The Unperson Unleashes the DPO: Complex Oscillator or Sonic Street Weapon?

Let’s not mess about: the Make Noise DPO is a 28HP slab of analog muscle, built for those who want more than just vanilla waveforms. Released in 2012, this thing’s already a classic—big, bold, and unapologetically West Coast. The Unperson wastes no time, diving straight into what makes the DPO tick: two oscillators, deeply interconnected, ready to spit out a wild range of tones.

Oscillator one brings triangle, saw, and sine to the party, while oscillator two flexes with sine, square, and the infamous final output—aka the wavefolding beast. But it’s not just about stacking waves; the real magic is in how these two oscillators talk to each other. The Unperson’s approach is hands-on and hype, promising a journey into sonic complexity that’s anything but polite.

Here’s where the DPO earns its street cred: internal FM routing, wavefolding, and a buffet of outputs that’ll keep any patch-head happy. Oscillator two gets both exponential and linear FM, hardwired for instant mayhem—dial in a bit of each and you’re deep into metallic, bell-like territory. The Unperson shows how stacking FM on both oscillators can get things properly wild, especially when you start layering in delay.

Sync modes, LFO tricks, and the unique follow circuit push the DPO into experimental territory. The wavefolding section is a highlight, with shape and angle controls ready to mangle your sine into something fierce. Everything’s ripe for modulation, and The Unperson barely scratches the surface before moving on—leaving us hungry for more patching chaos.

Now for the real fun: live jams that show the DPO’s teeth. The Unperson splits the oscillators—one on bass duties, the other on arpeggios—routing signals through filters, chorus, and delay for a fat, evolving groove. There’s clever use of sequencers and modulation sources (Oxy One, Vostok Atlas, PAMS), but the DPO is always centre stage, flexing its dual outputs and wavefolded madness.

Next up, sync and follow features get a workout. Oscillator one is locked to two, tracking pitch and creating harmonies that shift with a twist of a knob. The sample-and-hold modulation on the wavefolded output adds unpredictable movement, while the square wave keeps the low end punchy. The Unperson’s patching style is pure performance—tweaking, mutating, and never letting the groove sit still.

If you want to know how the DPO really sounds in action, you’ll need to watch the video. The jams are thick, the transitions are slick, and there’s enough sonic variation to keep even the most jaded modular head entertained.

The DPO isn’t just deep—it’s a bottomless pit of patch potential. The Unperson dives into a montage of improv, showing off the module’s ability to spit out new sounds with every twist and patch cable. It’s the kind of gear that rewards experimentation, and you can tell The Unperson is having a blast pushing it to its limits.

Every session with the DPO is a new adventure, and the video makes it clear: you’ll never get the same result twice. If you’re the type who likes to set-and-forget, look elsewhere. For the rest of us, this is the kind of module that keeps the creative fire burning—no two jams are ever the same.