Can you explain more how you’d set up this patch? Intrigued!
This is most stable in formant mode. In crossover mode low and high are more intense, and center is a complex shape.
Turn Sisters freq knob as low as it can go, quality all the way up.
Maths CH2 negative offset to freq input. How much is important: I believe Maths CH2 goes -10V, at a little over half of the knob is the slowest speed, more negative offset drives the speed back up. -5V on Maths CH3/Cold Mac is not enough to reach slowest speeds(low output with max span).
Monitor your favorite sound to be modulated, and apply any of the outputs to points of interest. Low is slowest, Center is a moderate speed, and High is fastest(span fully cw).
The outputs response to lowering Quality are all different, some very slow. Center in crossover mode has nice evolutions.
You will definitely want some attenuation and offset with the outputs.
Heres a recording from last night, a drone with 3sis as the primary modulation source, with marbles quietly scooting along cold mac and the high STO melody. And my hands changing mixes and cold mac extremes:
Beautiful patch. Can’t believe I never thought of trying this, thank you for your insight! So glad I have two of these to take advantage of all that it can do
Recently I’ve been using Three Sisters to filter the delay line of my DLD, with the help of the tanh3 from Instruo which prevents crazy feedback/adds grit. I’ve found that using the center filter in crossover mode to be the most flexible for said purpose and can lead to some very BBD-esque tones. It’s so much fun to ride the respective feedback controls and adjust the filter frequency to emphasize harmonics.
I also really like using it in a drone patch like so: formant mode, full CCW on quality, multiple soundsources in, mix out. I think this creates some sort of notch filtering? It’s hard to describe what it sounds like other than pushing and pulling the sound sources around without obvious resonance… whatever the case may be way, swaying the frequency knob is so satisfying in this set-up.
Also also really like using it as an oscillator even though tuning it precisely is a huge pain… I use the 2 operator FM patch from the manual a lot but with the filters almost in unison. Adds a subtle thickening that’s quite pleasing.
I love this module. Not always my favorite filter sounds but its design is so flexible and inspiring.
love. this. thread. so so inspiring, all!
I’ve been living Six Sisters for a few months now and it’s been such an education. I’ve been using one as my main VCO, multing the signal into inputs on the other (FM’ing the filter 3Sis with a raw copy from the VCO 3Sis is deeply fun).
stumbled on this the other day, exploring interactions between a voice 3Sis and a filter 3Sis with the help of Cold Mac:
- self-oscillate, keeping span just a tick CW of noon (12:05, not 12:10)
- voice Low -> filter Centre, voice Centre -> filter High
- filter High -> CM Crease, filter Centre -> CM And
- CM And -> filter FM, CM Crease -> filter Low
- envelope into filter Freq
- listen to filter All
manually tune CM’s Survey until you hit a gating effect. rhythms + syncopations write themselves. wild.
Eurorack: ask questions here
beautiful Dan, really beautiful…
This thread is awesome, so many great ideas! I often use the effects loop of my chronoblob delay with the three sisters. The high in/out can create some great slithering/whispering sounds with a fast delay setting.
This one might be straight forward, but patching a noise source to the frequency input and monitoring the all out can get some nice results. The noise bleeds through. I use it very subtle to add some dirt.
Noise through the FM input has been said a few times in the thread so I figured it was worth a try. I combined a few other techniques in this patch. The sound source is Morphagene in playing back a choir in stereo.
One of the things I love doing the most with Three Sisters is patching feedback through Cold Mac’s crease function and then trough it’s crossfader, with a dummy cable plugged into the other channel, essentially transforming it into a VCA. (if you have Three Sisters, get Cold Mac. They’re a magic pair) In the audio snippet this is the harsher crackling and some of the overall character of the noise.
Another thing I love a lot is doing stereo processing using the low/high channels hard panned. The stereo image moves a lot around the second half the snippet as I play with Span and Cutoff.
I threw together some sort of vaporwave-spacey-gold-leafy collage for good measure.
Some extra details: the FM noise is coming from Erbe-Verb in infinite decay. Sisters is in formant mode, with Quality all the way into «antiresonance». Morphagene is coming into Sister’s High and Low, with the outputs of High and Low then hard panned, and sprinkled with light convolution reverb. Cold Mac takes part in feedback between the All input and output.
Sounds so wonderful @simondemeule . Thanks for all the ideas everyone! I love Three Sisters, it’s the one module I can never sell. A lot of my patches tend to rely on it as an end mixer of sorts, with some sort of noise Fm’ing it. I have an SSF Quantum Rainbow and I will literally try each colored noise on each input (with attenuation) - I’ve gotten so many awesome results doing so. Also, @Dan_Derks, I plan on trying out your patch soon- very beautiful.
Yes, quantum rainbow + three sisters is a great combo! Pink noise modulation is my favorite for a worn texture.
When I try to use my Three Sisters as a voice I don’t get very accurate tracking. Any tips to make it stay in tune across the range of ~2 octaves? I am using the Low output.
I had to calibrate both of mine to track accurately. There’s a trim procedure in the manual, it’s fairly easy but you need some patience and a light touch.
As @kbit recommended, calibration might be a good idea. The procedure is similar to the Mangrove calibration. I was struggling with that a short while ago and I got some tips, one of which should also help with Three Sisters:
Love 3S and I love this thread. I regularly will patch noise into fm - and then crank up the attentuator whenever I want to introduce a bit of madness into my patch.
It’s probablt obvious, but using very rhythmic modulations into span can be fun.
here i fed a field recording of some wind chimes into w/, slowed it down, and multed the output into three sisters’ low and center filters. random cv from PNW into SPAN yielded a pretty cool stereo effect.
Here are two sonic snapshots I posted to instagram. Three Sisters center out with noise in the cutoff makes for amazing broken tape sounds, especially with W/.
Here’s a mystery I ran into this weekend. I was experimenting with mixing inverted filter outputs with their dry signals in order to get opposite filter bands going (i.e. mix dry signal with an inverted, low passed signal to create a high pass). Even if you have a multimode filter, you can do this to get a different character from a module than just running a signal straight through.
I was trying this with Sisters in formant mode, hoping to create a triple notch, but I just couldn’t get it to work right. And it seemed to get closer to a notch response by mixing a positive output from the filter, rather than inverting it. Does anybody know why this might be?
Total guess: sounds like you have quality turned all the way counter-clockwise (or at least somewhere CCW of noon), which would create a notch filter without any inverting necessary. For what you want, you probably want quality up around 2 or 3 O Clock?
hmmmm, I tried with various quality settings and didn’t get what I expected at any point. I’ll have to test it out more with some white noise when I get the chance.
But reading the manual again, it looks like inverse quality already does blend an inverse signal into the filter. It doesn’t introduce enough gain on the inverse signal to totally reverse the behavior of the filter–just reintroduce the broadband frequencies, so I’m not exactly sure how that works. Makes sense that it would behave weird in my patch given that it’s already doing odd things with phase inversion internally.
negative quality in formant mode should turn low into a highpass and high into a lowpass iirc. doesn’t answer your question though