Joranalogue Flow 3: A Patch-Driven Dive into Auto-Dynamic Filtering

Kicking off the demo, Simon introduces Flow 3 as Joranalogue’s take on the auto-dynamic filter. It’s presented as a module built for flexibility in the modular environment, not just for standard filtering duties. The emphasis is on the variety of ways it can be patched and the creative responses it can bring out in a system.

Flow 3 is positioned as a tool that thrives on interaction. Straight out of the gate, the video hints at its role as a hub for dynamic sound shaping, suggesting that pairing it with other modules is where things get especially interesting.

The heart of Flow 3’s flexibility lies in its filter outputs: low pass, band pass, and high pass. Each output has its own character, and Simon makes a point of showing how switching between them can dramatically alter a patch’s tone. The band pass, in particular, is highlighted for its resonance tricks, which help compensate for the typical volume drop of band pass filtering.

But where Flow 3 veers into territory beyond the typical filter is with its integrated decay envelope and envelope follower. These built-in modulation sources aren’t just for modulating the filter cutoff—they can drive external modules, create percussion sounds, or be used as general utility envelopes elsewhere in a rack. The envelope output adds a layer of dynamic control, letting Flow 3 influence—and be influenced by—the wider system.

One of the more inventive uses shown is looping Flow 3’s envelope with the help of Compare 2. While Flow 3’s decay envelope doesn’t cycle or loop natively, patching its output through Compare 2 allows you to create a feedback circuit: when the envelope drops to zero, Compare 2 triggers another cycle. Tweak the decay time manually or with CV, and suddenly Flow 3 becomes an LFO or even a crude VCO for modulating filter frequencies or other targets—neatly sidestepping its lack of a cycle switch.

The Select 2 pairing takes things further. By combining, inverting, or adding Flow 3’s various filter outputs via Select 2, complex waveforms and filter responses emerge. The video highlights not just standard notch filtering by mixing phase-inverted outputs, but also more advanced tricks: splitting the spectrum for different processing paths, running parts through additional modules like Warp 1, and creating drones with evolving timbral movement. It’s a showcase of how utility modules and clever patching can unlock hidden layers in an otherwise straightforward filter.

Rounding things off, Simon pairs Flow 3 with Mix 3 to illustrate a textbook subtractive voice chain. Three VCOs are mixed and sent through Flow 3’s low pass output for filtering. The frequency knob sweeps out highs, but the real magic comes when Flow 3’s envelope is patched to modulate both Mix 3’s VCA input and the filter cutoff. Triggers from Step 8 give the envelope rhythmic shape, and the result is a classic, dynamically modulated voice—all within the Joranalogue ecosystem.

As envelopes are shortened and sequences are introduced, Flow 3 drives both amplitude and timbral changes, delivering the familiar punch and movement of classic synth lines. It’s a demonstration of how even with minimal modules, Flow 3’s dual role as filter and envelope source makes it a workhorse for both experimental and bread-and-butter patches.