DOSS Collection

Inspired by the logotypes of construction and hi-fi audio brands, DOSS is a collection of four display-oriented typefaces that also reference the aesthetics of ‘90s rave culture and ‘80s sci-fi tropes. The quartet was designed by Marc Rouault over a period of five years, forming a loose confederacy of fonts that reveals his fascination with vernacular typography—in this case, the aesthetics of electronics and their branding.

Available all together or as individual styles, the DOSS collection includes Exaflop, Acid, Plexus, and Problem. While each has its own unique flavor, the styles within the Doss collection are unified by their exaggerated geometric structures, unexpectedly round counterforms, and unicase character sets. A graphic designer’s type designer, Marc’s output maintains a balance of inventive curiosity and sharp technical prowess. DOSS is no exception, offering a toolbox of riches to the intrepid designer seeking to explore the limits of ultra-display typography.
Designed by Marc Rouault
Version History
V.01 Jun 2024
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Exaflop Norm
120

Aa

Plexus
120

Aa

Acid
120

Aa

Problem No
120

Aa

Doss Superfamily

Exaflop Acid Plexus Problem

Plymouth Arcology
dfg
Forest Arcology
df
Darko
Doss
Launch Arcology
Doss
capsule
Exaflop Norm

Doepfer Musikelektronik GmbH is a German manufacturer of audio hardware, mostly synthesizer modules (modular synthesizer), based in Gräfelfing, Upper Bavaria and founded by Dieter Döpfer. The product range covers analog modular systems, MIDI controllers, MIDI hardware sequencers, MIDI-to-CV/Gate/Sync Interfaces, MIDI master keyboards and special MIDI equipment.

Exaflop Norm
120
OpenType Features

CGJS

Exaflop Norm
120

CGJS

Unicase ss01
30
OpenType Features

DIETER DÖPFER BEGAN DEVELOPING AUDIO HARDWARE WITH A VOLTAGE CONTROLLED PHASER MODULE FOR THE FORMANT, A DO-IT-YOURSELF-KIT ANALOG SYNTHESIZER FROM ELEKTOR MAGAZINE IN 1977. SEVERAL LEGENDARY MODULAR SYNTHS FOLLOWED WHILE DÖPFER ALSO FOCUSED ON THE DEVELOPMENT OF MIDI EQUIPMENT DURING THE 1980S.

Exaflop Norm
30

Based in Gräfelfing, Upper Bavaria and founded by Dieter Döpfer. The product range covers analog modular systems, MIDI controllers, MIDI hardware sequencers, MIDI-to-CV/Gate/Sync Interfaces, MIDI master keyboards and special MIDI equipment. Doepfer Musikelektronik GmbH is a German manufacturer of audio hardware, mostly synthesizer modules (modular synthesizer), based in Gräfelfing, Upper Bavaria and founded by Dieter Döpfer. The product range covers analog modular systems, MIDI controllers, MIDI hardware sequencers, MIDI-to-CV/Gate/Sync Interfaces, MIDI master keyboards and special MIDI equipment. Doepfer Musikelektronik GmbH is a German manufacturer of audio hardware, mostly synthesizer modules (modular synthesizer), based in Gräfelfing, Upper Bavaria and founded by Dieter Döpfer. The product range covers analog modular systems, MIDI controllers, MIDI hardware sequencers, MIDI-to-CV/Gate/Sync Interfaces, MIDI master keyboards and special MIDI equipment.

Exaflop Widths

AAA

Exaflop Mid
OpenType Features

PURE DATA (PD) IS A VISUAL PROGRAMMING LANGUAGE DEVELOPED BY MILLER PUCKETTE IN THE 1990S FOR CREATING INTERACTIVE COMPUTER MUSIC AND MULTIMEDIA WORKS. WHILE PUCKETTE IS THE MAIN AUTHOR OF THE PROGRAM, PD IS AN OPEN-SOURCE PROJECT WITH A LARGE DEVELOP ER BASE WORKING ON NEW EXTENSIONS. IT IS RELEASED UNDER BSD-3-CLAUSE. IT RUNS ON LINUX, MACOS, IOS, ANDROID AND WINDOWS. PORTS EXIST FOR FREEBSD AND IRIX.

Exaflop Mid
120
OpenType Features

wax

Exaflop Mid
120

wax

Exaflop Mid
30

Pure Data and Max are both examples of dataflow programming languages. Dataflow languages model a program as a directed graph of the data flowing between operations. In Pure Data and Max, functions or "objects" are linked or "patched" together in a graphical environment which models the flow of the control and audio. Unlike the original version of Max, however, Pd was always designed to do control-rate and audio processing on the host central processing unit (CPU), rather than offloading the sound synthesis and signal processing to a digital signal processor (DSP) board (such as the Ariel ISPW which was used for Max/FTS). Pd code forms the basis of David Zicarelli's MSP extensions to the Max language to do software audio processing. In Pure Data and Max, functions or "objects" are linked or "patched" together in a graphical environment which models the flow of the control and audio. Unlike the original version of Max, however, Pd was always designed to do control-rate and audio processing on the host central processing unit (CPU), rather than offloading the sound synthesis and signal processing to a digital signal processor (DSP) board (such as the Ariel ISPW which was used for Max/FTS). Pd code forms the basis of David Zicarelli's MSP extensions to the Max language to do software audio processing.

Exaflop Mid
exa
Exaflop Widths

EEE

Exaflop Wide
OpenType Features

AudioMulch is modular audio software for making music and processing sound. The software can synthesize sound and process live and pre-recorded sound in real-time.

Exaflop Wide
30

Software can synthesize sound and process live and pre-recorded sound in real-time. AudioMulch has a patcher-style graphical user interface, in which modules called contra- ptions can be connected together to route audio and process sounds. Included are modules used in electronic dance music such as a bassline-style synthesizer and a drum machine, effects like ring modulation, flanging, reverb and delays, and other modules such as a delay-line granulator and stereo spatializer.[1] As well as these internal contraptions, AudioMulch supports VST and VSTi plugins.

Doss source material
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Exaflop Wide
220
OpenType Features

rk

Exaflop Wide
220

rk

capsule
Problem Solved
150

Aa

Problem No
150

Aa

Problem Micro
150

Aa

Problem Child
150

Aa

Problem Solved
as
Problem No
  • Gate-Ausgängen. MTS128 MIDI-to-Switch-Interface mit bis zu 128 MIDI-gesteuerten elektronischen Schaltern (z. B. als MIDI-In-Interface für jedes Nicht-MIDI-Keyboard)
Problem No
  • @12345
    6789&0
Alternate 'Pirellli S'
ss
Problem Solved - SS01 Unicase
sa
Problem Solved
34

Behringer is an audio equipment company founded by the Swiss engineer Uli Behringer on 25 January 1989 in Willich, Germany. Behringer produces equipment including synthesizers, mixers, audio interfaces and amplifiers. Behringer is owned by Music Tribe (formerly Music Group), a holding company chaired by Uli Behringer.

Doss source material - Pirelli tyre advertisement
img
Problem Child
  • Zynewave
Problem Micro
e
Problem Micro
img
Problem Child
50
  • The Roland TR-808 Rhythm Composer, commonly known as the 808, is a drum machine manufactured by Roland Corporation between 1980 and 1983. It was one of the first drum machines to allow users to program rhythms instead of using preset patterns. Unlike its nearest competitor at the time, the more expensive Linn LM-1, the 808 generates sounds using analog synthesis rather than by playing samples.
Problem Micro
34

In the 1960s, drum machines were most often used to accompany home organs. They did not allow users to program rhythms, but instead offered preset patterns such as bossa nova. In 1969, the Hammond Organ Company hired the American musician and engineer Don Lewis to demonstrate its products, including an electronic organ with a built-in drum machine designed by the Japanese company Ace Tone .Lewis was known for performances using electronic instruments he had modified, decades before the popularization of instrument hacking via circuit bending. He made extensive modifications to the Ace Tone drum machine, creating his own rhythms and wiring it through his organ's expression pedal to accent the percussion.

Problem Micro
14

With its next machine, the TR-808, Roland aimed to develop a drum machine for the professional market, expecting that it would mainly be used to create demos. The engineers conceived a "drum synthesizer" with which users could program drum sequences and edit parameters such as tuning, decay and level. Though they aimed to emulate real percussion, the prohibitive cost of memory drove them to design sound-generating hardware instead of using samples (prerecorded sounds). Kakehashi deliberately purchased faulty transistors to create the 808's distinctive sizzling sound. The chief engineer, Makoto Muroi, credited the 808 voice circuit design to "Mr. Nakamura" and the software to "Mr. Matsuoka". The 808 imitates acoustic percussion: the bass drum, snare, toms, conga, rimshot, claves, handclap, maraca, cowbell, cymbal and hi-hat (open and closed). Rather than playing samples, it generates sounds using analog synthesis; the TR in TR-808 stands for "transistor rhythm". The sounds do not resemble real percussion. The engineers conceived a "drum synthesizer" with which users could program drum sequences and edit parameters such as tuning, decay and level. Though they aimed to emulate real percussion, the prohibitive cost of memory drove them to design sound-generating hardware instead of using samples (prerecorded sounds). Kakehashi deliberately purchased faulty transistors to create the 808's distinctive sizzling sound. The chief engineer, Makoto Muroi, credited the 808 voice circuit design to "Mr. Nakamura" and the software to "Mr. Matsuoka". The 808 imitates acoustic percussion: the bass drum, snare, toms, conga, rimshot, claves, handclap, maraca, cowbell, cymbal and hi-hat (open and closed). Rather than playing samples, it generates sounds using analog synthesis; the TR in TR-808 stands for "transistor rhythm". The sounds do not resemble real percussion.

capsule
Plexus
80
OpenType Features
  • MAGIX MUSIC MAKER IS A COMMERCIAL DIGITAL AUDIO WORKSTATION (DAW) DESIGNED BY THE COMPANY MAGIX FOR THE CONSUMER SECTOR.
Plexus
120

8

Doss source material - Letraset font Zuph
img
Plexus
80
  • Quasimidi Musikelektronik GmbH was a German synthesizer manufacturer from Hesse. It was founded in 1987 by Friedhelm Haar and Jörg Reichstein.
capsule
Plexus
34
OpenType Features

SUBSEQUENTLY, THEY BECAME NOTABLE FOR THEIR RANGE OF SYNTHESIZERS, WHICH WERE AIMED PRIMARILY AT THE DANCE MUSIC MARKET OF THE DAY. THEIR FIRST POPULAR SYNTHESIZER WAS THE QUASIMIDI QUASAR, A RACK-MOUNTED DIGITAL SYNTHESIZER MODULE WHICH WAS RELEASED IN 1993. THE PRESETS AND DRUM SOUNDS ESCHEWED THE TYPICAL GENERAL MIDI SPECIFICATION, WHICH WAS IN VOGUE AT THE TIME, IN FAVOUR OF ELECTRONIC AND TRANCE TECHNO STYLES. THE QUASAR INCLUDED AN ARPEGGIATOR, WHICH WAS AN UNUSUAL FEATURE IN 1993.

Plexus
34

Whereas the Quasar was a two-unit rackmounted box, Quasimidi's subsequent instruments migrated into the desktop & full-size form factors. Quasimidi was one of the first modern synthesizer companies to re-introduce knobs, lit buttons, and dials to synthesizer control interfaces, notably with the Quasimidi Rave-O-Lution 309 of 1997. This was a module which combined a pattern-based sequencer with a drum section and a synthesizer section. It competed in the "groovebox" market segment against Roland's popular MC-303. Quasimidi released a keyboard version of the Rave-O-Lution, as the Quasimidi Sirius, which included a built-in vocoder. Quasimidi also built the Raven, a full size sample-based Virtual Analog synthesizer, which offered a unique sequencer implementation, allowing for the keys to be used both for muting/unmuting and transposition of tracks. It also featured real and step time recording, in the style of Roland TR-type drum machine sequencers. The Raven could be upgraded with the so-called "MAXX" expansion board, increasing the internal PCM capacity from 6 mb to 14mb. Quasimidi released a keyboard version of the Rave-O-Lution, as the Quasimidi Sirius, which included a built-in vocoder. Quasimidi also built the Raven, a full size sample-based Virtual Analog synthesizer, which offered a unique sequencer implementation, allowing for the keys to be used both for muting/unmuting and transposition of tracks. It also featured real and step time recording, in the style of Roland TR-type drum machine sequencers. The Raven could be upgraded with the so-called "MAXX" expansion board, increasing the internal PCM capacity from 6 mb to 14mb.

capsule
Acid
85

Synth-pop, Hip hop,
Post-punk, Techno

Acid
120

#

Doss source material - Found print object
img
Acid
  • Computer World (German: Computerwelt) is the eighth studio album by German electronic band Kraftwerk, released on 11 May 1981.
capsule
Acid
74
OpenType Features
  • DESPITE ITS THEME, THE PRODUCTION OF THE ALBUM WAS COMPLETELY ANALOGUE AND DID NOT INVOLVE ANY COMPUTER TECHNOLOGY.
Acid
34

COMPUTER WORLD HAS BEEN DESCRIBED AS A FUTURISTIC CONCEPTUAL WORK THAT PREDICTS THE PRESENCE OF COMPUTER TECHNOLOGY IN EVERYDAY LIFE. FEATURING THEMES SUCH AS HOME COMPUTERS AND DIGITAL COMMUNICATION, THE ALBUM HAS BEEN SEEN AS BOTH A CELEBRATION OF COMPUTER TECHNOLOGY AS WELL AS A WARNING ABOUT ITS POTENTIAL TO EXERT POWER ON SOCIETY WITH SOCIAL CONTROL AND DIGITAL SURVEILLANCE. DESPITE ITS THEME, THE PRODUCTION OF THE ALBUM WAS COMPLETELY ANALOGUE AND DID NOT INVOLVE ANY COMPUTER TECHNOLOGY.

Acid
34

The track "Computer Love" was released as a seven-inch single in the UK, in June 1981, backed with "The Model", from the group's previous album The Man-Machine. The single reached No. 36 in the charts. In December 1981 the two songs were reissued as a double A-side twelve-inch single, and reached No. 1 on the UK Singles Chart in early February 1982, although "The Model" received the most airplay. "Pocket Calculator" was released as a seven-inch single in the USA by Warner Brothers in 1981, pressed on a fluorescent yellow/lime vinyl, matching the color of the album cover. The flip side featured the Japanese version of "Pocket Calculator," "Dentaku". “Pocket Calculator” charted at No.38 in the UK Singles Chart. "Computerwelt" was remixed in 1982 as a dance version with additional bass and percussion sounds. It was released in January 1982 as a twelve-inch vinyl single only in Germany. The original track was nominated for a Grammy Award for Best Rock Instrumental Performance in 1982. "Computer World" was also chosen by the BBC for use in the titles of their UK computer literacy project, The Computer Programme. Kraftwerk issued several different versions of the single "Pocket Calculator" in different languages: namely, German ("Taschenrechner"), French ("Mini Calculateur"), and Japanese ("Dentaku"). Also Italian version ("Mini Calcolatore") was performed playback in television.

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Case-Sensitive Forms
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Denominators
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Fractions
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Full Widths
locl
Localized Forms
numr
Numerators
ordn
Ordinals
ss01
ss02
ss03
ss04
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Subscript
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Acheron, Achinese, Acholi, Achuar-Shiwiar, Afar, Afrikaans, Aguaruna, Alekano, Aleut, Amahuaca, Amarakaeri, Amis, Anaang, Andaandi, Dongolawi, Anuta, Ao Naga, Apinayé, Arabela, Aragonese, Arbëreshë Albanian, Arvanitika Albanian, Asháninka, Ashéninka Perené, Asu (Tanzania), Awa-Cuaiquer, Balinese, Bari, Basque, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Bemba (Zambia), Bena (Tanzania), Bikol, Bini, Bislama, Bora, Borana-Arsi-Guji Oromo, Bosnian, Breton, Buginese, Candoshi-Shapra, Caquinte, Cashibo-Cacataibo, Cashinahua, Catalan, Cebuano, Central Aymara, Central Kurdish, Central Nahuatl, Chachi, Chamorro, Chavacano, Chayahuita, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Congo Swahili, Cook Islands Māori, Cornish, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dehu, Dimli, Dutch, Eastern Arrernte, Eastern Oromo, Efik, Embu, English, Ese Ejja, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gagauz, Galician, Ganda, Ga’anda, German, Gheg Albanian, Gilbertese, Gooniyandi, Gourmanchéma, Guadeloupean Creole French, Gusii, Gwichʼin, Haitian, Hani, Hiligaynon, Ho-Chunk, Hopi, Huastec, Hungarian, Hän, Icelandic, Iloko, Inari Sami, Indonesian, Irish, Istro Romanian, Italian, Ixcatlán Mazatec, Jamaican Creole English, Japanese, Javanese, Jola-Fonyi, K'iche', Kabuverdianu, Kaingang, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kamba (Kenya), Kaonde, Karelian, Kashubian, Kekchí, Kenzi, Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kirmanjki, Kituba (DRC), Kongo, Konzo, Koyra Chiini Songhay, Koyraboro Senni Songhai, Kuanyama, Kven Finnish, Kölsch, Ladin, Ladino, Langi, Latgalian, Ligurian, Lithuanian, Lombard, Low German, Lower Sorbian, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malaysian, Maltese, Mandinka, Mandjak, Mankanya, Manx, Maore Comorian, Maori, Mapudungun, Matsés, Mauritian Creole, Meriam Mir, Meru, Metlatónoc Mixtec, Mi'kmaq, Minangkabau, Mirandese, Mohawk, Montenegrin, Munsee, Murrinh-Patha, Murui Huitoto, Mwani, Mískito, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nomatsiguenga, North Ndebele, Northern Kurdish, Northern Qiandong Miao, Northern Sami, Northern Uzbek, Norwegian, Nyanja, Nyankole, Occitan, Orma, Oroqen, Palauan, Paluan, Pampanga, Papiamento, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pohnpeian, Polish, Portuguese, Potawatomi, Páez, Quechua, Romanian, Romansh, Rotokas, Rundi, Rwa, Samburu, Samoan, Sango, Sangu (Tanzania), Saramaccan, Sardinian, Scots, Scottish Gaelic, Sena, Seri, Seselwa Creole French, Shambala, Sharanahua, Shawnee, Shipibo-Conibo, Shona, Shuar, Sicilian, Silesian, Slovak, Slovenian, Soga, Somali, Soninke, South Ndebele, Southern Aymara, Southern Qiandong Miao, Southern Sami, Southern Sotho, Spanish, Sranan Tongo, Standard Estonian, Standard Latvian, Standard Malay, Sundanese, Swahili, Swati, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tasawaq, Tedim Chin, Tetum, Tetun Dili, Tiv, Toba, Tok Pisin, Tokelau, Tonga (Tonga Islands), Tosk Albanian, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvalu, Tzeltal, Tzotzil, Uab Meto, Umbundu, Ume Sami, Upper Guinea Crioulo, Upper Sorbian, Urarina, Venetian, Veps, Vietnamese, Võro, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waorani, Waray (Philippines), Warlpiri, Wayuu, Welsh, West Central Oromo, Western Abnaki, Western Frisian, Wik-Mungkan, Wiradjuri, Wolof, Xavánte, Xhosa, Yagua, Yanesha', Yao, Yapese, Yindjibarndi, Yucateco, Zarma, Zulu, Záparo