It took until the release of the Mother-32 in 2016 for Moog to properly wade into the modern modular waters. That first entry into the ‘Mother’ range was a fairly straightforward instrument, a single oscillator monosynth equipped with a 32-step sequencer, 32-point patchbay and classic Moog ladder filter. Moog’s follow-up, however, was anything but conventional.

An initialisation of Drummer From Another Mother, DFAM sits in the space somewhere between drum machine and synthesiser. On the one hand, its monophonic signal path with dual oscillators and resonant ladder filter is classic Moog synth fodder. However, the snappy envelopes – with control over just the decay length – combined with its routable noise generator and basic eight-step sequencer, means the instrument is particularly well-suited to punchy, percussive sounds.

Core to DFAM’s character is the way its oscillators interact. The two VCOs have a particularly wide range, and can be synced as well as used for audio rate modulation. Each oscillator also has its own punchy pitch envelope, all of which makes the synth capable of excellent metallic perc tones, tuned drums and sweeping kicks that can really cut through a mix.

What we said at the time

“DFAM is a top-quality creative percussion synth, but it’s worth considering how you plan on using it. If you already own a Mother-32, this should definitely be on your wish list… they really do pair together brilliantly. Similarly, if you’re looking for an interesting new drum voice for a Eurorack system, this is highly recommended. For broader studio use though, we’d advise you to have a think about how DFAM would fit into your workflow before purchasing.”

Legacy

In terms of Moog’s product line, DFAM sits at the vanguard of a full-throated semi-modular revival, preceded by the Mother-32, but followed by the Subharmonicon, Grandmother and Matriarch. Of these, the Mother-32, DFAM and Subharmonicon are effectively siblings, housed in identical Eurorackcompatible chassis and designed to play nicely when used together in one of the brand’s multi-tier racks.

We’ve included DFAM here as it’s the most distinctive and, by some metrics, successful of the trio, but it’s probably fairer to consider the three as a single ecosystem. It’s certainly true to say that, while DFAM is appealing as a standalone instrument, it comes into its own when paired with one of those sibling instruments, or a wider modular system. The instrument’s biggest drawback remains its lack of a MIDI clock input – which can make it awkward for pairing with other drum machines or a DAW – but used alongside the MIDI-equipped Subharmonicon or Mother-32 this is easily overcome.

A few years on from its initial release, the key thing that means DFAM still stands out from the crowd is how unconventional it is. While a monophonic, percussive synth might not be so unusual in the modular realm, as a mass-market synth it’s certainly an unusual sell – offering neither the variety of sound we expect from a drum machine, nor the versatility of a true monosynth. Kudos for Moog though, for not only making something so distinct, but convincing the world why it’s a must-have.

IN A NUTSHELL

Despite its limitations as a standalone instrument, DFAM is a distinctive and inspiring instrument that’s caught the imaginations of countless producers.