Thank you for taking the time to explain this @Nils, appreciate that!
Let my try that as well later when I’m going to fall out of bed 
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My original description / idea didn’t really fit (thanks for clarification @Nils), and I’d assume it doesn’t really fit the thread but I hope it’s still ok to post an example of what I was talking about
This is a BDFM together with an LFO using the following settings:
I was first having the LFO modulate AMP PAN with LFO depth set to 0 then slowly raised it towards 128. Next, I was doing the same but modulating AMP VOL instead. Very similar results indeed!
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Not so much an oddball but I’m on a hi-hat quest atm trying to make some natural sounding hats with the help of velocity mod.
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Nice. Feel free to add a description of techniques and findings when your quest is over 
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Hatquest preliminary results: Machines with both a tonal and noise component are the obvious first choice for a natural sounding hat. Surprisingly, CP Vintage is an excellent candidate. The only issue I’m running into is atm that I can’t really get a lot of decay because then it starts to sound like a clap again. Next step will most likely be trying to sacrifice one lfo as an envelope for balance, but I might lose my nice attack this way, will see. Velocity mod to decay and body params.
Candidate two is of course SY Bits. You can’t quite get the nice resonances of the clap with this one (yet :p) but it’s a lot easier to get a good decay but it sounds more like a splash hat. What you can do is velocity mod the waveform and set it to pwm and thin it out on higher velocities which is really great.
CP Vintage first and SY Bits second.
Additional context: The idea is to have a closed and open hat in one sound as much as possible 
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@Oxenholme Maybe you need to try switch AMP to AHD(but not AHD Note) for CP Vintage. In this case it doesn’t repeat itself.
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Thanks for the suggestion but that’s not the issue The sound is mostly fm-ed body with only a bit of noise. But since the body needs to decay fast for it to sound a certain way I can’t really use the decay. Unless I put balance on an env and transition to noise, or at least that’s what I’m going to try. 
That CP Vintage sound bit sounds surprisingly good for hat duties, well done!
My first thought was the same as @igors48, but seeing as that’s not your problem I would go with your suggestion and try enveloping the balance control.
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Well, it does sound pretty good this way but I do lose the attack a bit (was a sharp pitch env) and I still can’t really go to much towards noise because it just sounds like a decay of a clap if I do. Also the noise part has not got enough high frequency content really. Still happy with the result though. Semi-open hat works for me as well It’s a bit more like hitting the hat with the side of the stick.
edit: Wow, this sounds so much better in my room than on headphones 
I was pretty pleased, but hearing them on headphones now = nope, needs work 
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now THIS is what i come to this forum for. incredible stuff, thanks for sharing, i love the sounds at 1:40 and 2:00
great work
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Thank you! 
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Here’s a few proof of concept ideas using the FX block as the only sound source. This isn’t a song, it’s just three different patterns played with a blank pattern separating them. I think if I put more time into this I can get some interesting stuff, or at least good material to sample.
The main usability issue with this is that the sounds are all either extremely quiet or extremely loud if the delay feedback gets out of control. I need to mess with it more but I don’t think it’s useable combined with the actual synth engines. I had to chop a few seconds off the recording because as soon as I hit stop it went into earsplitting feedback mode and clipped the shit out of my daw.
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This was actually going to be my science lab submission for the current thread, but I realized I accidentally used SD classic instead of SD acoustic. Since I’m not the type to let any science go to waste, I’ll post it here, because the backrground textures are made using the FX block only sounds like my example above. I sort of figured out the gain staging to get it to work, you just have to have the FX block volume cranked and everything else turned way down. I mentioned this in the ‘vinyl noise’ thread, but this also has some pleasing to my ears benefits from amplifying the noise floor of the ST. The distortion on the FX block must have some kind of built in noise gating because you have to turn it all the way down to get the hiss louder.
I also used the metronome at a really low volume on the intro which I suppose is another species of odd syntakt trick.
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Not really true self oscillation but i stumbled on this while pushing the fx block to get vocoder like sounds.
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Not really purely syntakt based but ive been using the syntakt to trigger my waldorf blofield on mutiple channels in multimode so i can play multiple sounds(layering) at once with arps running at different speeds and pads at the same time when i play notes or chords on my midi keyboard(triggers the syntakt tracks all set to the same channel but each midi track(5 atm) sending on a different channel to the different blofield multimode channels.) I can also control vol and any other parameters from the syntakt to easily have per track modulation… and then running the blofield into the fx block for warming up and further fx and modulation…so much fun!
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Yeah i found that by turning the drive down on the fx track brings out more glitchy behaviour like self oscillation or audio rate lfo oscillaton as Nils called it…fx track is powerhouse i made a track with one dual vco machine dry and fed it into the fx block, with the kick triggering the fx block…heres a link if you wanna check it out…probably should of posted it here