@sdkboi you can try AUDIO ROUTING from PATTERN menu.
Or, by using FX ROUTING, route a track to pre fx block, route del/rev to post fx block. In this case you can kinda tune dry/wet by fx track volume. Sure it will cost you one fx track from one available . 
Thanks @mishpult and @igors48, I had no idea! Need to try that 
edit: Although I am not sure whether we can still achieve the effect of comb filtering if we blend out the dry signal. To my understanding, the effect comes into existence because of phase cancellations so I’d assume both signals are required.
Another way could have been using OB and recording the FX track only and yet I think the dry signal is required for comb filtering.
Sure, in general, for comb filtering, a short noise burst is used to excite and then the body and tail are the delays doing their job. I’d say bdfm is not the best machine to try this as it’s quite mid-range but of course, no hard written rules here:) I was just suggesting that it’s interesting to hear the delay wet.
Thanks! I had no idea it worked like that in detail. Funnily, I had picked BDFM on purpose based on how nice and massive I find the Tonverk/DTII/DNII comb filters sounded on bass sounds in particular 
That’s awesome, I might sample some of it, thanks for sharing the idea
@sdkboi I listened to your recording again, it sounds great. Many nice timbres and ambiences in there.
I played around with the delay @ 600bpm (2X track scaling), and it does shorten the delay time EDIT it does not, just double checked.
It’s still not ideal to p-lock a sequence of notes since the delay has a ramp-up/down time when the delay time changes, producing that «portamento warble» that we all know. But it does produce a range of nice effects. Further fun to be had sending it through the FX block.
I played around with the retrig @600bpm too. Max retrig speed is 1/80. I didn’t track the note it produces at that speed, but it is possible to use it as an «oscillator». Then you can vary with 1/64, 1/40 etc to get a limited set of «notes». Each trig basically becomes a single cycle wave, and you can create a kind of wave morphing effect by changing the synth parameters. So far it sounds cooler on paper than in real life. Pretty raunchy and clicky. I had fun just scrolling randomly through the machine list while the pattern was playing though
Haha that’s sick! I’m really looking forward to hearing any of the recordings!
I did not really expect but am positively surprised that track scaling actually does shorten delay time. Apparently, it seems to be tied to the BPM one way or another
Sorry, I was wrong 
Track scaling doesn’t affect delay time. I guess I got carried away playing around with it and had it sounding quite high pitched. But forgot to A/B check with track scaling. Checked it now and it has no effect on delay time…
Sorry for the confusion! 
No worries!
@Nils In my understanding the Track scale it is only for Sequencer - how fast it will process the steps.
Other BPM related calculations are based on Pattern(or even Project) scale.
Maybe increasing the Pattern scale (meaning 9.9.1 per pattern mode) will help?…
@nils @sdkboi Maybe delay shenanigans deserves its own Lab? Or maybe make it a FX track (as that’s more of a specific Syntakt thing) one in combination with some filter pinging… Dunno, just spitballing here.
I agree 
I thought about it, just didn’t know what common denominator to put it under… maybe just something with time-related effects. I think the «wavetable» thing might belong there as well. And I think it’s cool if a thread like that opened up for new discoveries as well, not directly related to delay or tempo.
Maybe just «Syntakt oddball techniques» or «advanced synthesis» (too pretentious) or something in that vein 
both excellent, second is the ace. 
great work. .reminds me of Fizzarum vibes - but track much slower tho)
I’m in favour, great idea @Oxenholme @Nils !
Lots of great submissions, been enjoying listening to them all.
So, to make it easier and to focus on the sound design I decided to use melodies etc from an EP I did about 10 years ago but never released. All that to say, I started off trying to create a lush pad with BD FM to see if that was possible (for me at least!!) and I ended up with something a bit more wonky. I decided to lean in to that and play about with a lot of modulation of the delay and live tweaking.
Each track using only a single machine but I don’t have the skills for that so I think it will be mainly using a single machine but with a couple of others just to flesh it out - here is the same idea expanded to add a snare/clap/HH and pluck from other machine types.
I was interested in how to calculate the length of a 1/128 note in ms, relative to the current BPM, so we’d know the minimum tempo required in order to achieve a delay time of < 20ms.
→ 20 = 1875/BPM
→ BPM = 1875/20
→ BPM = 93.75
So if that’s correct, a setting of the delay time at 1/128 and a tempo roughly above 93.75 BPM should be sufficient already if we wanted to create a comb filter.
I created a new thread for general sound design shenanigans (not machine-specific). It’s a fairly wide description, but we will see how it unfolds
That last one is awesome
Calm sustained notes and wooden textures gradually going into a beaty-thing.
I might not have something for this one, but wow, I think this is one of the only machines I never thought to pay close attention to (thinking BD Plastic had FM covered…) … so many incredible and new-to-me sounds here.
Who needs a Buchla? This is superb. So deep and atmospheric.