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VCO B core behavior

There is one way to affect the behavior of the VCO B core. The eXternal LOCK input allows for an extremely 

weak, phase reversed synchronization of VCO B to an external VCO where as VCO B approaches an inte-

ger frequency of the applied external VCO, VCO B will reset to match the external VCO, and thus small 

tuning errors will be corrected. eXternal LOCK is useful for cleaning up FM and audio rate modulation and 

will not impart much change in the timbre or introduce strong harmonics to VCO B. It is useful for chaining 

together multiple DPOs (or DPO and other VCO) for more complex FM, chords and other patches where 

tuning errors need to be minimized.

Because eXternal LOCK input is phase reversed, it is also possible to achieve very interesting amplitude 

modulations by summing VCO B along with a signal from the VCO supplying the eXternal LOCK input. 

Because their phase is reversed, as long at the VCO cores remained locked, there will be varying degrees 

of cancellation between the two VCOs, depending upon the wave shapes and levels programmed at the 

summing stage. By modulating VCO B frequency (through EXPO CV IN) it is possible to knock VCO B out 

of eXternal LOCK, and thus amplitude is regained.

The eXternal LOCK input expects a 10Vpp square 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.

FOLLOW

If you patch a sequencer or KB controller to the VCO B 1V/ Octave input and set the FOLLOW control to 

100% VCO A will follow the pitch tracking of VCO B.  As FOLLOW is decreased from 100% VCO A will lag 

further and further behind VCO B to the point of not actually following. At 0% FOLLOW, VCO A is indepen-

dent of VCO B. If you patch into the Follow CV IN, then the associated potentiometer becomes an attenua-

tor for the incoming CV (as on the Optomix CV ins), allowing for external control over how VCO A follows 

VCO B. 

Follow is useful in maintaining FM or SYNC Ratios while controlling the DPO with a sequencer or keyboard. 

The lag that occurs when FOLLOW is set to less than 100% will introduce moments of dissonance and 

noise due to the temporary tracking errors. This is a wonderful way to introduce uncertainty to an otherwise 

stable sequence of notes.

Beat Frequency LED

This LED gives visual indication of phase difference between VCO A and B. It is useful for fine tuning simple 

oscillator frequency relationships such as unison, octaves and fifths. As the two oscillators approach these 

musical relationships you will see this LED flash more slowly. This LED is also useful for visual indication of 

the rate of the LFO when VCO A is programmed for LFO operation.

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...

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