The architecture of the DPM series takes its cues from traditional analogue synths like Korgs MS 20: It features two Oscillators per voice which can be set to different waveforms (including ROM samples which you analogue synths don’t have). Each oscillator can be detuned and its frequency modulated by different sources such as Envelope Generators (EG1-4), Low Frequency Generators (LFO1-2), the modulation wheel, the key velocity or position etc.
Next the signal is passed to a pair of Digitally Controlled Amplifier (DCA) – one for each oscillator, which allow different modulation sources to shape the volume of these two signals.
The combined signals now enter the filter stage where a low pass filter modifies the frequency spetrum. The cut off frequency of the filter can be modified by the above modulation sources.
Next the overall dynamics of the signal are shaped by Envelope Generator No 4 before the signal is routed to the output stage which sets the overall volume and stereo panorama position of the signal – which one again can be influenced by modulation sources.
Lastly the stereo signal of the output stage is enriched with digital effects such as reverb, delay, chorus, distortion, an exciter or a (noise) gate. Different combinations of effects can be selected.
Modulation Matrix
Modulation modifies some aspect of the sound over time: The frequency of an oscillator can be periodically modified by an LFO producing a vibrato effect, enevlop generators can modulate the volume of a signal over time, etc.
- The velocity of a key pressed, the note position on the keyboard or the pressure on the keyboard can be used as modulation sources
- Four envelope generators produce a programmable modulation signal over time
- Two LFOs producing cyclic waveform signals
- Performance controls such as modulation wheel and foot pedals as well as other external MIDI controllers can influence sound in real-time