As the Subharmonicon pops up again I also came across this video by Loopop again. I don´t klow why he is not using the DFAM oscilators in his patch … but I tried it today and it works! Turning on the hard sync and fming the oscilators and mixing in the subharmonic oscilators of Maths gives sooooo much nuances in sound. It sounds definitly like a complex oscilators with many harmonic possibilities. Good thing with maths is, you can add or subtract the different audio sources. Just really blows my mind for the moment.
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What’s your method of syncing the DFAM(s) to the Octa? I previously used a Keystep that was synced to my midi-gear, to pass on the tempo. But can’t do that in my current setup. Curious which method you use!
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Cue out (very short loud sound) into ADV/Clock and then just trigs. Either all trigs on a pattern or conditional trigs/etc…
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Thanks for sharing! I’ll try it out sometime, I already had bookmarked that method somewhere I think, before finding the Keystep solution for my previous setup. I’m using my Cue Out thought, but should switch things around then some day to play around with these two combined! Wish Octa had another pair of Cue Outs 
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If your cue out can be mono, I would pan for actual cue and then pan again for DFAM sync. But obviously that depends on your setup 
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No that’s a great idea. My Cue Out is for an FX loop to reverb and delay back into C&D, which could be fine to have in mono for a bit
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I was surprised I couldn’t see this Loopop video linked in this thread, although you’ve probably seen it before. A couple of nice ideas to start with, however, and see if there’s anything you find interesting.
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Heretic.
It was posted a couple of years ago in the main DFAM topic:
This topic was created for users’ DFAM tracks.
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I know, but I’m thinking of all of the sequencing/modulation savagery I could get out of Pamela and the DFAM together.
Oh I know mate, I was planning a small euro system based around a DFAM for ages after I got it. The endless choices, very high neckbeard ratio, and fact that I quite like my girlfriend led me to abandon the euro train. I’m quite happy without it.
Bon Chance!
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Yeah, I’ve managed to raise myself enough money for a little case with midi to CV and audio out, a Pamela’s new workout and like one more module to fill it. The whole point is just to make the most out of the DFAM as I’m not going to have time/money for the whole eurohole as I’ve another kid on the way, so this will be my last music spending for at least a year.
Just think about all you could do with the DFAM and 8 extra mod/seq sources…
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I hope it brings much filth, and many headaches.
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That’s my combo!!! I use the malekko sync to keep everything in time for endless fun.
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Does Pamalas new workout do cycling envelops? DFAM loves that!!!
From what I can figure out it does.
Yea the DFAM has 5 envelopes already but if you want to tailor your own something like the Pamala will be good.
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The Disting MK3/4 or the upcoming Super Disting EX has so many different functions that I recommend one to anyone starting a eurorack setup. It’s a great swiss army knife of effects and functions, and you can use them to determine if you need more (or what kind of) utilities, effects, etc. or another Disting! Hell, you could have an entire case of them and be set.
I would also suggest keeping the DFAM in it’s enclosure and just populate your case with modules. You are going to want more.
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Great stuff, as always. I was totally blown away by your DFAM stuff earlier, which was the nr 1 reason why I got myself one just last week :star-struck: First I thought…" 16 tiny buttons? To control the sequencer…? What a waste!" So once I hooked my Analog Four to the DFAM, and managed to control the sequencer completely, triggering at any BPM, the velocity, the pitch, separate for each oscillator if I wanted, some LFO’s on some well chosen parameters. I thought it would have been a dream. But then it just didn’t excite me. All of a sudden is was musical, with notes that are in tune… Something was lost! And no happy accidents with the placement of the little dots who cerate those random a-tonal meoldies.
Of course one can detune the oscillators, didn’t go into that… but still I felt something was missing int he process. Might try it again sometime.
But I reeeeeally liked being able to add an LFO to the unit!!! That really gave it some shine. So adding a eurorack with some LFO’s, maybe a quantizer, reverb, etc… that might be interesting!
I’m also pairing it with my Analog Heat, the sounds from that combo are just out of this world! Love to put some out-of-sync LFO on the cutoff frequency (LP filter) on the AH and then some crazy chorus on the AH heat output using my OT… to get some randomness in the sound. Sounds sometimes like some alien highly developed language.
Excepting my Lyra clones next week, two DIY Elmyra kits. That should give me some good textures. Should also work well to layout some massive droine-noise form the A4, that synth can preeeety dangerous once you know how to drive it properly.
So how are you processing/recording your stuff? Is it just one take, 100% live, or your using DAW… or something else?
Im just asking since I like to do live performances combined with sanding of the corners in Ableton Live afterward. I usually just start with an OT and one device like the DFAM, and possibly some drum samples in the OT. Then start banging around with the DFMA, routing it though AH. Record bits and bits in between which I like. Then combine them all together in OT and arrange everything so I can play what I got live an record.
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Well kind of cylcling. You can set it up like this, shaping the lenght of the env to 100% of the gate.
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