background image

Patch Ideas:

Animated Lead: 

Patch sequencer or keyboard CV to VCO B 1V/ Octave INput. Monitor VCO B FINAL OUT. Set SHAPE and 

ANGLE panel controls and CV Attenuators to NOON. Set FOLDS to 9 o' Clock and set FOLDS CV attenuator 

to NOON. Set Mod Bus panel control to NOON. Patch Gate from sequencer or CV KB to STRIKE INput of 

DPO. Push button to select LFO behavior at VCO A. Set VCO A FREQ. to around 9 o' Clock and set Follow p 

to full clockwise (100%). Varying the Mod Bus parameter will greatly alter the sound. 

Analog Bass Drum: Patch VCO A SINE to Optomix CH. 1 Signal IN. Patch Gate from René or other 

sequencer to DPO VCO A Linear FM IN and Optomix CH. 1 Strike IN. Set DPO VCO A Linear FM amount to 

50% and Frequency panel control to roughly 9 o' clock. Set Optomix CH. 1 Damp and Control panel controls 

to full Counter Clock-Wise. Monitor Optomix CH. 1 Signal OUT. Adjusting the Linear FM amount, Frequency 

setting and DAMP settings will allow you to create many different Bass Drum sounds. Adding Dynamic Expo 

FM from VCO B by patching same gate to FM INDEX IN will also expand the possibilities. 

Skronky FM

Engage SYNC mode on VCO A. Monitor VCO B SINE Output. Tune the two oscillators to a simple interval 

such as unison, a fifth or an octave. Adjust FOLLOW panel control to about 3:00. Turn up VCO B Lin FM 

attenuator to 12:00. Turn FM BUS to 12:00. Send a sequence or keyboard voltage to VCO B 1v/oct. Each 

note change will be accompanied by a discordant squelch of FM as VCO A “slides” to the correct note. Adjust 

Follow and FM amounts to taste.

 

Strike Force

Monitor FINAL output. Turn Folds and SHAPE to 0 (full CCW). Turn SHAPE and FOLD CV input attenuators 

to 12:00. Patch Pressure Points common Gate out to STRIKE input, Pressure Points tuned voltage B or C to 

DPO VCO B 1v/oct, and Pressure Points common Pressure out to Mod Bus EXT SRC Input.  Sound will 

become simultaneously louder and more “damped” as more pressure is applied. Adjust Pressure Points 

sensitivity and SHAPE/FOLD CV input attenuators to taste.

Wobble Bass

Monitor FINAL output. Adjust Fold, Angle, Shape panel controls and input attenuators to 12:00. Set VCOA to 

LFO mode with coarse Freq ~9:00. Adjust Mod Bus Index Panel control full CW, and FM Bus Index panel 

control full CCW. Adjust Follow panel control full CW. Patch sequencer or keyboard CV to VCOB 1v/oct.  

"Wobbling" will change speed with the pitch of the “bassline”, doubling frequency per octave. Adjust coarse 

frequency knobs and Final parameters and CV input attenuators to taste. 

Summary of Contents for DPO

Page 1: ...DPO...

Page 2: ...defective products will be repaired or replaced at the option of Make Noise on a return to Make Noise basis with the customer paying the transit cost to Make Noise Please contact Make Noise for Return...

Page 3: ...nd 28HP of space in your euro rack synthesizer system confirm proper installation of included power cable on backside of module see picture below plug the 16 pin end power cable into the euro rack sty...

Page 4: ...nterrupt them completely by simply patching into the associated modulation destinations The DPO has two modulation buses each with multiple destinations the depth of which is adjustable per destinatio...

Page 5: ...avior Indicated by LED No LED Standard BLUE Phase LOCK to VCO B PINK Hard SYNC to VCO B AMBER Low Frequency Oscillator VCO B 1B Sine Waveform OUT 10Vpp 2B Square Waveform OUT 9Vpp Asymmetrical 3B FINA...

Page 6: ...CO B With nothing patched to FOLLOW CV IN works as standard panel control With Signal Patched to FOLLOW CV IN works as an attenuator for that signal 4 FM BUS INDEX unipolar panel control that sets the...

Page 7: ...ontrol signal input Normalled into the MOD BUS Range 8V 1C FOLD Panel Control unipolar control that continuously varies the low order harmonics of the signal by folding the waveform into itself 2C FOL...

Page 8: ...bad thing These errors manifest themselves in a looser interpretation of the ratio programmed making each note have subtle differences The BLUE LED indicates LOCK an extremely weak synchronization of...

Page 9: ...re or pulse shaped signal however just about any signal could be used with varying degrees of success The Duty Cycle width and Amplitude height of the signal will have some affect on the outcome FOLLO...

Page 10: ...ight sound like an odd collection of waveforms and functions but the selection is quite useful The SINE wave is the classic waveform that would feed a wave folder as utilized in both the Buchla 259 an...

Page 11: ...it dances atop the long wave cycles of the lower octaves Perfect for animating bass lines It also adds shimmer to the upper octaves especially when the rate of modulation is increased to the lower aud...

Page 12: ...n the fundamental VCO A also offers a unique SAW shape that is derived from the TRIANGLE core It is not the typical saw waveform as it has a stronger fundamental then is usually heard in a sawtooth sh...

Page 13: ...Output Tune the two oscillators to a simple interval such as unison a fifth or an octave Adjust FOLLOW panel control to about 3 00 Turn up VCO B Lin FM attenuator to 12 00 Turn FM BUS to 12 00 Send a...

Page 14: ...Calibrate the DPO while installed in the system in which it will be utilized 1 Monitor VCO B SINE 1B 2 Patch quantizer or MIDI to CV interface to 1V Octave INput 6 set FOLLOW 5 to 0 full counter cloc...

Page 15: ...d FINE TUNE 4A Panel Controls so the DPO VCO A pitch matches that of the reference DPO VCO B 10 Send note C3 to the DPO and adjust the VCO A 1V Octave Trimmer 3A on the DPO so the pitch matches that o...

Page 16: ...using oscilloscope 5 If using an oscilloscope or spectrum analyzer adjust so the SINE shape is pure as possible meaning both the top and bottom arches are smooth rounded and glitch free and harmonics...

Page 17: ...s a SPIKE 6 Set SHAPE to 100 and check that the maximum shape waveform appears as it did at end of step 4 If not adjust SHAPE trim 3 minimally splitting the difference between the optimal maximum sett...

Reviews: