So, according to the AMA the TE gals and guys are following the various OP-1 communities to some extent. Also according to the AMA sidechaining has been a popular feature request but there were concerns about how to fit this into the the current workflow/philosophy. Since I don’t have a reddit account I’m posting my suggestion here:
At the moment the Element LFO has a Sigma input source that’s connected to the output of the current engine only. If that input source could be extended to all of the OP-1 output (like the Ear input) it could be used together with either the tremolo or filter destination to fake a side chain effect. It wouldn’t be a master effect but with proper bouncing and muting of the currently selected track it would be sufficiently usable IMHO.
BTW: I’ve tried using the Mic/Line source on the Element LFO with a cable connected straight between the OP-1 output and input jack, which in theory should give the desired result. Unfortunately it didn’t work and for some reason my speaker would not work either after unplugging the cable. Got me a bit scared that I might have damaged by OP…
Feel free to PM me if you’d like me to elaborate. If I don’t hear back I assume you’re busy implementing this idea into the next OS release 
Yeah I thought about this. The element LFO can use mic as source. If we select radio with shift & mic then that can modulate the synth. If we select Ear as source… Nothing happens . The LFO stops working , having no effect.
This is a shame as it seems useful to modulate a pad with a tape track (plus the pad itself), as well as loads of other experimentation.
Maybe the feed back modulation of itself to itself is too complicated for them?
(We could use mic for an external source via line in but…not stand alone …or we could sit next to a speaker playing the OP-1 ,with a heavey kick tape track and use the mic to mod the synth).
Not sure if this is implied in your post: The cool thing is you can record on a muted track. That way the current engine would not effect the LFO but still be effected by it.
Still cooler would be LFO on the master controls and being able to select a specific track as a source is the element LFO. But that’s exactly where the workflow breaks because the “4” button is already in use on the master. Shift+4 would work, but again, it doesn’t quite fit with the philosophy I think.
Implementing ear as an input for the Element LFO on an engine would fit with the current design and workflow I suppose. From a technical point I think it would be relatively easy to feed the envelope follower from the overall output buffer instead of reading samples from the line/Mic in. There would be an additional delay but it should be only a few samples.
Hey dudes,
I’ve tried also with the element LFO set to ear, then running the output into a split, and back into the input. It should be great on either the nitro filter or the sustain of the adSr, you just need to mute the track you wanna record to etc… The main thing that got in my way is no release control on the speed of the LFO. Attack control would be good too.
Here’s where I brought this up recently. Some more details of my experience for interested parties.
Great suggestions both of you. Yes mute destination track is useful and the splitter cable.
I see what you mean @ludicrouSpeed about the release problem. The Tremelo LFO is looking most useful actually,better than rigging a 2nd synth with volume mod shapes to trigger our curves via line in.
(It still is strange for me though ,that mic in element can mod the LFO. Shift & mic ,select radio -LFO still works. As soon as Ear is selected ,via shift&mic, the LFO stops operating? Never mind…)
Yeah it is bizzare. I think I’ve experienced the same thing…
i think the drive and release features in the mixer function like side-chaining in that they give the music a pumping sound. side-chaining usually produces the same effect by using the kick drum to duck the audio level of the synths causing the same pumping sound.