notes that these outputs are intentionally voiced with a slightly brighter character compared to the summed output, adding subtle nuance to the spread. While this hard panning is pleasing in the upper frequencies, it can leave the low end feeling unfocused—a problem for anyone wanting a bassline that sits solidly in the mix. This sets up the need for a more refined approach, with Cunsa stepping in to help rein in the stereo field where it matters most.

With the filters in place, Giovanni demonstrates how adjusting the cutoff and resonance shapes the overall sound. He keeps the Q moderate to avoid overemphasising the cutoff point, aiming for a natural blend rather than a resonant peak. Driving the low-pass filter a little harder can add extra punch to the bass, while closing the filter tightens the low end further, keeping it focused and central in the stereo image. The result is a mix that retains a lush, expansive top end without sacrificing the mono integrity of the bass.

He also introduces an external offset from the 321 utility module, patching it into the filter chain to further refine when the track shifts between mono and stereo. Care is taken to isolate this offset from the fourth filter, which is reserved for melodic content, ensuring that only the processing chain is affected. This level of control allows for nuanced transitions and precise definition of the stereo field.

For added timbral variety, Giovanni suggests swapping the input signal—using, for example, a square or pulse wave—to feed filter one. This approach lets different sections of a track be perfectly centred or spread out as needed, demonstrating the flexibility of the setup for both static and evolving arrangements.

The final section explores modulation options to animate the stereo field. Instead of relying solely on static offsets, Giovanni patches in an LFO or even a fluctuating random voltage—possibly from Sapèl—to modulate the filter parameters. This injects movement and unpredictability, making the stereo spread dynamic and organic rather than fixed.

By leveraging these modulation sources, the patch gains a sense of evolution, with the stereo image and timbre shifting over time. The video closes with Giovanni reflecting on how well Cunsa and Fumana complement each other in this context, inviting viewers to experiment further and share their results. It’s a fitting end for a patch that’s all about interaction and creative control.