WMD SSF — DPLR

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Manual PDF (SSF DPLR)

Using SSF DPLR for Hyper-Complex, Densely Rhythmic Percussion

The DPLR is a dual/stereo delay module packed with features that can help you sculpt densely rhythmic, intricate percussion textures, polyrhythms, and complex time signatures in a Eurorack system. Here’s how you can push it into unique, punchy, and percussive sonic territory:

1. Multi-Tap/Polyrhythmic Delays

• Set main DELAY AMOUNT (A) to align with a base clock or division—for example, an 8th note in your tempo.
• Use the SPREAD (B) control to offset the B channel delay to a different rhythmic division (e.g. 3/16, prime multiples, triplets, or quintuplets). This achieves real polyrhythmic repeats from a single pulse or percussion hit.
• Modulate DELAY A/B and SPREAD via their CV inputs with independent, sequenced or polymetric clocked modulators (e.g., clock dividers, Euclidean sequencers) for shifting, evolving delay times.

2. Complicated Patterns with XTALK Modes

• Use XTALK (cross-talk) modes to crossfeed delay lines: in higher XTALK settings, see B feeding back into A and vice versa. This blurs, smears, and interlaces rhythmic patterns between the left and right (A/B), creating unpredictable, complex echo-cascades that evolve in time.
• Rapidly cycle XTALK modes using external gate triggers or manual button presses to change rhythmic complexity on the fly.

3. Filter Settings for Percussive Punch

• Lighter FILTER SLOPE settings allow more high-frequency artifacts and noisy, glitchy feedback—ideal for sharp, cutting percussion echoes.
• Heavier filtering makes the delays darker and cleaner, perfect for sculpting thumpy, subby, “body” percussion.
• You can automate filter mode changes (by holding the mode button), or switch modes between sequences for dramatic timbral/rhythmic contrast.

4. Dynamic, Voltage-Controlled Feedback (REGEN)

• Use stepped sequencers, random voltages, or clocked LFOs to modulate REGEN. This makes the delay trails shift from very sparse to densely packed, mechanically precise bursts—great for ratcheting fills or stutters.
• Push REGEN high for “fractal” self-oscillating repeats; pulse it low for “muted” single-echo snare-like hits.

5. Rhythmic Stereo Movement & Ping-Pong

• Exploit the stereo delay architecture: Route different percussion or “transient” voices to left/right inputs, and pan/recombine delays for moving, multi-layered grooves.
• With differing delay times and/or XTALK fed to both outputs, even simple trigger patterns will be “exploded” into rhythmic webs.

6. Percussive Delay Input Techniques

• Use percussive “clicks,” rim-shots, or even chopped-up vocal samples as input, “smearing” them into glitchy, metallic, or re-synthesized transients by experimenting with delay times, feedback, and filter modes.

7. Self-Patching & Feedback Networks

• Try patching one output back into the input, possibly through a VCA or filter modulated by your rhythms, to create controllable burst, comb-filter, or Karplus-Strong style physical modelling effects—a source of very rich, evolving percussion.

Quick Patch Example

1. Send a rapid, irregular trigger pattern into a short envelope + percussive VCO and then into DPLR's input.
2. Delay A: Set for a fast, clock-aligned repeat (e.g. 1/16).
3. Spread B: Modulate with a slow LFO for drifting micro-time offsets.
4. XTALK: Use a random gate to select mode every bar.
5. Regen CV: Sequence for rhythmic bursts (ratchets, retriggers, breakbeats).
6. Filter: Light for glitch mode in verse, heavy for breakdown.

The DPLR’s voltage-control possibilities, cross-channel bleed, and mix of delay/filter/feedback control make it ideal for transforming any trigger, percussion voice, or audio loop into fast-evolving, deeply intricate rhythms.

Generated With Eurorack Processor