Tin Shed Modular has them in stock.
It does, but you have to fiddle the groundtone first.
ha. I´m not from Australia, but visited 3 times. My Australian mates just call me adopted Aussie
So no staff discount
but if you go to store dj, the new store they have openend - ask for Lance and give him a hug from Oli
Damn…that could have saved enough for a behringer model D knock off…next time i know thnx…
Good video by loopop on how to compensate for the “short-comings” of DFAM.
Might have get one tmrw…Im thinking it will be quick together with the DT…
I’ve sampled a few kicks from the DFAM, building my own library of drums from the Moog. If you want’em, they’re here:
In case anyone’s interested in more samples from the DFAM, let me know. Since I’m building, I might as well take orders.
And I’ve sampled some more. Get it here, if you’re into it:
A few snares, a set of toms, some hi-hats, noise and a few more kicks. Enjoy!
Am I right that the DFAM has no active mult and no global cv pitch in (I can see cv pitch in for every oscilator)??
So If I patch external cv pitch to both oscilators, I will need to mult it with an active mult, otherwise the cv will drop with a passive mult and the pitch will be out of tune?
Just wondering if the Dfam is the better Mother with it´s 2 oscilators. but looks like definitly you have to fill up the 104he case from moog with some utilities to make the most fatness out of it.
and another question … as Dfam + Mother is nearly the same price as a used Sub37 … wich would be the better choise? Sub37 is simply just missing the fm of the oscilators … wich makes it basicly like an expensive A4 voice
got my DFAM yesteday : holy hell it sounds good. one big sweet spot.
I’m not really using it for percussion as such - more weird sequences… it’s actually really fast to get Jeff Mills type bleepy bass riffs & loopy lead riffs going - quicker than my M-32s tbh.
Sync’d it straight from the trig out on the back of the TR-8S into the ADV Clock jack - works like a charm, though I might look at buying a cable with a built in attenuator just in cast I am blowing
the balls out of the Moog’s clock input, but these two are a dream combo for instant live techno. Gonna stick my TB-03 into the TR-8S ext input, sidechain that sucker & off we go.
Got a live gig at a techno night in a couple of weeks so gott get some practice in, but the DFAM + TR-8S combo is gonna be front & centre.
Very cool. I’ve found that it shines more when you go outside the traditional idea of drums and percussion, even the analog ones. If I’d just sum up my experience with it so far, sorting it into the classics, and you guys taking into account that these are just my own thoughts on my own sound designs, and not by definition what the DFAM can or can’t do, but rather what I can and can’t do with it, here goes:
For kicks - unbeatable. Hands down, best kick synth ever. You can go traditional or just bonkers here, and it’ll be awesome no matter.
For snares - trickier, and getting that snappy 909-snare (if that’s your thing), I haven’t even been close. The 808-snaps, easier. But mostly, rough, crude and noisy snares with hard attacks is what I’m finding, with decays that are more noise than snare-ish. But in a mix, it works really well, if the sound’s your thing. They’re surprisingly funky.
For hats - excellent, though those thin, snappy Tanzbär-hats are hard to get. But the thicker, sloppier ones exist in abundance. I can imagine a jazz drummer finding things to love here.
For cymbals - more difficult, given that when it comes to something with a hard attack in the higher frequencies, the DFAM ain’t always it. You can get the typical swing and shuffle of a good cymbal, but the actual thin, hard metallic noise, I’ve yet to be able to find.
For tom-toms - you’re kidding, right? This one’s a tom tom blast on all levels. Deep, thundering bass toms to castrate, choir-boy tiny toms.
For congas - about the same, though the envelopes bring more to the toms and the congas. But let’s just say, if you’re into that kind of analog interpretation of hand-banging ethnical instruments, the DFAM won’t disappoint unless you must have the classic 808 909 606-whatever toms and congas.
For maraccas - and whatever else source of noise could be like a shaker, it’s excellent on all levels of the register, from the short, noisy snaps to long, extended blues shuffling.
Pops, crackles and snaps - absolutely brilliant. I’d compare it to the Vermona DRM, but just a lot better. You’ll get as many farts, pimple squeezes, cracks and burps out of this thing, neighbours won’t ask you for dinner until next year.
Had mine a few days. Not totally sure how it all fits together but a funky little syncopated rig it can be. Not sure how I get there though
I’ve been sampling dfam into OT and have enough material for an album project without any other source of sound. That’s my story anyway. I am keen to get something I can use to sync it, currently I could use ehx 8step or a volca. Other options are a used mother (ew) I can get for a good price or the tr8s. Leaning toward both. Damn.
This thing is dirty!!!
really… just unwholesome, filthy, smutty, gutter dwelling grime…!
Pretty like drugs…
I love it…
I’m clocking dfam with a modular clock (Pamela’s new workout). When I have a four/four kick running should there be a correct clock rate it should be running at. Like should the dfam advance one step every time there is a kick drum or double that.
I made another set, this one with loops, focused on grains, thuds and sparks. I really think the Moog DFAM shifts into gear when you use it with its sequencer, despite (or because of) its limitations, hence the loops and not one shots this time.
So quick question about the clock/advance input on DFAM. Can you trigger easily with the audio out of a sampler?
Say for example I put a short square pulse out of my mpc live on an aux out. If I set it right will I be able to use this to sync the DFAM easily enough?
Did you get the Crazy8 Beats? I got one, and like it a lot, but there are a few weird issues. I’m really curious what other people’s experiences are like.
Get them booth…
Sub 37 and the dfam are worlds apart…
You can easily control the oscs of a sub phatty or 37 seperatey with midi or ob the 37 with the sequencer… midi is done using the osc tune and octave switch…i do it all the time for chord inversions etc…but its Nothing like the DFAM ( i have tried to make the phatty and 37 into a DFAM but no dice) the fm and hi pass make them worlds appart…
Then add a beatstep pro to the dfam so you can get 64 step patterns…