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Annual Subscription for Iris Presets Iris 2

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Another patch from set 43 - "Simple Guitar":

http://soundcloud.com/sampleconstruct/g ... -iris-demo

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Here comes a rather wondrous track combining 4 new patches from set 43:

http://soundcloud.com/sampleconstruct/i ... -patchpool

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So, it's the 2-year-Iris-subscription-anniversary today and here comes the release info for set 43:

Iris Subscription Set 43 uploaded on April 19 - 2014 containing 10 presets (206.3 MB) including:

Bassoon Loops
A basson phrase recorded inside a train waggon on our journey through Russia in 2011 with a russian orchestra. We (the film team) recorded an interview with a bassoon player for a documentary and he played some bassoon for this feature. I denoised the train rumbling from that phrase and made some cuts. Each oscillator plays a different segment and harmonic selection of the same sample. Root note is B3 (B4 in Iris). Each osc has a LFO applied to volume, with slightly different LFO speeds, so when playing long notes you will get ever evolving combinations of sound. MW introduces aliasing-distortion and Chorus FX. Macros 1+2 (x/y) control amount of Delay/Reverb FX.

Blossoming Scape Split
A sample made with a patch from my Spectral soundset Spectral Rays processed with B2 and other things is used in both oscillators, running in split mode, split point: B2/C3 (B3/C4 in Iris). Macro 1 (x) adds distortion, M2 controls LP cutoff. M3 adds Delay FX, M4 adds Chorus FX, use M5 to control chorus speed.

Dark Screamer Split
A sample made with a sound from my Alchemy library Framedrum combined with a sound from my Reaktor Bank No Boundaries for DRON-E, the Reaktor sound is being modulated by the "screaming" framedrum scape using GRM Grinder which is functioning as a vocoder in this case. Each oscillator uses a different segment and spectral selection of that sample. The sounds are split across the keyboard overlapping in the octave between C2 - C3 (C3 - C4 in Iris). Both oscs are running in Non-Retrigger mode. The Modhweel adds noise-shaped pitch modulation to both sounds. Maacros 1+2 (x/y) control amount of Delay/Reverb FX, M3 controls the cutoff of the LP filter. This one is spooky!

Floating Guitars
A long electric guitar sample, ethereal swells played with a volume foot pedal through a delay stompbox into two amps, furtherly processed with B2 reverb. Each osc uses a different segment and spectral selection of that sample. The Modwheel adds temposyced amplitude modulation to each samples, the LFO speeds are all different (2 against 3). Please have a look at the Macro page to see how the 5 assigned Macros affect the sound.

Framedrum Surreality
A framedrum texture from my Reaktor Bank No Boundaries for DRON-E processed with Trash 2 and B2. Each osc is using the same sample, playing different segments and spectral selections. Oscillator 2 is not following pitch (Fixed mode), it's pitch is being modulated by a LFO, LFO speed assigned to the Modwheel. The MW also adds random pitch modulation to S3. Each osc has it's dedictaed volume control (Macros 3 - 5), Macros 1+2 (x/y) control amount/speed of Delay FX, M6 controls amount of Reverb FX.

Glocken Gong Clouds Split
From C3 upwards the sample of a processed Glockenspiel hit is playing in Osc 2, From C3 downwards a procesed Thai gong hit is playing in Osc 1. The Modwheel adds random pitch modulation to the gong and temposynced pitch mod to the Glockenspiel. Macro 2 (y) controls filter cutoff, with M2 down you can adds temposynced filter modulation using Macro 1 (x). Add phasing FX using M4.

Peaceful Land Split
Osc 1 uses a sample made with a sound from my Spectral soundset Spectral Rays processed with a Molekular FX-patch from my Snapshot Bank DNA and crusherX. The sample is mapped from C3 (C4 in Iris) upwards. From B2 (B3) downwards Osc 2 is playing a timestretched electric guitar sample. Both oscs are running in Non-Retrigger mode. The Modwheel adds temposynced amplitude modulation to both samples. Macro 2 (y) control LP cutoff, with y down, add a filter envelope using M1 (x). The FX section is running in Send-mode. Macros 3+4 control the overall send amounts to each FX unit for each osc.

Simple Guitar
An electric guitar snippet recorded during the amp setup/mic testing for a recording session is playing in Osc 1. Add tremolo with Macro 5, control tremolo speed using M6. Macros 1-4 control various FX units, inverted M7 controls LP filter cutoff.

Spectral Waterphone Split
A waterphone sample from my MachFive library Scattered Entity processed with Molekular FX-patch from my Snapshot Bank DNA is playing in both oscillators. The root notes a set differently and S2 is only playing up to C5 (C4 in Iris). S1 is running in Non-Retrigger mode. The Modwheel increases the volume of S2. Macro 3 adds a tad of pitch modulation to S1, M4 controls modulation speed. M5 adds pan modulation to S2, M6 controls pan-modulation speed. M7 controls LP filter cutoff, M 1+2 (x/y) control amount of Delay/Reverb FX.

Strange Land Split
Both oscillators use the same sample made with a sound from my Spectral soundset Spectral Rays processed with a Molekular FX-patch from my Snapshot Bank DNA and crusherX. S1 is mapped up to C3 (C4 in Iris), S2 is mapped from C3 (C4) upwards and is running in Radius RT (time preserving) mode (set it to "Resample" to save CPU / to switch to normal sampling mode). The Modwheel controls HP filter cutoff and adds distortion. Macros 1+2 (x/y) control amount/speed of Delay FX, M3 adds saw up-shaped pitch modulation to S1, use M4 to control modulation speed. M5 adds random pitch modulation to S2, use M6 to control modulation speed. M7 controls amount of Reverb FX.

http://soundcloud.com/sampleconstruct/sets/iris-set-1

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The subscription price has been upped to € 100 EUR, there are now 307 patches including 6.53 Gigabyte of samples.

Happy Easter! :party:
Simon

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Here comes a demo for a new patch from the upcoming subscription set no. 44, Nightingale Scape. A nightingale has been singing outside my studio window for the last two weeks or so, last night I finally captured here beautiful singing on tape, so there will be a few nightingale patches in the next set:

http://soundcloud.com/sampleconstruct/n ... bscription

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Improvising with a new Iris patch "Oud Harmonics Texture" - as I just started sampling my new Oud I had to include an Oud patch in the upcoming set.

http://soundcloud.com/sampleconstruct/o ... bscription

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Here comes a rather cosmic demo track combining 5 new patches from the upcoming set. I had a long impro session live on tape yesterday using a plethora of synths and FX, then I isolated 12 samples from that session and irisised them, so here are some of those sounds:

http://soundcloud.com/sampleconstruct/s ... bscription

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Set 44 was just released, here comes the info:

Iris Subscription Set 44, uploaded on May 13 - 2014 containing 12 presets (262.6 MB) including:

Big Filterscape Split
Electronic texture made with various synths processed with patches from DNA for Molekular. Each oscillator plays a different segment from the same sample, overlapping split, S1 mapped up to C4 (C5 in Iris), S2 mapped from C3 (C4) upwards. The inverted Modwheel controls LP filter cutoff. Macros 1+2 (x/y) control amount of Delay/Chorus FX. M3 adds temposynced amplitude modulation to both oscillators.

Bizarreness Split
Electronic texture made with various synths processed with patches from DNA for Molekular. Each oscillator plays a different segment and spectral selection from the same sample, overlapping split, S1 (running in Non-Retrigger mode) mapped from C2 upwards (C3 in Iris), S2 mapped up to C3 (C4). The Modwheel adds fast random pitch modulation to both oscillators. The FX section runs in Send-mode, Macro 1 (x) adds distortion to the lower sound (S2), M2 (y) adds Delay FX to the upper sound (S1). M3+4 are dedicated reverb sends for each osc.

Brain Pings
Two electronic textures made with various synths processed with patches from DNA for Molekular. S2+3 use the same sample, a perforated percussive texture (Rattle Hits), S2 running in Non-Retrigger mode playing the full frequency range. S1 uses the percussive sample Brain Ping. Each osc has a dedicated volume control (Macros 4-5). Apply pitch modulation to S2+3 using the Modwheel. The FX section is running in Send-mode, Macro 1 (x) adds Delay FX to S2+3, M2 (y) controls various delay parameters. M3 adds reverb to all oscillators.

Dark Droners Split
Two drones made with various synths processed with patches from DNA for Molekular split across the keyboard, overlapping split point C3 (C4 in Iris). S2+3 are layered and play different segments of the same drone. The inverted Modwheel controls LP filter cutoff. Macro 1 (x) controls amount of Delay FX, M2 introduces temposynced amplitude modulation to all oscillators. M3 adds flanging, M4 controls flanging speed.

Jetstream Droner Split
Two electronic textures made with various synths processed with patches from DNA for Molekular. S1+2 use the same sample (Phase Droner) playing different segments and spectral selections, mapped up to C3 (C4 in Iris). S3 (running in Non-Retrigger mode) uses a long tonal, rather cosmic texture mapped from C3 (C4) upwards. The inverted Modwheel controls LP filter cutoff. Macro 1 (x) adds temposynced pan modulation to the upper sound (S3), M2 (y) adds temposynced amplitude modulation to S1. M3 controls amount of temposynced Delay FX.

Nightingale Resynthed Split
The resynthesized/metasynthed field recording of a lovely nightingale singing outside my studio window is used in all three oscillators, playing different segments and spectral selections. S3 is mapped up to B2 (B3 in Iris), S1+2 (running in Non-Retrigger mode) are mapped from C3 (C4) upwards. All oscs have a tiny bit of pitch modulation applied. The Modwheel adds aliasing distortion and Chorus FX. Macros 1+2 (x/y) control amount of Delay/Reverb FX, M3 controls LP filter cutoff.

Nightingale Scape
A processed segment of the field recording of a nightingale (only the repeqting notes between the verses) singing outside my studio window is used in all three oscillators, each osc playing a different spectral band and segment of the same sample. S1 plays over the entire range, S2 is mapped from C3 (C4 in Iris) upwards, S3 is mapped up to C3 (C4). All oscillators are running in Non-Retrigger mode. S1+2 both have a slow LFO assigned to their volume, so they fade in and out at different speeds. The inverted Modwheel controls LP filter cutoff. Please have a look at the Macro section to see how the 5 assigned Macros affect the sound.

Oud Harmonics Texture Split
A textural Oud sample recorded during the first sample session for my Alchemy library Aqualignum is used in both oscillators, overlapping split point is C3 (C4 in Iris), both oscs are running in Non-Retrigger mode. The Modwheel adds pitch modulation. The FX section is running in Send-mode, Macro 1 (x) adds Chorus FX to the upper sound (S2), M1 adds distortion to the lower sound (S1). M3 adds Delay, inverted M4 controls LP filter cutoff (post FX send, so the high frequencies are still coming through the FX returns), M5 adds reverb.

Permutated Nightingale
A segment of a field recording (with the singing pauses cut out) of a lovely nightingale singing outside my studio window, processed/destroyed with Permut8. The 3 oscs are layered and all play different segments and spectral selections of the same long sample. S1+2 are running in Non-Retrigger mode. The Modwheel shifts the oscillator balance towards S3. S1+2 have pan modulation applied, so the birds fly around the stereo field. Macro 1 (x) adds Delay FX, M2 is assigned to various delay parameters. M3 adds random pitch modulation to S3. M4 adds a strange reverb ambience.

Stereo Hacker
Electronic texture made with various synths processed with patches from DNA for Molekular, both oscillators are playing different segments and spectral selections of the same sample, osc 2 has pan modulation applied, osc 1 is running in Non-Retrigger mode. Each osc has a dedicated volume control (Macros 3+4), Macros 1+2 control amount of Delay/Chorus FX. The inverted Modwheel controls LP filter cutoff.

Stretched Valium Split
Electronic texture made with Spectral, processed with a patch from DNA for Molekular, timestretched with RX3. Both oscillators use the same sample, both running in Non-Retrigger mode, overlapping split point is C3 (C4 in Iris). Modwheel adds Chorus FX. Macro 1 (x) adds temposynced amplitude modulation to the lower sound, M2 (y) controls LP cutoff, M3 adds Delay FX.

Vivid Arp Scape Split
Electronic texture made with various synths processed with patches from DNA for Molekular. All 3 oscillators use the same long textural sample, osc 1+2 are layered with an offset using the first half of the sound, S3 plays the second half - overlapping split point is G3 (G4 in Iris). The inverted Modwheel controls LP filter cutoff., with MW up the envelope modulation applied to filter cutoff becomes audible. Macros 1+2 (x/y) control amount of Delay/Chorus FX, M3 introduces pan modulation to all oscs.

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Here is video with a patch walkthrough from set 44:
http://www.youtube.com/watch?v=ybLBNvtgUXs

The subscription price has been upped to € 105, the collection now contains 319 patches including 6.79 Gigabytes of samples.

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Another track using several patches from the upcoming set no. 45 - 100% Iris:

http://soundcloud.com/sampleconstruct/a ... bscription

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Here comes the release info for set 45:

Iris Subscription Set 45, uploaded on June 8 - 2014 containing 9 presets (231.8 MB) including:

Ambient Guitar Scape Split
The long sample of a repeated chord arpeggio played on an electric guitar processed with various things is used in all three oscillators.
Osc 1+2 are mapped up to C3 (C4 in Iris) and play the same segment but with inverted frequency selections. The Modwheel is assigned to the volume of Osc 2, turn up the wheel to get the full sonic picture. Osc 3, mapped from C3 (C4 in Iris) upwards, plays the reverb tail of the sample looped back and forth with a slow LFO modulating pan position. Macros 1+2 (x/y) control amount of Delay/Distortion FX, M3 controls LP cutoff, M4 introduces temposynced amplitude modulation to S1+2.

Ebow Being Split
Two samples with processed ebowed electric guitar split across the keyboard. S1 plays from C3 (C4 in Iris) upwards, S2 plays from C3 (C4) downwards. The Modwheel introduces temposynced pitch modulation. Macros 1+2 (x/y) control amount of Delay/Reverb FX, M3 controls LP cutoff, M4 adds Chorus FX, M5 controls various parameters of the chorus.

EBow Harmonic Organism
Two samples with processed ebowed electric guitar layered in S1+2, both oscs are playing in Non-Retrigger mode. The Modwheel adds Chorus+Distortion FX, Macro 2 (y) controls LP cutoff, M1 (x) introduces temposynced filter modulation. Balance tthe 2 oscillators using Macros 3+4, M5+6 add pan modulation, M7 adds Delay FX, M8 adds reverb.

Ebow Lead Scape
The same sample of a processed ebowed electric guitar is used in both oscillators, S1 has a dedicated volume control (Macro 1/x). Both oscs play in Non-Retrigger mode. The Modwheel adds pitch modulation. M2 (y) controls LP cutoff, M3 adds Delay FX, M4 adds aliasing distortion, M5 controls amount of reverb. Glide is activated.

Ebow Mayhem Split
The same sample of a processed ebowed electric guitar reminding of an alien animal is used in both oscillators, each one playing a different segment/spectral selection and split across the keyboard, the split point is located at C3/C#3 (C4/C#4 in Iris). Both oscillators are playing in Non-Retrigger mode. The Modwheel adds fast random pitch modulation to both oscs. Macros 1+2 control amount of Delay/Reverb FX, M3 controls LP cutoff.

Echo Loop Layers 98BPM
The long sample of an electronic rhythmical loop produces with Filterscape VA and various delay processors is used in all 3 oscillators, all oscs are playing in Radius RT mode which preserves the original tempo of the loop (98 BPM), if you want to alter the loop speed, switch to "Resample"-mode. Each osc has a dedicated volume control (Macros 3-4). M1+2 (x/y) control amount of Phaser/Distortion FX, M6 adds pitch modulation, M7 controls reverb amount, M8 controls various reverb parameters. The inverted Modwheel is assigned to LP filter cutoff.

Guitar Monster Split
The same long sample of a processed electric guitar is used i all 3 oscillators, each one playing a different segment/spectral selection and split across the keyboard:
Osc 2 - C-2 - C3 (C-1 - C4 in Iris), Osc 1 - C3 - C5 (C4 - C6), Osc 3 - C5 upwards (C6 upwards). S1+2 are playing in Non-Retrigger mode. The Modwheel adds temposynced amplitude modulation to all oscs. Macro 2 (y) controls LP cutoff, M1 (x) introduces temposynced filter modulation. M3+4 control amount of delay/delay time, M5 controls release time, M6 introduces distortion.

Spectral Harmonics Split
A drone/pad sound with rich harmonics made with Spectral and HALion 5, two samples at different pitches were produced (C1/C4), the oscillators in Iris overlap between C2 – C3 (C3/C4 in Iris). The Modwheel introduces temposynced amplitude modulation. Macro 1 adds Chorus FX, M2 (y) controls LP cutoff. M3 adds Delay FX, M4 controls release time, M5 controls reverb amount.

TamTam Scrapes
The sample of a Tamtam (gong) scraped with a drumstick is used in both oscillators, S2 playing the inverted frequency selection of S1 and tuned down an octave, both oscs are running in Non-Retrigger mode. The volume of S2 is assigned to Macro 3. The Modwheel adds noise-shaped pitch modulation. M1+2 (x/y) control amount/speed of Chorus FX, M4 adds delay, M5 controls delay time (tweak the knob for interesting pitch modulation effects), M6 adds reverb.

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We now have 328 patches including 7.03 Gigabytes of samples in the iris subscription. I'll be sending out the links to all subscribers in a minute.

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Here comes a demo for a new Iris patch from the upcoming subscription set 46, derived from a field recording I made in a Moscow church during an easter mass:

http://soundcloud.com/sampleconstruct/e ... bscription

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Here is another demo track combining six patches from the upcoming set, which uses my new Psaltery as the main instrument for source samples.

http://soundcloud.com/sampleconstruct/l ... bscription

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Here comes the release info for set 46:

Iris Subscription Set 46 uploaded on June 29 - 2014 containing 8 presets (219.3 MB) including:

Bowed Psaltery Melancholy Split
S1 in the high register plays a long bowed psaltery soundscape repeating the same motif with variations, granulated and reverbrated. S2 in the low register plays a sample with layered and processed trombone swells borrowed from my HALion 5-library Sonic Cinema. S3 (also high register) only plays the reverb tail of the sample used in S1. S1+2 play in Non-Retrigger mode, split point is B2/C3 (B3/C4 in Iris). Control the volume of S3 using Macro 3. M2 (y) controls LP filter cutoff, M1 (x) adds Delay FX. M4 controls amount of Chorus FX, M5 controls chorus depth. The Modhweel introduces noise-shaped pitch modulation to the psaltery scape and temposynced ramp-up-shaped modulation to the brass sounds.

Easter Mass Split
I recorded the long field recording used in this patch during an easter mass in a Moscow church, packed with hundreds of people, priests and choir singers. The sample is split up into 3 segments with different spectral selections playing in the 3 oscillators. S1 mapped up to C2 (C3 in Iris). S2 mapped from C2 (C3) - B3 (B4), S3 mapped from C4 (C5) upwards. S2+3 play in Non-Retrigger mode.The Modwheel adds distortion. M1 (x) controls amount of Delay FX, M2 (y) controls LP cutoff. M3 adds pitch modulation to all oscs, M4 controls modulation speed.

Plucked Psaltery Split
A multisampled psaltery patch, using 3 plectrum-plucked notes split across the keyboard with some spectral action during the looped decay phase. Split points are F3/F#3 (F4/F#4) and overlapping at C5 (C6). The Modwheel adds a tad of pitch modulation, introduce distortion with Macro 3, control LP cutoff with M4. Smoothen the attack with M5. M1+2 (x/y) control amount of Delay/Chorus FX, M6 controls reverb amount.

Psaltery Dots
The soundscape used in this patch was created by sending one of my Spectral patches from Spectral Excursions into a convolution reverb, using a psaltery octave-texture as the impulse response. Both oscillators use the same sample, the spectral selection in S1 - playing in Non-Retrigger mode - is extremely dotted (took about 2 hours to paint - LOL), S2 uses only the reverb tail. Both oscs have dedicated volume controls (Macros 3+4), S2 can be tuned down an octave using M5. M1 (x) adds square-shaped pitch modulation to S1 (+/- 1 octave with M1 fully engaged), M2 (y) controls modulation speed. Macros 6-8 conrol amount of Chorus/Delay/Reverb FX.

Psaltery Dream Scape Split
The sample of a sequence with processed psaltery intervals is playing in S1+3, mapped from C2 (C3 in Iris) upwards, S3 using only the reverb tail. S2 mapped up to C2 (C3) uses a soundscape made by sending one of my Spectral patches from Spectral Excursions into a convolution reverb, using a psaltery texture as the impulse response. The Modwheel introduces square-shaped, temposynced (triplet-based) pitch modulation to S1+2, +/- 1 octave with the wheel fully engaged. S2+3 play in Non-Retrigger mode. M1+2 (x/y) control amount of temposynced filter modulation (also triplet based) and LP filter cutoff. M3 controls the volume of S3, M4 controls amount of Delay FX.

Psaltery Drone And Riser Split
A long processed bowed psaltery drone is playing in S1, S2 uses a processed psaltery arpeggio, overlapping split point is C3 (C4 in Iris). S1 plays in Non-Retrigger mode. The Modwheel introduces temposynced amplitude modulation to both oscillators. M1 (x) adds Phaser FX, M2 (y) controls LP filter cutoff. With M2 turned downwards, the slowly rising filter envelope becomes audible. M3 controls amount of Delay FX, M4 controls delay time/feedback.

Psaltery Scale Scape
A rising plucked psaltery scale processed with various things is playing in both oscillators, S2 looping backwards/forwards for reverse effects. The Modwheel adds random pitch modulation to both oscs, control modulation speed with Macro 3. The FX section is runnin in Send-mode, M1 controls delay send for both oscs, M2 (y) controls delay time/feedback. M4 controls LP filter cutoff, when dialed to the left it also reduces the reverb send amount, as Iris' FX sends are routed pre-filter, so if you want a dull/filtered sounds, also turn down the delay send. M5 adds chorus to S1, M6 controls the sustain level of S2.

Psaltery Tremolo Duet Split
Two psaltery textures with tremoli/repetitions are used in this patch. S1 plays a bowed tremolo, mapped up to B2 (B3 in iris), S2 uses a texture played with Glockenspiel mallets on one note. Both sampes play in Non-Retriger mode. The inverted Modwheel controls LP filter cutoff. Macros 1+2 (x/y) control amount of Delay/Chorus FX. M3 introduces pan modulation to both oscillators, control modulation speed with M4. M5 adds distortion, M6 controls the amount of reverb.

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The subscription price was upped to € 110 EUR (paypal), the subscription now contains 336 patches making use of 7.25 Gigabytes of samples.

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Here comes a fresh demo combining several Iris patches from the upcoming subscription set no. 47 - some volume automation, 100% Iris:

http://soundcloud.com/sampleconstruct/e ... -iris-demo

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