A single Iris patch from the upcoming subscription set no. 72 in ambient action. 100% iris + a limiter on the master output.
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Iris subscription thread patchpool - fresh Iris 2 sounds
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286 - KVRAF
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- 16155 posts since 12 Oct, 2008 from Here and there
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
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- 16155 posts since 12 Oct, 2008 from Here and there
Oh beautiful Iris - improvising with the Iris patch “Glistening Morning“ from the upcoming set, 100% Iris + a limiter on the master output.
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
Two Iris patches from set 72 derived from/created with field recordings I made during a recent train journey - dark ambient stuff - 2 instances of Iris and a limiter on the output:
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
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- 16155 posts since 12 Oct, 2008 from Here and there
Below you will find the release info for subscription set 72, this time I converted 4 of the 11 Iris 1-patches directly, in one patch I also added another sample in oscillator 4. Here is a video stepping though/improvising with 3 of the new Iris 2 patches live on video.
https://www.youtube.com/watch?v=XJvnsIbKZks
Iris Subscription Set 72 uploaded on August 20 - 2016 containing 11 presets (273.3 MB) including:
Barrel Music Split
A long dynamic tremolo performed on my 200 liter oil barrel, all 3 oscillators are using the same long sample, layered in S1/2 - mapped from C2 (C3 in Iris) upwards - with S1 running in Radius RT-mode and S2 in non-retrigger mode. Tune S2 up an octave with Macro 4, control it’s volume with M3. S3 plays the final accent of the tremolo mapped from C2 (C3) downwards. MW introduces noise-shaped pitch modulation in S1/2. With Macro 2 (Y) dialed towards the left/down, the LP filter becomes velocity sensitive. Please check the Macro page for FX controls.
Drone Wash
A noisy deep drone sound created with Adaptiverb and other things, layered in S1/2 (both running in non-retrigger mode) with an inverted spectral selection in S2. Each oscillator has it’s dedicated volume control (Macros 3/4), M5 adds slow amplitude modulation with slightly different LFO speeds in each oscillator which creates ever changing combinations of frequencies, M6 tunes S2 up an octave when fully engaged. M2 (Y) decreases LP filter cutoff, M1 (X) adds tempo-synced filter modulation, M7/8 control amount of flanging/delay FX, MW decreases delay time.
Glistening Morning Split
A rather beautiful tonal texture created with Phonem and other things is layered in S1/2, mapped from C3 (C4 in Iris) upwards, both oscillators are running in non-retrigger mode. S2 has a dedicated volume control (Macro 3), M4 introduces tempo-synced pan modulation in S2. S3 uses a mysterious drone sound, mapped from C0 - C3 (C1 - C4), also playing in non-retrigger mode. MW introduces tempo-synced amplitude modulation in S1/2 and adds some distortion. M2 (Y) decreases LP filter cutoff, M1 (X) adds slow filter modulation, M5/6 control amount of delay/phaser FX.
Prayer Day Split
A field recording of a church choir singing during an Easter Mass in a Moscow church, re-tuned and spectrally processed, S1/2 - mapped from C2 - C5 (C3 - C6 in iris) both use the same long sample, highlighting different frequency aspects and segments, use Macros 3/4 for volume balancing. S3 - mapped from C-1 – C2 (C0 - C3) adds a dark breathing drone sound, alls samples a re playing in non-retrigger mode. MW adds tempo-synced amplitude modulation in S3 and noise-shaped pitch modulation in S1/2. M2 (Y) increases HP filter cutoff, M1 (X) adds tempo-synced filter modulation. M8 controls release time, check the Macro page for FX controls.
Sakura Bell Tower Split
A field recording I made inside a bell tower with the massive drone of a sustaining bell, turned into a tonal soundscape using various spectral programs and other effect. S1/2 - mapped up to C3 (C4 in Iris) - layer the same sample, use Macros 3/4 for volume balancing. S3 - mapped from C3 – C7 (C4 – C8) - uses an excerpt from that soundscape processed in a slightly different way. S1/3 are running in non-retrigger mode. MW adds tempo-synced amplitude modulation. M2 (Y) decreases LP filter cutoff, M1 (X) adds tempo-synced filter modulation, M8 controls release time, check the Macro page for FX controls.
Sound Sculpture 01
The processed/tonalized recording of a big sound sculpture with giant metal springs is used in all 3 oscillators, each one highlighting a different segment of the long sample. Macro 2 (Y) decreases LP filter cutoff, M1 (X) adds the (monophonic) filter envelope, MW introduces tempo-synced amplitude modulation. Control attack/release with Macros 3/4, M 5/6 control delay mix/feedback.
In the Iris 2-version, Macro 7 adds tempo-synced pan modulation (via LFOa 4/5). The envelope filter is always active, Macro 1 controls the sustain level of the envelope, so dialing it to the left will activate the envelope curve. Macro 2 controls cutoff but inverted so dialing it in will subtract from the envelope cutoff value.
Sound Sculpture 02 Split
The processed recording of a big sound sculpture with giant metal springs is layered in S1/2 - mapped from C3 – C7 (C4 – C8 in Iris), S2 running in non-retrigger mode looping backwards/forwards, add pan modulation to S2 with macro 4, tune S1 up an octave with M3. S3 is mapped from C0 – B2 (C1 – B3) uses the time-stretched sample of the reverb tail of the sample used in S1/2, apply amplitude modulation with macro 5, control modulation speed with M6. Please check the Macro page for FX controls.
In the Iris 2-version, an additional sound sculpture sample was added in oscillator 4, mapped from C0 – C3 (C1 – C4 in Iris), this sound has slow pan modulation applied.
Tail Drones Split
In the lower register mapped from C0 – B2 (C1 – B3 in Iris) S3 running in Radius RT-mode plays a noise-drone, Macro 5 adds tempo-synced amplitude modulation. In the upper register, layered in S1/2 and mapped from C3 – C7 (C4 – C8) there is a bell sound processed with a tonal reverb drone (Adaptiverb), S2 running in non-retrigger mode, looping backward/forward. MW adds random tempo-synced peak-filter modulation, Macro 3 tunes S2 up an octave when fully engaged, M4 control’s it’s volume, Add pitch modulation to S1/2 with Macros 6/7. M1/2 (X/Y) control amount of delay/phaser FX.
Train Monster Split
In the lower register mapped from C0 – C3 (C1 – C4 in Iris) S1/2 layer a drone derived from the the processed field recording of an arriving train, both oscillators are running in non-retrigger mode, add tempo-synced amplitude modulation with Macro 3. S3 mapped from C3 – C7 (C4 – C8) uses the sample of time-stretched train brakes (IRCAM Stretch) reminding of vocal sounds, add tempo-synced, random pitch modulation to S3 with M4. MW decreases LP filter cutoff and adds massive distortion. M1/2 /X/Y) control amount of delay/reverb FX.
Train Play
Layered in S1/2 there is a field recording of a train arriving at Berlin station which I recorded during a journey to Cologne. S1 plays the full frequency range, S2 - running in non-retrigger mode - highlights only the braking phase. Use Macros 3/4 for volume balancing, add pan modulation to S1 with M5, control panning speed with M6. Please check the Macro page for FX controls.
Venus Rain
A granulated vocal texture tonalized with Kaleidoscope, S1 uses a more pure, less bright version, S2 - running in non-retrigger mode - the original soundscape with noise bursts, control the volume of S2 with Macro 3. MW adds fast random pitch modulation, Macro 1 adds distortion, M2 (Y) controls HP filter cutoff, please check the Macro page for more FX controls.
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The subscription now contains 598 Iris patches (with 13.65 GB of samples) and 207 Iris 2 patches (with 4.64 GB).
https://www.youtube.com/watch?v=XJvnsIbKZks
Iris Subscription Set 72 uploaded on August 20 - 2016 containing 11 presets (273.3 MB) including:
Barrel Music Split
A long dynamic tremolo performed on my 200 liter oil barrel, all 3 oscillators are using the same long sample, layered in S1/2 - mapped from C2 (C3 in Iris) upwards - with S1 running in Radius RT-mode and S2 in non-retrigger mode. Tune S2 up an octave with Macro 4, control it’s volume with M3. S3 plays the final accent of the tremolo mapped from C2 (C3) downwards. MW introduces noise-shaped pitch modulation in S1/2. With Macro 2 (Y) dialed towards the left/down, the LP filter becomes velocity sensitive. Please check the Macro page for FX controls.
Drone Wash
A noisy deep drone sound created with Adaptiverb and other things, layered in S1/2 (both running in non-retrigger mode) with an inverted spectral selection in S2. Each oscillator has it’s dedicated volume control (Macros 3/4), M5 adds slow amplitude modulation with slightly different LFO speeds in each oscillator which creates ever changing combinations of frequencies, M6 tunes S2 up an octave when fully engaged. M2 (Y) decreases LP filter cutoff, M1 (X) adds tempo-synced filter modulation, M7/8 control amount of flanging/delay FX, MW decreases delay time.
Glistening Morning Split
A rather beautiful tonal texture created with Phonem and other things is layered in S1/2, mapped from C3 (C4 in Iris) upwards, both oscillators are running in non-retrigger mode. S2 has a dedicated volume control (Macro 3), M4 introduces tempo-synced pan modulation in S2. S3 uses a mysterious drone sound, mapped from C0 - C3 (C1 - C4), also playing in non-retrigger mode. MW introduces tempo-synced amplitude modulation in S1/2 and adds some distortion. M2 (Y) decreases LP filter cutoff, M1 (X) adds slow filter modulation, M5/6 control amount of delay/phaser FX.
Prayer Day Split
A field recording of a church choir singing during an Easter Mass in a Moscow church, re-tuned and spectrally processed, S1/2 - mapped from C2 - C5 (C3 - C6 in iris) both use the same long sample, highlighting different frequency aspects and segments, use Macros 3/4 for volume balancing. S3 - mapped from C-1 – C2 (C0 - C3) adds a dark breathing drone sound, alls samples a re playing in non-retrigger mode. MW adds tempo-synced amplitude modulation in S3 and noise-shaped pitch modulation in S1/2. M2 (Y) increases HP filter cutoff, M1 (X) adds tempo-synced filter modulation. M8 controls release time, check the Macro page for FX controls.
Sakura Bell Tower Split
A field recording I made inside a bell tower with the massive drone of a sustaining bell, turned into a tonal soundscape using various spectral programs and other effect. S1/2 - mapped up to C3 (C4 in Iris) - layer the same sample, use Macros 3/4 for volume balancing. S3 - mapped from C3 – C7 (C4 – C8) - uses an excerpt from that soundscape processed in a slightly different way. S1/3 are running in non-retrigger mode. MW adds tempo-synced amplitude modulation. M2 (Y) decreases LP filter cutoff, M1 (X) adds tempo-synced filter modulation, M8 controls release time, check the Macro page for FX controls.
Sound Sculpture 01
The processed/tonalized recording of a big sound sculpture with giant metal springs is used in all 3 oscillators, each one highlighting a different segment of the long sample. Macro 2 (Y) decreases LP filter cutoff, M1 (X) adds the (monophonic) filter envelope, MW introduces tempo-synced amplitude modulation. Control attack/release with Macros 3/4, M 5/6 control delay mix/feedback.
In the Iris 2-version, Macro 7 adds tempo-synced pan modulation (via LFOa 4/5). The envelope filter is always active, Macro 1 controls the sustain level of the envelope, so dialing it to the left will activate the envelope curve. Macro 2 controls cutoff but inverted so dialing it in will subtract from the envelope cutoff value.
Sound Sculpture 02 Split
The processed recording of a big sound sculpture with giant metal springs is layered in S1/2 - mapped from C3 – C7 (C4 – C8 in Iris), S2 running in non-retrigger mode looping backwards/forwards, add pan modulation to S2 with macro 4, tune S1 up an octave with M3. S3 is mapped from C0 – B2 (C1 – B3) uses the time-stretched sample of the reverb tail of the sample used in S1/2, apply amplitude modulation with macro 5, control modulation speed with M6. Please check the Macro page for FX controls.
In the Iris 2-version, an additional sound sculpture sample was added in oscillator 4, mapped from C0 – C3 (C1 – C4 in Iris), this sound has slow pan modulation applied.
Tail Drones Split
In the lower register mapped from C0 – B2 (C1 – B3 in Iris) S3 running in Radius RT-mode plays a noise-drone, Macro 5 adds tempo-synced amplitude modulation. In the upper register, layered in S1/2 and mapped from C3 – C7 (C4 – C8) there is a bell sound processed with a tonal reverb drone (Adaptiverb), S2 running in non-retrigger mode, looping backward/forward. MW adds random tempo-synced peak-filter modulation, Macro 3 tunes S2 up an octave when fully engaged, M4 control’s it’s volume, Add pitch modulation to S1/2 with Macros 6/7. M1/2 (X/Y) control amount of delay/phaser FX.
Train Monster Split
In the lower register mapped from C0 – C3 (C1 – C4 in Iris) S1/2 layer a drone derived from the the processed field recording of an arriving train, both oscillators are running in non-retrigger mode, add tempo-synced amplitude modulation with Macro 3. S3 mapped from C3 – C7 (C4 – C8) uses the sample of time-stretched train brakes (IRCAM Stretch) reminding of vocal sounds, add tempo-synced, random pitch modulation to S3 with M4. MW decreases LP filter cutoff and adds massive distortion. M1/2 /X/Y) control amount of delay/reverb FX.
Train Play
Layered in S1/2 there is a field recording of a train arriving at Berlin station which I recorded during a journey to Cologne. S1 plays the full frequency range, S2 - running in non-retrigger mode - highlights only the braking phase. Use Macros 3/4 for volume balancing, add pan modulation to S1 with M5, control panning speed with M6. Please check the Macro page for FX controls.
Venus Rain
A granulated vocal texture tonalized with Kaleidoscope, S1 uses a more pure, less bright version, S2 - running in non-retrigger mode - the original soundscape with noise bursts, control the volume of S2 with Macro 3. MW adds fast random pitch modulation, Macro 1 adds distortion, M2 (Y) controls HP filter cutoff, please check the Macro page for more FX controls.
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The subscription now contains 598 Iris patches (with 13.65 GB of samples) and 207 Iris 2 patches (with 4.64 GB).
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
Three Iris patches from the upcoming set no. 73 - in a slightly cinematic track, some Macro and volume automation, a limiter on the output.
https://soundcloud.com/sampleconstruct/ ... bscription
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
A single Iris patch from set no. 73 in surreal ambient action, some Macro automation and a limiter on the master output.
https://soundcloud.com/sampleconstruct/ ... bscription
https://soundcloud.com/sampleconstruct/ ... bscription
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
Here comes the release info for set no. 73, I converted six of the Iris 1-patches directly to Iris 2 and added a fourth sample in one of the patches:
Iris Subscription Set 73 uploaded on September 21 - 2016 containing 10 presets (267.8 MB) including:
California Stab
MW adds vibrato to S1 (running in Radius RT-mode), S2 (non-retriggering) uses the same sample playing in reversed/forward loop mode, control volume of S2 with Macro 3m add tempo-synced amplitude modulation to S2 with M4. M2 (Y) closes the LP filter, you can then introduce the filter envelope with M1 (X). Check the Macro page for FX assignments.
In the Iris 2-version Macro 1 controls the decay time of the filter envelope (5) which is always active, as envelope modulation amount can’t be modulated in Iris2.
Dimension Machine Split
A long soundscape which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins, all 3 oscillators share the same sample highlighting different segments and frequency ranges. S2/3 (both in non-retrigger mode) are layered between C0 – B2 (C1 –B3 in Iris), S1 (in Radius RT-mode) is mapped from C3 – C7 (C4 – C8). MW introduces tempo-synced amplitude modulation, Macro 2 (Y) decreases LP cutoff, M1 (X) adds tempo-synced filter modulation. Check the Macro page for FX assignments.
In the Iris 2-version, LFO 5 which is modulating the filter has it’s shape modulated by LFO 4.
Hollow Squeak Scape Split
A long soundscape which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins, all 3 oscillators share the same sample highlighting different segments and frequency ranges. S1/2 (non-retriggering) are layered - control volume of S2 with Macro 3 - overlapping split point is C3 (C4 in Iris), S3 plays in Radius RT-mode, add amplitude modulation to S3 with M4. Check the Macro page for filter/FX assignments. MW adds fast random pitch modulation to S1/2.
In the Iris 2-version, Macro 8 introduces pan modulation (via LFO4).
Ice Drone Split
This patch uses two soundscape samples which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins, S1/2 share the same sample mapped from C3 - C7 (C4 – C8 in Iris), S2 has a dedicated volume control (Macro 3), S1/3 are running in non-retrigger mode. MW adds pitch modulation, Macro 2 (Y) shifts HP cutoff, M1 (X) adds tempo-synced random filter modulation. Check the Macro page for FX assignments.
Ice Lead
A long soundscape which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins, all 3 oscillators share the same sample, S3 playing the full frequency range (with pan modulation applied), each oscillator has it’s dedicated volume control Macros 3-5), all oscillators play in non-retrigger mode, Glide is activated. MW introduces square-shaped, tempo-synced pitch modulation in S1/2, increase attack time with M7. Check the Macro page for filter/FX assignments.
Impression Maker
A glistening tonal soundscape sample is used in S1/2 - mapped from C3 – C6 (C4 – C7 in Iris) - S2 (non-retriggering) playing backward/forward, tune S2 up an octave with Macro 4. S3 mapped from C0 - B2 (C1 - B3 in Iris) uses a synth sweep. MW introduces tempo-synced amplitude modulation, decrease LP filter cutoff with M2 (Y), add filter modulation with M1 (X). Check the Macro page for FX assignments.
In the Iris 2-version, oscillator 4 carries an addition sample (granular explosion) layered with S3, control volume of S4 with Macro 8, the tempo-synced amplitude modulation in S3 also applies for S4.
Light Ladder
Mellow tonal soundscape, the same sample is used in both oscillators (non-retriggering), S2 playing backward/forward. Add pan modulation to S2 with Macro 3, control panning speed with M4. MW adds tempo-synced, square-shaped pitch modulation in S1, -/+ 1 octave with the wheel fully engaged. Decrease LP filter cutoff with M2 (Y), add filter modulation with M1 (X). Check the Macro page for FX assignments.
Metallic Cave Split
S1 (non-retriggering) uses a processed/spectralized water-bell texture (the dry bell samples were borrowed from my Alchemy 2-library Resurrection) mapped from C3 – C7 (C4 – C8 in Iris). S2/3 (non-retriggering, mapped from C-1 – B2, S2 in reverse/forward mode) layer a soundscape which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins. S3 has a dedicated volume control (Macro 3), slow pan modulation can be added to S3 using M4. MW adds pitch modulation in S1/2, Macro 6 controls LP cutoff, M7 adds noise-shaped filter modulation, check the Macro page for FX assignments.
Sonic Wall Split
This patch uses three soundscape samples which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins. S1/2 (non-retriggering) are layered from C-1 – C3 (C0 – C4 in Iris), S3 (Radius RT-mode) plays from C3 – C6 (C4 – C7). MW introduces tempo-synced amplitude modulation, increase attack time with Macro 3, check the Macro page for FX/filter assignments.
Spectrality Vox Split
Granulated/spectralized female vocal texture, all 3 oscillators share the same long sample, S3 is mapped from C0 – B2 (C1 – B3 in Iris), S1/2 are layered and mapped from C3 – C7 (C4 – C8), each having a dedicated volume control (Macros 3/4) all oscillators play in non-retrigger mode. MW introduces tempo-synced amplitude modulation, increase HP filter cutoff with M2 (Y), add slow filter modulation with M1 (X), check the Macro page for FX assignments.
In the Iris 2-version, aftertouch adds noise-shaped pitch modulation in all 3 oscillators.
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The subscription library now contains 608 Iris 1 patches including 13.92 GB of samples and 213 Iris 2 patches with 4.78 GB of samples. I'll send out the dl links in a minute.
Iris Subscription Set 73 uploaded on September 21 - 2016 containing 10 presets (267.8 MB) including:
California Stab
MW adds vibrato to S1 (running in Radius RT-mode), S2 (non-retriggering) uses the same sample playing in reversed/forward loop mode, control volume of S2 with Macro 3m add tempo-synced amplitude modulation to S2 with M4. M2 (Y) closes the LP filter, you can then introduce the filter envelope with M1 (X). Check the Macro page for FX assignments.
In the Iris 2-version Macro 1 controls the decay time of the filter envelope (5) which is always active, as envelope modulation amount can’t be modulated in Iris2.
Dimension Machine Split
A long soundscape which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins, all 3 oscillators share the same sample highlighting different segments and frequency ranges. S2/3 (both in non-retrigger mode) are layered between C0 – B2 (C1 –B3 in Iris), S1 (in Radius RT-mode) is mapped from C3 – C7 (C4 – C8). MW introduces tempo-synced amplitude modulation, Macro 2 (Y) decreases LP cutoff, M1 (X) adds tempo-synced filter modulation. Check the Macro page for FX assignments.
In the Iris 2-version, LFO 5 which is modulating the filter has it’s shape modulated by LFO 4.
Hollow Squeak Scape Split
A long soundscape which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins, all 3 oscillators share the same sample highlighting different segments and frequency ranges. S1/2 (non-retriggering) are layered - control volume of S2 with Macro 3 - overlapping split point is C3 (C4 in Iris), S3 plays in Radius RT-mode, add amplitude modulation to S3 with M4. Check the Macro page for filter/FX assignments. MW adds fast random pitch modulation to S1/2.
In the Iris 2-version, Macro 8 introduces pan modulation (via LFO4).
Ice Drone Split
This patch uses two soundscape samples which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins, S1/2 share the same sample mapped from C3 - C7 (C4 – C8 in Iris), S2 has a dedicated volume control (Macro 3), S1/3 are running in non-retrigger mode. MW adds pitch modulation, Macro 2 (Y) shifts HP cutoff, M1 (X) adds tempo-synced random filter modulation. Check the Macro page for FX assignments.
Ice Lead
A long soundscape which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins, all 3 oscillators share the same sample, S3 playing the full frequency range (with pan modulation applied), each oscillator has it’s dedicated volume control Macros 3-5), all oscillators play in non-retrigger mode, Glide is activated. MW introduces square-shaped, tempo-synced pitch modulation in S1/2, increase attack time with M7. Check the Macro page for filter/FX assignments.
Impression Maker
A glistening tonal soundscape sample is used in S1/2 - mapped from C3 – C6 (C4 – C7 in Iris) - S2 (non-retriggering) playing backward/forward, tune S2 up an octave with Macro 4. S3 mapped from C0 - B2 (C1 - B3 in Iris) uses a synth sweep. MW introduces tempo-synced amplitude modulation, decrease LP filter cutoff with M2 (Y), add filter modulation with M1 (X). Check the Macro page for FX assignments.
In the Iris 2-version, oscillator 4 carries an addition sample (granular explosion) layered with S3, control volume of S4 with Macro 8, the tempo-synced amplitude modulation in S3 also applies for S4.
Light Ladder
Mellow tonal soundscape, the same sample is used in both oscillators (non-retriggering), S2 playing backward/forward. Add pan modulation to S2 with Macro 3, control panning speed with M4. MW adds tempo-synced, square-shaped pitch modulation in S1, -/+ 1 octave with the wheel fully engaged. Decrease LP filter cutoff with M2 (Y), add filter modulation with M1 (X). Check the Macro page for FX assignments.
Metallic Cave Split
S1 (non-retriggering) uses a processed/spectralized water-bell texture (the dry bell samples were borrowed from my Alchemy 2-library Resurrection) mapped from C3 – C7 (C4 – C8 in Iris). S2/3 (non-retriggering, mapped from C-1 – B2, S2 in reverse/forward mode) layer a soundscape which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins. S3 has a dedicated volume control (Macro 3), slow pan modulation can be added to S3 using M4. MW adds pitch modulation in S1/2, Macro 6 controls LP cutoff, M7 adds noise-shaped filter modulation, check the Macro page for FX assignments.
Sonic Wall Split
This patch uses three soundscape samples which originated from a live-on-harddisk-session using a plethora of sound generators and effect plug-ins. S1/2 (non-retriggering) are layered from C-1 – C3 (C0 – C4 in Iris), S3 (Radius RT-mode) plays from C3 – C6 (C4 – C7). MW introduces tempo-synced amplitude modulation, increase attack time with Macro 3, check the Macro page for FX/filter assignments.
Spectrality Vox Split
Granulated/spectralized female vocal texture, all 3 oscillators share the same long sample, S3 is mapped from C0 – B2 (C1 – B3 in Iris), S1/2 are layered and mapped from C3 – C7 (C4 – C8), each having a dedicated volume control (Macros 3/4) all oscillators play in non-retrigger mode. MW introduces tempo-synced amplitude modulation, increase HP filter cutoff with M2 (Y), add slow filter modulation with M1 (X), check the Macro page for FX assignments.
In the Iris 2-version, aftertouch adds noise-shaped pitch modulation in all 3 oscillators.
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The subscription library now contains 608 Iris 1 patches including 13.92 GB of samples and 213 Iris 2 patches with 4.78 GB of samples. I'll send out the dl links in a minute.
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
Stepping through/improvising with some Iris 2 patches from the subscription set no. 73.
https://www.youtube.com/watch?v=10pEi_M8G0c
https://www.youtube.com/watch?v=10pEi_M8G0c
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
Two Iris patches from the patchpool subscription series - set no. 74 - in ambient action - 100% iris and a limiter on the mater output.
https://soundcloud.com/sampleconstruct/ ... bscription
https://soundcloud.com/sampleconstruct/ ... bscription
-
- KVRian
- 938 posts since 29 May, 2011 from Germany
Seeing that the project of converting all patches to Iris 2 will likely take quite a bit of time (do you have a rough schedule here?), in how far would the non-converted sounds be useful for me as an Iris 2-user?
Would you guess-timate the larger portion of these "just" lack controller mapping (modwheel, aftertouch) or is it rather about fundamental sound-shaping issues like filter modulations etc?
Would you guess-timate the larger portion of these "just" lack controller mapping (modwheel, aftertouch) or is it rather about fundamental sound-shaping issues like filter modulations etc?
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
The core of each sound - the spectral filter selection - translates perfectly fine, the Macro, envelope and LFO assignments don't and need tweaking. If you only want the subscription for Iris 2 sounds for half the subscription price, please contact me directly via patchpool.epiphaneia wrote:Seeing that the project of converting all patches to Iris 2 will likely take quite a bit of time (do you have a rough schedule here?), in how far would the non-converted sounds be useful for me as an Iris 2-user?
Would you guess-timate the larger portion of these "just" lack controller mapping (modwheel, aftertouch) or is it rather about fundamental sound-shaping issues like filter modulations etc?
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
As several people have asked over the last weeks, I just installed another PayPal button for the annual subscription to the Iris 2 patches only - for € 60 EUR.
http://www.patchpool.net/izotope_iris.html
http://www.patchpool.net/izotope_iris.html
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
Improvising with the patch Particle Soup from the upcoming set no. 74. Some Macro automation and modulation wheel action, a limiter on the mater output.
https://soundcloud.com/sampleconstruct/ ... bscription
https://soundcloud.com/sampleconstruct/ ... bscription
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
Another demo track featuring 3 patches from set 74, some volume and Macro automation and a limiter on the master output:
https://soundcloud.com/sampleconstruct/ ... bscription
And here comes the release info for set 74, this time I converted 10 of the 11 Iris 1-patches directly to Iris 2, working my way around the obstacles in version 2.
Iris Subscription Set 74 uploaded on November 9 - 2016 containing 11 presets (291.1 MB) including:
Airy Tale
Tonal soundscape derived from a processed female voice, S1/2 both use the same long sample, highlighting different frequency regions, split across the keyboard - overlapping split point C4 (C5 in iris), S1 is running in non-retrigger mode. Macros 5/6 add tempo-synced amplitude modulation to each oscillator, MW increases HP filter cutoff and adds tempo-synced filter modulation, please check the Macro page for FX controls.
In the Iris 2-version, Macro 7 adds noise-shaped pitch modulation.
Cirrocumulus Split
In the lower register S1/2 mapped from C-1 – C3 (C0 – C4 in Iris) layer the same long and bright drone sample, highlighting different segments with S1 running in non-retrigger mode, S2 has a dedicated volume control (Macro 3) and can be tuned up an octave with M4. In the upper register, mapped from C3 – C7 (C4 – C8) an ethereal glassy soundscape is playing in non-retrigger mode. MW adds tempo-synced amplitude modulation (triplet-based) with a different LFO speed for each oscillator. M1 controls HP filter cutoff, M2 adds phasing, M5 controls amount of delay FX.
In the Iris 2-version, Macro 6 adds tempo-synced pan modulation. Due to the Iris 2-architecture, MW always introduces audible amplitude modulation in S2, even with Macro 3 closed.
Cirrus Spissatus Split
In the upper register, mapped from C2 – C7 (C3 – C8 in Iris) a long tonal soundscape is layered in S1/2, both oscillators are running in non-retrigger mode, S2 uses backward/forward looping and can be tuned up an octave with Macro 3. In the lower register - mapped from C0 – C2 (C1 – C3), S3 plays a synth drone sample made with my good old Z1 synthesizer. MW adds tempo-synced amplitude modulation with a different LFO speed for each oscillator. Macro 2 (Y) decreases LP filter cutoff, M1 (X) adds tempo-synced random filter modulation. M3/4 control amount of chorus/delay FX, M6 controls attack time. Glide is activated.
In the Iris 2-version, AT adds vibrato.
Giant String 01
A time-stretched (IRCAM Stretch/Falcon) piano string accent from my SoundPack Piano Destruction processed with various things, all 3 oscillators use the same long sample, S1 running in Radius RT-mode, S3 in non-retrigger mode. Tune up S2 an octave with Macro 3, M4 is a dedicated volume control for S3. Please check the Macro page for filter and FX controls.
In the Iris 2-version, Macro 7 adds tempo-synced pan modulation.
Giant String 02 Dual
Two time-stretched (IRCAM Stretch/Falcon) piano string accent from my SoundPack Piano Destruction processed with various things, the sample in S2 re-sample at a higher pitch, S3 (non-retrigger mode, tune it up an octave with Macro 3) looping the sustain phase of the higher sample, the sounds overlap, check the Mapping-page. MW adds tempo-synced, square shaped pitch modulation, +/- 1 octave with the wheel fully engaged. Macro 2 controls LP filter cutoff, M4 adds tempo-synced filter modulation. Please check the Macro page for FX controls.
In the Iris 2-version, Macro 8 adds tempo-synced pan modulation.
Layered FX Cymbal
A Chinese Opera cymbal, processed version layered in S1/2 (S1 -> non-retrigger mode), dry version in S3 (One Shot-mode/fixed pitch).
Randomize pitches in S1/3 by dialing in Macro 3 (engaging a very slow re-triggering random LFO), add tempo-synced pan modulation in S2 with M4. MW adds chorus/distortion FX, M2 decreases LP filter cutoff, M1 adds velocity sensitivity to the filter. M5 controls release time, M6.8 control delay/reverb FX.
In the Iris 2-version, Macro 3 also introduces pitch randomization in S2 (if the assigned LFO decides to work) and the filter is always velocity sensitive (the modulation amount can’t be modulated in iris 2). So instead of controlling the velocity sensitivity of the filter, Macro 1 increases filter resonance.
Lead Warper
A multi-sampled, processed lead synth (made with one of my Diversion patches), 3 pitches sampled between G1 – G5 (G2 – G6 in Iris), check the Mapping-page, all oscillators running in non-retrigger mode. MW adds tempo-synced, square shaped pitch modulation, +/- 1 octave with the wheel fully engaged. Macros 2 controls LP filter cutoff and engages the filter envelope and filter LFO when dialed towards the bottom, M1 increases filter resonance. Please check the Macro page for FX and envelope controls. Glide is activated.
In the Iris 2-version, the filter envelope has been removed, so dialing in Macro 1 introduces only LFO-controlled filter modulation and increases filter resonance.
Opera Cymbal Edge
A Chinese Opera cymbal layered in S1/2, both oscillators are playing in Radius RT-mode (high CPU load) with alternate looping engaged. Macros 3/4 are dedicated volume controls for each sound, M2 (Y) adds delay FX, M1 (X) controls various delay parameters, M5/6 control amount of chorus/reverb FX.
MW adds noise-shaped pitch modulation.
Particle Soup Split
An ascending, processed synth sequence made with Chromaphone 2 and other things, all 3 oscillators use the same long sample, S1 playing a very dotted frequency selection. S1/2 are layered between C3 – C7 (C4 – C8 in Iris) each one having a dedicated volume control (Macros 3/4), S3 plays a more sustained frequency selection, mapped from C-1 – B2 (C0 – B3). MW adds random pitch modulation and increases modulation speed, M2 (Y) decreases LP filter cutoff, M1 (X) adds aliasing distortion. Please check the Macro page for FX and envelope controls.
In the Iris 2-version, the S&H LFO for modulating pitch was replaced by a noise-shaped LFO (as the random LFO often doesn’t work and LFO-speed modulation is also broken).
Pumpkin Bass
A processed water drum (pumpkin in bathtub) accent from my sound library Falcon AIR, S1/2 play the sample in One Shot-mode, S2 tuned up an octave, S4 adds a square wave, Macros 5/7 are dedicated volume controls for S2/4. Macros 3/4 control sustain/release, M2 (Y) dialed towards the bottom/left introduces the filter envelope, M1 (X) adds distortion, M6 controls amount of delay FX. MW adds tempo-synced, square-shaped pitch modulation.
In the Iris 2-version, the filter envelope is always active (the modulation amount can’t be modulated in iris 2).
Spectral Spiccato Split
A long soundscape made with a processed violin patch from my sound library Ambient Strings, S1/2 - using inverted frequency selections and LFOs modulating their amplitude at different speeds (control modulation speed with Macro 3) - are layered between C0 – C4 (C1 – C5 in Iris). S3 playing in reverse/forward mode is mapped from C4 – C7 (C5 – C8), all oscillators are running in non-retrigger mode. MW decreases LP filter cutoff, adds distortion and slow filter modulation, Macro 5 adds add tempo-synced amplitude modulation in S3. M1/2 (X/Y) control amount of phaser/delay FX, M4 controls delay time.
In the Iris 2-version, Macro 6 introduces re-triggering (per voice) noise-shaped pan modulation.
----
The subscription library now contains 619 Iris 1 patches with 14.21 GB of samples and 224 Iris 2 patches with 5.1 GB of samples. And the journey continues...
https://soundcloud.com/sampleconstruct/ ... bscription
And here comes the release info for set 74, this time I converted 10 of the 11 Iris 1-patches directly to Iris 2, working my way around the obstacles in version 2.
Iris Subscription Set 74 uploaded on November 9 - 2016 containing 11 presets (291.1 MB) including:
Airy Tale
Tonal soundscape derived from a processed female voice, S1/2 both use the same long sample, highlighting different frequency regions, split across the keyboard - overlapping split point C4 (C5 in iris), S1 is running in non-retrigger mode. Macros 5/6 add tempo-synced amplitude modulation to each oscillator, MW increases HP filter cutoff and adds tempo-synced filter modulation, please check the Macro page for FX controls.
In the Iris 2-version, Macro 7 adds noise-shaped pitch modulation.
Cirrocumulus Split
In the lower register S1/2 mapped from C-1 – C3 (C0 – C4 in Iris) layer the same long and bright drone sample, highlighting different segments with S1 running in non-retrigger mode, S2 has a dedicated volume control (Macro 3) and can be tuned up an octave with M4. In the upper register, mapped from C3 – C7 (C4 – C8) an ethereal glassy soundscape is playing in non-retrigger mode. MW adds tempo-synced amplitude modulation (triplet-based) with a different LFO speed for each oscillator. M1 controls HP filter cutoff, M2 adds phasing, M5 controls amount of delay FX.
In the Iris 2-version, Macro 6 adds tempo-synced pan modulation. Due to the Iris 2-architecture, MW always introduces audible amplitude modulation in S2, even with Macro 3 closed.
Cirrus Spissatus Split
In the upper register, mapped from C2 – C7 (C3 – C8 in Iris) a long tonal soundscape is layered in S1/2, both oscillators are running in non-retrigger mode, S2 uses backward/forward looping and can be tuned up an octave with Macro 3. In the lower register - mapped from C0 – C2 (C1 – C3), S3 plays a synth drone sample made with my good old Z1 synthesizer. MW adds tempo-synced amplitude modulation with a different LFO speed for each oscillator. Macro 2 (Y) decreases LP filter cutoff, M1 (X) adds tempo-synced random filter modulation. M3/4 control amount of chorus/delay FX, M6 controls attack time. Glide is activated.
In the Iris 2-version, AT adds vibrato.
Giant String 01
A time-stretched (IRCAM Stretch/Falcon) piano string accent from my SoundPack Piano Destruction processed with various things, all 3 oscillators use the same long sample, S1 running in Radius RT-mode, S3 in non-retrigger mode. Tune up S2 an octave with Macro 3, M4 is a dedicated volume control for S3. Please check the Macro page for filter and FX controls.
In the Iris 2-version, Macro 7 adds tempo-synced pan modulation.
Giant String 02 Dual
Two time-stretched (IRCAM Stretch/Falcon) piano string accent from my SoundPack Piano Destruction processed with various things, the sample in S2 re-sample at a higher pitch, S3 (non-retrigger mode, tune it up an octave with Macro 3) looping the sustain phase of the higher sample, the sounds overlap, check the Mapping-page. MW adds tempo-synced, square shaped pitch modulation, +/- 1 octave with the wheel fully engaged. Macro 2 controls LP filter cutoff, M4 adds tempo-synced filter modulation. Please check the Macro page for FX controls.
In the Iris 2-version, Macro 8 adds tempo-synced pan modulation.
Layered FX Cymbal
A Chinese Opera cymbal, processed version layered in S1/2 (S1 -> non-retrigger mode), dry version in S3 (One Shot-mode/fixed pitch).
Randomize pitches in S1/3 by dialing in Macro 3 (engaging a very slow re-triggering random LFO), add tempo-synced pan modulation in S2 with M4. MW adds chorus/distortion FX, M2 decreases LP filter cutoff, M1 adds velocity sensitivity to the filter. M5 controls release time, M6.8 control delay/reverb FX.
In the Iris 2-version, Macro 3 also introduces pitch randomization in S2 (if the assigned LFO decides to work) and the filter is always velocity sensitive (the modulation amount can’t be modulated in iris 2). So instead of controlling the velocity sensitivity of the filter, Macro 1 increases filter resonance.
Lead Warper
A multi-sampled, processed lead synth (made with one of my Diversion patches), 3 pitches sampled between G1 – G5 (G2 – G6 in Iris), check the Mapping-page, all oscillators running in non-retrigger mode. MW adds tempo-synced, square shaped pitch modulation, +/- 1 octave with the wheel fully engaged. Macros 2 controls LP filter cutoff and engages the filter envelope and filter LFO when dialed towards the bottom, M1 increases filter resonance. Please check the Macro page for FX and envelope controls. Glide is activated.
In the Iris 2-version, the filter envelope has been removed, so dialing in Macro 1 introduces only LFO-controlled filter modulation and increases filter resonance.
Opera Cymbal Edge
A Chinese Opera cymbal layered in S1/2, both oscillators are playing in Radius RT-mode (high CPU load) with alternate looping engaged. Macros 3/4 are dedicated volume controls for each sound, M2 (Y) adds delay FX, M1 (X) controls various delay parameters, M5/6 control amount of chorus/reverb FX.
MW adds noise-shaped pitch modulation.
Particle Soup Split
An ascending, processed synth sequence made with Chromaphone 2 and other things, all 3 oscillators use the same long sample, S1 playing a very dotted frequency selection. S1/2 are layered between C3 – C7 (C4 – C8 in Iris) each one having a dedicated volume control (Macros 3/4), S3 plays a more sustained frequency selection, mapped from C-1 – B2 (C0 – B3). MW adds random pitch modulation and increases modulation speed, M2 (Y) decreases LP filter cutoff, M1 (X) adds aliasing distortion. Please check the Macro page for FX and envelope controls.
In the Iris 2-version, the S&H LFO for modulating pitch was replaced by a noise-shaped LFO (as the random LFO often doesn’t work and LFO-speed modulation is also broken).
Pumpkin Bass
A processed water drum (pumpkin in bathtub) accent from my sound library Falcon AIR, S1/2 play the sample in One Shot-mode, S2 tuned up an octave, S4 adds a square wave, Macros 5/7 are dedicated volume controls for S2/4. Macros 3/4 control sustain/release, M2 (Y) dialed towards the bottom/left introduces the filter envelope, M1 (X) adds distortion, M6 controls amount of delay FX. MW adds tempo-synced, square-shaped pitch modulation.
In the Iris 2-version, the filter envelope is always active (the modulation amount can’t be modulated in iris 2).
Spectral Spiccato Split
A long soundscape made with a processed violin patch from my sound library Ambient Strings, S1/2 - using inverted frequency selections and LFOs modulating their amplitude at different speeds (control modulation speed with Macro 3) - are layered between C0 – C4 (C1 – C5 in Iris). S3 playing in reverse/forward mode is mapped from C4 – C7 (C5 – C8), all oscillators are running in non-retrigger mode. MW decreases LP filter cutoff, adds distortion and slow filter modulation, Macro 5 adds add tempo-synced amplitude modulation in S3. M1/2 (X/Y) control amount of phaser/delay FX, M4 controls delay time.
In the Iris 2-version, Macro 6 introduces re-triggering (per voice) noise-shaped pan modulation.
----
The subscription library now contains 619 Iris 1 patches with 14.21 GB of samples and 224 Iris 2 patches with 5.1 GB of samples. And the journey continues...
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16155 posts since 12 Oct, 2008 from Here and there
This sound felt ignored, so I caved:
Improvising with the Iris 2-patch Cirrus Spissatus from set no. 74, live on video.
https://www.youtube.com/watch?v=wma-iAsm5bg
Improvising with the Iris 2-patch Cirrus Spissatus from set no. 74, live on video.
https://www.youtube.com/watch?v=wma-iAsm5bg
