Months later and I’m still learning so much about the D0. It’s so flexible and simple–where other delays give you tailored controls to create interesting sounding repeats, the D0 does one thing: it transports a signal through time. And when you approach it that way it becomes much more interesting to work with than other delays.
I’ve been using it as a standalone FM oscillator a lot recently, which is lots of fun. Just using a couple stackable cables you can have both channels self oscillating and FMing themselves or each other and it sounds great. Clocking it with an external square wave oscillator makes for perfect pitch tracking where the operator intervals remain consistent.
It makes for a lovely voltage controllable shift register. Sending a pitch sequence into A, feeding A into B, you get two independently delayed copies of your sequence that you can then apply modulation to for lots interesting variation. The fact that the time controls will lock to divisions or multiplications of your clock signal make it really easy to keep this sounding musical when you’re modulating the copies.
Similarly, multing any vanilla LFO into the same patch allows you to come away with a tripple-phase LFO, your original and two phased copies.
It can do very cool things as a clocked trigger delay, too, especially when you start factoring in feedback.
It can be a pitch shifter effect! This is my favorite recent discovery. It’s hard to control, and you probably won’t get a stable sound out of it (lots of warbling), but using sawwave LFO’s and very short delay times, you can strike a rhythm between the delay time and modulation speed/amount that will raise or lower the pitch of your signal without speeding it up or slowing it down. Sounds very cool on speech samples.
It makes for a pretty cool end-of-chain stereoizer, being able to dial in a millisecond or less of difference between the right and left channel makes for very real sounding spatial effects with mono source material. Using some filtered ping-pong feedback with this can actually create some very convincing sounding reverberance.
It’s an excellent distortion module. Using short delay times and modulating the time with noise or audio rate modulation signals, use the slew to control the tone of the distortion. This is especially nice on drums, it can get very dirty without having an overwhelming bottom end.
It can be a very interesting expander to any filter, given its ability to invert signals and apply very minute phase-shifts to them, just try multing the output of your filter into channel A and mixing the output back in with the filtered signal for endless tone shaping.
