A freshly converted/expanded Iris 2 sound from the patchpool subscription - Peace Patch:
https://www.youtube.com/watch?v=5rTp2MNAXms
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
- Topic Starter
- 16141 posts since 12 Oct, 2008 from Here and there
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- KVRAF
- 2212 posts since 28 Jul, 2003
Great stuff, mate.Sampleconstruct wrote:A freshly converted/expanded Iris 2 sound from the patchpool subscription - Peace Patch:
https://www.youtube.com/watch?v=5rTp2MNAXms
My main tools: Kontakt, Omnisphere, Samplemodeling + Audio Modeling. Akai VIP = godsend. Tari's libraries also rock.
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16141 posts since 12 Oct, 2008 from Here and there
Cheers, Ben - soon to be distributed!Ben H wrote:Great stuff, mate.Sampleconstruct wrote:A freshly converted/expanded Iris 2 sound from the patchpool subscription - Peace Patch:
https://www.youtube.com/watch?v=5rTp2MNAXms
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16141 posts since 12 Oct, 2008 from Here and there
I just distributed another 10 converted Iris 2-patches. There are now 234 Iris 2-presets in the subscription library including 5+ GB of samples (and 619 Iris 1-patches including 14+ GB of samples).
The full subscription ist still discounted at 15% in my Black Friday Sale until tonight.
The full subscription ist still discounted at 15% in my Black Friday Sale until tonight.
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16141 posts since 12 Oct, 2008 from Here and there
Here comes a first demo for the next subscription set no. 75 ->
Improvising with a single Iris patch which uses processed field recordings from ship horns I recorded in Shanghai some years ago.
https://soundcloud.com/sampleconstruct/ ... bscription
Improvising with a single Iris patch which uses processed field recordings from ship horns I recorded in Shanghai some years ago.
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
- 16141 posts since 12 Oct, 2008 from Here and there
Two fresh Iris patches from the upcoming subscription set no. 75 in an ambient new-agey cinematic demo sort of thing, some Macro automation in both patches 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
- 16141 posts since 12 Oct, 2008 from Here and there
Three fresh Iris patches from the upcoming set no. 75 in ambient cinematic action, some Macro and volume 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
- 16141 posts since 12 Oct, 2008 from Here and there
Here comes the release info for set 75:
Iris Subscription Set 75 uploaded on December 14 - 2016 containing 11 Iris 1 presets (293 MB) and 9 Iris 2 presets (255 MB) including:
Comb Laboratory Split
Overlapping split point: C3 (C4 in Iris) - all three oscillators use the same long dronescape, S1 playing from C3 (C4) downwards and S2 (non-retrigger mode) S3 (reverse/forward mode, use Macro 3 for volume control)) layered from C3 – C7 (C4 – C8) upwards. MW introduces tempo-synced amplitude modulation, Macro 2 activates the HP filter envelope, M1/4/5 control amount of chorus/delay/distortion FX, M6 controls release time.
In the Iris 2-version, the filter envelope was substituted by a slow LFO (LFO4), dial it in via Macro 2, Macro 7 adds tempo-synced, re-triggering pan modulation (per voice).
Combed Angel Split
Overlapping split point: C3 (C4 in Iris) - S1/2 both use the same vocal soundscape split across the keyboard, the upper half being more of a lead sound, the lower scape layered with a dark drone in S3, the latter having a dedicated volume control (Macro 3), all samples play in non-retrigger mode. MW introduces tempo-synced amplitude modulation, Macro 2 (y) controls LP cutoff/distortion, M1 introduces slow filter modulation. M4/5 control amount of delay/phaser FX. Glide is activated.
In the Iris 2-version, the LFO assigned to filter cutoff runs slower (2 bars) and is polyphonic, Macro 6 adds adds tempo-synced, re-triggering pan modulation (per voice).
Convoluted City
A female vocal phrase sent though a multi-band convolution with 3 urban field recordings in 3 bands. All three oscillators use the same long dronescape and all samples play in non-retrigger mode. S1/2 use inverted frequency selections, each oscillator has a slow LFO assigned to it’s amplitude (via Macro 3), the LFOs run at slightly different speeds for ever changing timbral evolution. S3 plays reverse/forward and has a dedicated volume control (Macro 4). dial in tempo-synced amplitude modulation in S3 via M5. M1/2 (x/y) control amount of delay/chorus FX, MW decreases LP filter cutoff and adds distortion.
In the Iris 2-version, Macro 6 introduces slow, noise-shaped pitch modulation and the phase for LFo2 modulating the volume of oscillators 2 is different from LFO1.
Elevation Split
Split point C3 (C4 in Iris) - S1/2 (the latter in non-retrigger mode) use the same long ethereal soundscape mapped up to C7 (C8), Macros 3/4 are dedicated volume controls for each oscillator. S3 (non-retrigger mode) uses a dark wave-shaped drone sample playing down to C-1 (C0). MW ads tempo-synced pan modulation in S1/2 and tempo-synced amplitude modulation in S3, Macro 2 (y) controls LP cutoff. Please check the Macro page for FX controls.
In the Iris 2-version, Macros 7/8 control attack/release time.
Finalesque Split
Overlapping split point: C3 (C4 in Iris) - a bright soundscape with major tonality playing in S1 (non-retrigger mode), a fast synth arpeggiator also with a major tonality layered in S2 (Radius RT-mode) and S3. MW adds pitch modulation in S1/2, Macro 1 adds pan modulation in S2. Tune S1 up an octave with M2 (y), M3/4 are dedicated volume controls for S2/3. The FX section is running in Send-mode so the send levels are fixed for each oscillator.
In the Iris 2-version, the FX section runs in normal Master-mode so Macros 5/6 control amount of delay/reverb FX, Macros 7/8 control attack/release time, aftertouch decreases LP filter cutoff.
Harp Artifacts 01 Split
All three oscillators use the same long sample of a harp I recorded in a backstage rehearsal room some years ago - time-stretched and spectrally re-synthesized. Overlapping split point: C3 (C4 in Iris) - S1 (Radius RT-mode) and S2 are layered in the lower half (use Macro 3 for tuning it up an octave), S3 (use Macro 4 for tuning it up 2 octaves) plays from C3 – C8 (C4 – C9), MW adds tempo-synced/square-shaped pitch modulation, +/- 1 octave with the wheel fully engaged. Please check the Macro page for filter and FX controls.
Harp Artifacts 02
A harp I recorded in a backstage rehearsal room some years ago - time-stretched and spectrally re-synthesized. All three oscillators use the same long sample, S3 had a dedicated volume control (Macro 3), tune S3 up an octave with M4. MW adds tempo-synced/square-shaped pitch modulation, +/- 1 octave with the wheel fully engaged. Please check the Macro page for filter and FX controls.
In the Iris 2-version, Macro 8 adds adds tempo-synced, re-triggering pan modulation (per voice). With Macro 2 dialed towards the left, slow filter modulation is introduced.
Inside The Whale Split
Overlapping split point: C3 (C4 in Iris) - epic dronescape, all three oscillators use the same long sample, S1/2 (non-retrigger mode) are layered, each one having a dedicated volume control (Macros 3/4) - mapped down to C-1 (C0), S3 plays the end of the sample (more of a lead sound) and is mapped up to C7 (C8), Glide is activated. MW adds tempo-synced amplitude modulation in S1/2 and tempo-synced, square-shaped pitch modulation in S3. Macro 2 (y) controls LP cutoff, M1 (x) adds tempo-synced filter modulation. Please check the Macro page for FX controls.
Shanghai Shiphorns Split
Overlapping split point: C3 (C4 in Iris) - processed ship-horns and background city noises (while raining) I recorded in Shanghai some years ago. S1/3 play the actual ship horns (S3 using a very narrow and mysterious frequency selection) and are layered up to C3, each sound having it’s dedicated volume control (Macros 3/4), S2 (non-retrigger mode) plays a more processed version and is mapped up to C8 (C9). MW adds pitch modulation (different types), Macro 2 (y) controls LP cutoff, M1 (x) adds tempo-synced, random filter modulation. Please check the Macro page for FX controls.
In the Iris 2-version the Macro dialing in the distortion (M8) can not lower the master volume (by design) so be a bit careful with this control.
The Tail
Both oscillators use the same long tonal soundscape, S1 (Radius RT-mode) having a very dotted frequency selection, S2 running in non-retrigger mode. Each oscillator has it’s dedicated volume control (Macros 3/4), MW adds noise-shaped pitch modulation. Macro 2 (y) controls HP filter cutoff. Please check the Macro page for FX controls.
In the Iris 2-version, aftertouch introduces pan modulation via LFO3, LFO speed modulated by noise-shaped LFO4.
Tokyo Crow Trio
Crows I recorded in Tokyo some years ago, S1/2 play unprocessed samples - S2 has a fixed pitch, it’s pitch is randomized with each attack via a very slow, re-triggering LFO when Macro 3 is engaged, S3 (running in Radius RT-mode) uses a time-stretched/spectrally re-synthesized version with octaves and has a dedicated volume control (Macro 4). M5 controls delay mix, M6 controls various delay parameters, dialed hard left, delay times are very short with a high feedback. Please check the Macro page for filter and more FX controls.
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The subscription library now contains 630 Iris 1-patches (with 14.5+ GB of samples) and 243 Iris 2-patches (with 5.5+ GB of samples) are currently available. The journey continues...
Iris Subscription Set 75 uploaded on December 14 - 2016 containing 11 Iris 1 presets (293 MB) and 9 Iris 2 presets (255 MB) including:
Comb Laboratory Split
Overlapping split point: C3 (C4 in Iris) - all three oscillators use the same long dronescape, S1 playing from C3 (C4) downwards and S2 (non-retrigger mode) S3 (reverse/forward mode, use Macro 3 for volume control)) layered from C3 – C7 (C4 – C8) upwards. MW introduces tempo-synced amplitude modulation, Macro 2 activates the HP filter envelope, M1/4/5 control amount of chorus/delay/distortion FX, M6 controls release time.
In the Iris 2-version, the filter envelope was substituted by a slow LFO (LFO4), dial it in via Macro 2, Macro 7 adds tempo-synced, re-triggering pan modulation (per voice).
Combed Angel Split
Overlapping split point: C3 (C4 in Iris) - S1/2 both use the same vocal soundscape split across the keyboard, the upper half being more of a lead sound, the lower scape layered with a dark drone in S3, the latter having a dedicated volume control (Macro 3), all samples play in non-retrigger mode. MW introduces tempo-synced amplitude modulation, Macro 2 (y) controls LP cutoff/distortion, M1 introduces slow filter modulation. M4/5 control amount of delay/phaser FX. Glide is activated.
In the Iris 2-version, the LFO assigned to filter cutoff runs slower (2 bars) and is polyphonic, Macro 6 adds adds tempo-synced, re-triggering pan modulation (per voice).
Convoluted City
A female vocal phrase sent though a multi-band convolution with 3 urban field recordings in 3 bands. All three oscillators use the same long dronescape and all samples play in non-retrigger mode. S1/2 use inverted frequency selections, each oscillator has a slow LFO assigned to it’s amplitude (via Macro 3), the LFOs run at slightly different speeds for ever changing timbral evolution. S3 plays reverse/forward and has a dedicated volume control (Macro 4). dial in tempo-synced amplitude modulation in S3 via M5. M1/2 (x/y) control amount of delay/chorus FX, MW decreases LP filter cutoff and adds distortion.
In the Iris 2-version, Macro 6 introduces slow, noise-shaped pitch modulation and the phase for LFo2 modulating the volume of oscillators 2 is different from LFO1.
Elevation Split
Split point C3 (C4 in Iris) - S1/2 (the latter in non-retrigger mode) use the same long ethereal soundscape mapped up to C7 (C8), Macros 3/4 are dedicated volume controls for each oscillator. S3 (non-retrigger mode) uses a dark wave-shaped drone sample playing down to C-1 (C0). MW ads tempo-synced pan modulation in S1/2 and tempo-synced amplitude modulation in S3, Macro 2 (y) controls LP cutoff. Please check the Macro page for FX controls.
In the Iris 2-version, Macros 7/8 control attack/release time.
Finalesque Split
Overlapping split point: C3 (C4 in Iris) - a bright soundscape with major tonality playing in S1 (non-retrigger mode), a fast synth arpeggiator also with a major tonality layered in S2 (Radius RT-mode) and S3. MW adds pitch modulation in S1/2, Macro 1 adds pan modulation in S2. Tune S1 up an octave with M2 (y), M3/4 are dedicated volume controls for S2/3. The FX section is running in Send-mode so the send levels are fixed for each oscillator.
In the Iris 2-version, the FX section runs in normal Master-mode so Macros 5/6 control amount of delay/reverb FX, Macros 7/8 control attack/release time, aftertouch decreases LP filter cutoff.
Harp Artifacts 01 Split
All three oscillators use the same long sample of a harp I recorded in a backstage rehearsal room some years ago - time-stretched and spectrally re-synthesized. Overlapping split point: C3 (C4 in Iris) - S1 (Radius RT-mode) and S2 are layered in the lower half (use Macro 3 for tuning it up an octave), S3 (use Macro 4 for tuning it up 2 octaves) plays from C3 – C8 (C4 – C9), MW adds tempo-synced/square-shaped pitch modulation, +/- 1 octave with the wheel fully engaged. Please check the Macro page for filter and FX controls.
Harp Artifacts 02
A harp I recorded in a backstage rehearsal room some years ago - time-stretched and spectrally re-synthesized. All three oscillators use the same long sample, S3 had a dedicated volume control (Macro 3), tune S3 up an octave with M4. MW adds tempo-synced/square-shaped pitch modulation, +/- 1 octave with the wheel fully engaged. Please check the Macro page for filter and FX controls.
In the Iris 2-version, Macro 8 adds adds tempo-synced, re-triggering pan modulation (per voice). With Macro 2 dialed towards the left, slow filter modulation is introduced.
Inside The Whale Split
Overlapping split point: C3 (C4 in Iris) - epic dronescape, all three oscillators use the same long sample, S1/2 (non-retrigger mode) are layered, each one having a dedicated volume control (Macros 3/4) - mapped down to C-1 (C0), S3 plays the end of the sample (more of a lead sound) and is mapped up to C7 (C8), Glide is activated. MW adds tempo-synced amplitude modulation in S1/2 and tempo-synced, square-shaped pitch modulation in S3. Macro 2 (y) controls LP cutoff, M1 (x) adds tempo-synced filter modulation. Please check the Macro page for FX controls.
Shanghai Shiphorns Split
Overlapping split point: C3 (C4 in Iris) - processed ship-horns and background city noises (while raining) I recorded in Shanghai some years ago. S1/3 play the actual ship horns (S3 using a very narrow and mysterious frequency selection) and are layered up to C3, each sound having it’s dedicated volume control (Macros 3/4), S2 (non-retrigger mode) plays a more processed version and is mapped up to C8 (C9). MW adds pitch modulation (different types), Macro 2 (y) controls LP cutoff, M1 (x) adds tempo-synced, random filter modulation. Please check the Macro page for FX controls.
In the Iris 2-version the Macro dialing in the distortion (M8) can not lower the master volume (by design) so be a bit careful with this control.
The Tail
Both oscillators use the same long tonal soundscape, S1 (Radius RT-mode) having a very dotted frequency selection, S2 running in non-retrigger mode. Each oscillator has it’s dedicated volume control (Macros 3/4), MW adds noise-shaped pitch modulation. Macro 2 (y) controls HP filter cutoff. Please check the Macro page for FX controls.
In the Iris 2-version, aftertouch introduces pan modulation via LFO3, LFO speed modulated by noise-shaped LFO4.
Tokyo Crow Trio
Crows I recorded in Tokyo some years ago, S1/2 play unprocessed samples - S2 has a fixed pitch, it’s pitch is randomized with each attack via a very slow, re-triggering LFO when Macro 3 is engaged, S3 (running in Radius RT-mode) uses a time-stretched/spectrally re-synthesized version with octaves and has a dedicated volume control (Macro 4). M5 controls delay mix, M6 controls various delay parameters, dialed hard left, delay times are very short with a high feedback. Please check the Macro page for filter and more FX controls.
----
The subscription library now contains 630 Iris 1-patches (with 14.5+ GB of samples) and 243 Iris 2-patches (with 5.5+ GB of samples) are currently available. The journey continues...
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16141 posts since 12 Oct, 2008 from Here and there
Improvising live on video with an Iris2 patch (Combed Angel Split) from subscription set no. 75 - cinematic ambient stuff.
https://www.youtube.com/watch?v=9C6CaAwfF9U
https://www.youtube.com/watch?v=9C6CaAwfF9U
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16141 posts since 12 Oct, 2008 from Here and there
Three patches from the upcoming subscription set no. 76 in a cinematic ambient sort of demo track. 100% Iris + a limiter on the master output.
https://soundcloud.com/sampleconstruct/ ... l-organism
https://soundcloud.com/sampleconstruct/ ... l-organism
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16141 posts since 12 Oct, 2008 from Here and there
Here comes another demo with four instances of Iris using 4 presets from set no. 76 - in a slightly dramatic soundscape including audio-morphed frogs, spectralized trains, HAPI tremolos and whatnot.
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
- 16141 posts since 12 Oct, 2008 from Here and there
Release info for set 76:
Iris Subscription Set 76 uploaded on January 17 - 2017 containing 9 presets for Iris 1&2 (317.3 MB) including:
Amphibian Morph Split
Two samples with field recordings of frogs, I recorded some summers ago audio-morphed with electronic textures, in the lower half S1 (non-retrigger mode) and S2 (running in Radius RT-mode, use Macros 3/4 for volume control/pan modulation) layer a drone sample, in the upper half there is a chord sample, overlapping split point: C3 (C4 in Iris). MW decreases LP filter cutoff and adds some distortion, Macro 1 adds tempo-synced amplitude modulation to S1, M2 tunes S2 up an octave. M5 adds tempo-synced amplitude modulation to S3, M6-8 control chorus/delay FX.
Galaxy GN-z11 Split
Cosmic soundscape in the upper half, layered in S1/2 (non-retrigger mode), S2 has a dedicated volume control (Macro 3), a rich wavetable drone in the lower half (non-retrigger mode), split point: C3 (C4 in Iris). Macro 2 shifts HP filter cutoff, M1 adds noise-shaped filter modulation, MW adds tempo-synced amplitude/pan modulation. Please check the Macro page for FX controls.
Garlando
Ethereal chord texture, all three oscillators use the same long sample, S2 having a very dotted spectral selection (use Macro 3/4 for volume control/pan modulation), S3 running in non-retrigger mode. MW adds tempo-synced amplitude modulation in S1/3, Macro 2 decreases LP filter cutoff, M2 adds phaser FX, use Macros 5/6 for delay/reverb mix.
In the Iris 2-version, Macros 7/8 control attack/release time (as the individual oscillator envelopes are disabled).
HAPI FX Scape 01 Split
Two tonal soundscapes with processed HAPI tremolos, S1/2 mapped from C3 – C8 (C4 - C9 in Iris) layer the same sample (S2 playing backwards/forwards), S3 is mapped up to C3 (C4), all samples play in non-retrigger mode. MW adds random pitch modulation, Macro 2 controls LP filter cutoff, please check the Macro page for FX and envelope controls.
In the Iris 2-version, Macro 7 adds pan modulation and M8 controls pan modulation speed (LFO 4).
HAPI FX Scape 02
Tonal soundscapes with a processed HAPI tremolo, S1/2 (alternate looping) have a very dotted spectral selection, S3 (non-retrigger mode) plays the entire frequency range. MW adds noise-shaped pitch modulation, Macro 1 pans S1/2 left/right, M2 controls LP filter cutoff, M3 controls volume of S3, please check the Macro page for FX controls.
In the Iris 2-version, aftertouch adds noise-shaped pitch modulation in S3.
HAPI Tremolo Split
Two HAPI tremolos, S2/3 (the latter in Radius RT-mode) mapped from C0 – C3 (C1 – C4 in Iris) layer the same sample, each oscillators having it’s dedicated volume controls (Macros 3/4), tune S3 up an octave with M6. S1 (non-retrigger mode) is mapped from C3 – C7 (C4 – C8). MW adds noise-shaped pitch modulation, please check the Macro page for FX and filter controls.
Morphing Organism Split
Electronic audio-morphed soundscape, two long samples sampled at different root notes, S1/2 (Radius RT/non-retrigger mode) layer the bass sample, S3 plays the treble, overlapping split zone: C2 – C3 (C3 – C4 in iris). Macro 3 controls volume of S2, M3 adds pan modulation to S2. With Macro 2 (Y) dialed towards the bottom/left, the filter envelope is engaged, M1 (X) increases filter resonance. Macros 5-7 control delay/distortion FX. Glide is activated.
In the Iris 2-version, Macro 8 adds pitch modulation in S2 (via LFO4).
Morse Music X-Split
A long tonal texture with 4 different synths playing octave alternations in four different registers, each oscillators focusses on a different range, root notes are shifted accordingly, the mapping overlaps (check the Map-page), S1/2 play in non-retrigger mode. MW decreases LP filter cutoff and introduces tempo-synced random filter modulation, Macro 2 (Y) adds square-shaped, tempo-synced pitch modulation (triplet-based), +/- 1 octave with the Macro fully engaged, please check the Macro page for FX and envelope controls.
In the Iris 2-version, Macro 7 adds tempo-synced pan modulation.
Spectral Train
Field recording of passing trains, spectrally re-synthesized, the same sample is layered in S1/2, S3 adds a wavetable drone (only the low frequency range), Macro 5 controls volume of S3, tune the drone up an octave with M6. Macro 1 (X) introduces amplitude modulation in S1/2 at different LFO speeds, M2 (Y) increases LFO speed, M3 controls LP filter cutoff, M4 controls amount of delay FX, MW adds chorus FX. All samples play in non-retrigger mode.
----
Also I converted four more of the older patches for Iris 2, so the download folder for Iris2 contains 13 patches altogether.
The subscription library now contains 639 Iris 1-patches (14.82 GB of samples) and 256 Iris 2-patches (5.96 GB of samples).
I'll send out the links to all subscribers in a minute.
Iris Subscription Set 76 uploaded on January 17 - 2017 containing 9 presets for Iris 1&2 (317.3 MB) including:
Amphibian Morph Split
Two samples with field recordings of frogs, I recorded some summers ago audio-morphed with electronic textures, in the lower half S1 (non-retrigger mode) and S2 (running in Radius RT-mode, use Macros 3/4 for volume control/pan modulation) layer a drone sample, in the upper half there is a chord sample, overlapping split point: C3 (C4 in Iris). MW decreases LP filter cutoff and adds some distortion, Macro 1 adds tempo-synced amplitude modulation to S1, M2 tunes S2 up an octave. M5 adds tempo-synced amplitude modulation to S3, M6-8 control chorus/delay FX.
Galaxy GN-z11 Split
Cosmic soundscape in the upper half, layered in S1/2 (non-retrigger mode), S2 has a dedicated volume control (Macro 3), a rich wavetable drone in the lower half (non-retrigger mode), split point: C3 (C4 in Iris). Macro 2 shifts HP filter cutoff, M1 adds noise-shaped filter modulation, MW adds tempo-synced amplitude/pan modulation. Please check the Macro page for FX controls.
Garlando
Ethereal chord texture, all three oscillators use the same long sample, S2 having a very dotted spectral selection (use Macro 3/4 for volume control/pan modulation), S3 running in non-retrigger mode. MW adds tempo-synced amplitude modulation in S1/3, Macro 2 decreases LP filter cutoff, M2 adds phaser FX, use Macros 5/6 for delay/reverb mix.
In the Iris 2-version, Macros 7/8 control attack/release time (as the individual oscillator envelopes are disabled).
HAPI FX Scape 01 Split
Two tonal soundscapes with processed HAPI tremolos, S1/2 mapped from C3 – C8 (C4 - C9 in Iris) layer the same sample (S2 playing backwards/forwards), S3 is mapped up to C3 (C4), all samples play in non-retrigger mode. MW adds random pitch modulation, Macro 2 controls LP filter cutoff, please check the Macro page for FX and envelope controls.
In the Iris 2-version, Macro 7 adds pan modulation and M8 controls pan modulation speed (LFO 4).
HAPI FX Scape 02
Tonal soundscapes with a processed HAPI tremolo, S1/2 (alternate looping) have a very dotted spectral selection, S3 (non-retrigger mode) plays the entire frequency range. MW adds noise-shaped pitch modulation, Macro 1 pans S1/2 left/right, M2 controls LP filter cutoff, M3 controls volume of S3, please check the Macro page for FX controls.
In the Iris 2-version, aftertouch adds noise-shaped pitch modulation in S3.
HAPI Tremolo Split
Two HAPI tremolos, S2/3 (the latter in Radius RT-mode) mapped from C0 – C3 (C1 – C4 in Iris) layer the same sample, each oscillators having it’s dedicated volume controls (Macros 3/4), tune S3 up an octave with M6. S1 (non-retrigger mode) is mapped from C3 – C7 (C4 – C8). MW adds noise-shaped pitch modulation, please check the Macro page for FX and filter controls.
Morphing Organism Split
Electronic audio-morphed soundscape, two long samples sampled at different root notes, S1/2 (Radius RT/non-retrigger mode) layer the bass sample, S3 plays the treble, overlapping split zone: C2 – C3 (C3 – C4 in iris). Macro 3 controls volume of S2, M3 adds pan modulation to S2. With Macro 2 (Y) dialed towards the bottom/left, the filter envelope is engaged, M1 (X) increases filter resonance. Macros 5-7 control delay/distortion FX. Glide is activated.
In the Iris 2-version, Macro 8 adds pitch modulation in S2 (via LFO4).
Morse Music X-Split
A long tonal texture with 4 different synths playing octave alternations in four different registers, each oscillators focusses on a different range, root notes are shifted accordingly, the mapping overlaps (check the Map-page), S1/2 play in non-retrigger mode. MW decreases LP filter cutoff and introduces tempo-synced random filter modulation, Macro 2 (Y) adds square-shaped, tempo-synced pitch modulation (triplet-based), +/- 1 octave with the Macro fully engaged, please check the Macro page for FX and envelope controls.
In the Iris 2-version, Macro 7 adds tempo-synced pan modulation.
Spectral Train
Field recording of passing trains, spectrally re-synthesized, the same sample is layered in S1/2, S3 adds a wavetable drone (only the low frequency range), Macro 5 controls volume of S3, tune the drone up an octave with M6. Macro 1 (X) introduces amplitude modulation in S1/2 at different LFO speeds, M2 (Y) increases LFO speed, M3 controls LP filter cutoff, M4 controls amount of delay FX, MW adds chorus FX. All samples play in non-retrigger mode.
----
Also I converted four more of the older patches for Iris 2, so the download folder for Iris2 contains 13 patches altogether.
The subscription library now contains 639 Iris 1-patches (14.82 GB of samples) and 256 Iris 2-patches (5.96 GB of samples).
I'll send out the links to all subscribers in a minute.
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16141 posts since 12 Oct, 2008 from Here and there
Improvised demo track featuring two patches from the upcoming subscriptions et no. 77, some Macro/modwheel 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
- 16141 posts since 12 Oct, 2008 from Here and there
Here comes the release info and another demo fir set 77, featuring three fresh Iris patches:
https://soundcloud.com/sampleconstruct/ ... bscription
Iris subscription set 77 uploaded on February 21 - 2017 containing 9 presets (348.8 MB) for Iris 1/2 including:
Glacier Peak Split
Layered in the upper half in S1/2 (non-retrigger mode) is a long building major chord made from/with the sound of a spectralized/wave-tabled concert tom loop further processed with various FX plug-ins, S2 plays backward/forward, tempo-synced pan modulation can be applied to S2 using Macro 3. In the lower half (S3) there is a fat, brassy FM drone playing in non-retrigger mode - split point: C3 (C4 in Iris). Macro 2 (Y) controls LP filter cutoff, M1 (X) adds noise-shaped filter modulation, control modulation speed with M4, please check the Macro page for FX controls.
Glocken Cosmos Split
Layered in the upper half in S1/2 (non-retrigger mode) is a long tonal soundscape made from/with a spectralized/wave-tabled glockenspiel phrase (use Macros 3/4 for individual volume control, M5 tunes S2 up an octave), in the lower register a processed tubular chime drone borrowed from my sound library Aureus Ventus is playing in S3 in Radius-RT mode, overlapping split point: C3 (C4 in Iris). MW introduces noise-shaped pitch modulation, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced filter modulation and increases resonance. M6/7 control delay/chorus FX mix.
In the Iris 2-version, Macro 8 adds tempo-synced pan modulation.
Layers Of Brass
Layered in the lower half in S1/2 (running in non-retrigger mode) is a rich brass drone made from /with spectralized/wave-tabled euphonium swells, Macro 3 adds slow amplitude modulation (different LFO speed in each oscillator), control modulation speed with M4. In the upper register there is a building brass chord made from/with a spectralized/wave-tabled euphonium flutter tongue articulation, playing in Radius-RT mode - overlapping split point: C3 (C4 in Iris). Macro 2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced filter modulation, MW adds chorus FX, please check the Macro page for FX and envelope controls.
Miracle Mine Split
Rising chordal soundscape made from/with a spectralized/wave-tabled psaltery glissando, the same long sample is used in all three layered oscillators, each one highlighting a different segment/frequency aspect, all running in non-retrigger mode. Macro 3 adds tempo-synced amplitude modulation in S1, M4 adds tempo-synced, square-shaped pitch modulation in S3, +/- 1 octave when fully engaged, M1/2 (X/Y) control delay/chorus mix, MW decreases LP filter cutoff, increases resonance and adds a tad of saturation.
In the Iris 2-version, Macro 5 controls release time (envelope 5 assigned to master volume, controlling all oscillators), M6 adds tempo-synced amplitude modulation in S3.
Salomon Pad
Pad sound, multi-sampled at three octaves (C1/C3/C5 – C2/C4/C6 in Iris) made from spectralized/wave-tabled female speech, running in non-retrigger mode. MW introduces tempo-synced amplitude/filter modulation, please check the Macro page for FX and envelope controls.
In the Iris 2 version, the filter modulation introduced by the modulation wheel might mnot always work, as the S&H LFO remains erratically broken. M7 adds tempo-synced pan modultaion via LFO2 (it’s shape modulated by LFO3).
Space Flower
Chordal soundscape in major produced by audio-morphing a spectralized cello trill with a big drone sound from my sound library Takeover for Avenger, all three oscillators use the same long sample and run in non-retrigger mode, the frequency selection in S1/2 is inverted, amplitude modulation with different LFO speeds can be applied via Macro 3, M4 controls modulation speed, MW detunes 1/2 in opposite directions (fine-tuning). M6 controls volume of S3, M5 adds slow pan modulation to S3. Macro 2 (Y) increases HP filter cutoff/resonance and adds a mixture of chorus/distortion FX. M7 controls delay FX mix, M8 increases delay times and reduces feedback.
Spectral Morning
In the lower half of the keyboard, layered in S1/3 there is a sample of a building/rising major chord using a spectralized/wave-tabled cello drone - use Macro 3 for controlling the volume of S3 , in the upper half there is another rising/building chord in major +7 - overlapping split point: C3 (C4 in Iris), S2/3 are running in non-retrigger mode. MW decreases LP cutoff, increases filter resonance and adds tube distortion. M1/2 (X/Y) adds phaser/delay FX, M4 adds tempo-synced amplitude modulation (ramp up, different LFO speed in each oscillator).
In the Iris 2-version, Macro 5 adds pan modulation, M6 controls pan modulation speed (via LFO4)
Speech Pad
Spectrally re-synthesized/wave-tabled female speech, two pitches were sampled (C1/G3 - C2/G4 in Iris), overlapping split between C2 – C3 (C3 – C4), the upper sample is layered with it’s own tail playing reverse/forward. MW introduces tempo-synced amplitude modulation (different LFO speed in each oscillator), Macro 1 (X) adds distortion, M2 controls LP cutoff/resonance, M3 controls volume of S3, M4-6 control delay/chorus mix and chorus rate/depth.
In the Iris 2 version, M7 adds pan modulation to S3 (via LFO4).
Swimming Lead Split
A long tonal soundscape made by improvising with one of my pluck sounds from my sound library Takeover for Avenger straight into various FX modules (Adaptiverb and friends). Layered in the upper half in S1/2 (running in non-retrigger mode) are a lead sound using only the various octaves and the full frequency range in S2 (use Macro 3 for volume control). In the lower register (B1 downwards - B2 in Iris) there is a drone sound also using octaves from the lower frequency spectrum of the sample. Macro 2 controls HP filter cutoff, M1 introduces tempo-synced filter modulation and increases resonance. MW adds a tad of vibrato (different pitch modulation types in each oscillator), please check the Macro page for FX controls.
In the Iris 2 version, M8 adds tempo-synced pan modulation (via LFO4).
The subscription library now contains 648 Iris 1-patches (15+ GB of samples) and 265 Iris 2-patches (6+ GB of samples).
https://soundcloud.com/sampleconstruct/ ... bscription
Iris subscription set 77 uploaded on February 21 - 2017 containing 9 presets (348.8 MB) for Iris 1/2 including:
Glacier Peak Split
Layered in the upper half in S1/2 (non-retrigger mode) is a long building major chord made from/with the sound of a spectralized/wave-tabled concert tom loop further processed with various FX plug-ins, S2 plays backward/forward, tempo-synced pan modulation can be applied to S2 using Macro 3. In the lower half (S3) there is a fat, brassy FM drone playing in non-retrigger mode - split point: C3 (C4 in Iris). Macro 2 (Y) controls LP filter cutoff, M1 (X) adds noise-shaped filter modulation, control modulation speed with M4, please check the Macro page for FX controls.
Glocken Cosmos Split
Layered in the upper half in S1/2 (non-retrigger mode) is a long tonal soundscape made from/with a spectralized/wave-tabled glockenspiel phrase (use Macros 3/4 for individual volume control, M5 tunes S2 up an octave), in the lower register a processed tubular chime drone borrowed from my sound library Aureus Ventus is playing in S3 in Radius-RT mode, overlapping split point: C3 (C4 in Iris). MW introduces noise-shaped pitch modulation, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced filter modulation and increases resonance. M6/7 control delay/chorus FX mix.
In the Iris 2-version, Macro 8 adds tempo-synced pan modulation.
Layers Of Brass
Layered in the lower half in S1/2 (running in non-retrigger mode) is a rich brass drone made from /with spectralized/wave-tabled euphonium swells, Macro 3 adds slow amplitude modulation (different LFO speed in each oscillator), control modulation speed with M4. In the upper register there is a building brass chord made from/with a spectralized/wave-tabled euphonium flutter tongue articulation, playing in Radius-RT mode - overlapping split point: C3 (C4 in Iris). Macro 2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced filter modulation, MW adds chorus FX, please check the Macro page for FX and envelope controls.
Miracle Mine Split
Rising chordal soundscape made from/with a spectralized/wave-tabled psaltery glissando, the same long sample is used in all three layered oscillators, each one highlighting a different segment/frequency aspect, all running in non-retrigger mode. Macro 3 adds tempo-synced amplitude modulation in S1, M4 adds tempo-synced, square-shaped pitch modulation in S3, +/- 1 octave when fully engaged, M1/2 (X/Y) control delay/chorus mix, MW decreases LP filter cutoff, increases resonance and adds a tad of saturation.
In the Iris 2-version, Macro 5 controls release time (envelope 5 assigned to master volume, controlling all oscillators), M6 adds tempo-synced amplitude modulation in S3.
Salomon Pad
Pad sound, multi-sampled at three octaves (C1/C3/C5 – C2/C4/C6 in Iris) made from spectralized/wave-tabled female speech, running in non-retrigger mode. MW introduces tempo-synced amplitude/filter modulation, please check the Macro page for FX and envelope controls.
In the Iris 2 version, the filter modulation introduced by the modulation wheel might mnot always work, as the S&H LFO remains erratically broken. M7 adds tempo-synced pan modultaion via LFO2 (it’s shape modulated by LFO3).
Space Flower
Chordal soundscape in major produced by audio-morphing a spectralized cello trill with a big drone sound from my sound library Takeover for Avenger, all three oscillators use the same long sample and run in non-retrigger mode, the frequency selection in S1/2 is inverted, amplitude modulation with different LFO speeds can be applied via Macro 3, M4 controls modulation speed, MW detunes 1/2 in opposite directions (fine-tuning). M6 controls volume of S3, M5 adds slow pan modulation to S3. Macro 2 (Y) increases HP filter cutoff/resonance and adds a mixture of chorus/distortion FX. M7 controls delay FX mix, M8 increases delay times and reduces feedback.
Spectral Morning
In the lower half of the keyboard, layered in S1/3 there is a sample of a building/rising major chord using a spectralized/wave-tabled cello drone - use Macro 3 for controlling the volume of S3 , in the upper half there is another rising/building chord in major +7 - overlapping split point: C3 (C4 in Iris), S2/3 are running in non-retrigger mode. MW decreases LP cutoff, increases filter resonance and adds tube distortion. M1/2 (X/Y) adds phaser/delay FX, M4 adds tempo-synced amplitude modulation (ramp up, different LFO speed in each oscillator).
In the Iris 2-version, Macro 5 adds pan modulation, M6 controls pan modulation speed (via LFO4)
Speech Pad
Spectrally re-synthesized/wave-tabled female speech, two pitches were sampled (C1/G3 - C2/G4 in Iris), overlapping split between C2 – C3 (C3 – C4), the upper sample is layered with it’s own tail playing reverse/forward. MW introduces tempo-synced amplitude modulation (different LFO speed in each oscillator), Macro 1 (X) adds distortion, M2 controls LP cutoff/resonance, M3 controls volume of S3, M4-6 control delay/chorus mix and chorus rate/depth.
In the Iris 2 version, M7 adds pan modulation to S3 (via LFO4).
Swimming Lead Split
A long tonal soundscape made by improvising with one of my pluck sounds from my sound library Takeover for Avenger straight into various FX modules (Adaptiverb and friends). Layered in the upper half in S1/2 (running in non-retrigger mode) are a lead sound using only the various octaves and the full frequency range in S2 (use Macro 3 for volume control). In the lower register (B1 downwards - B2 in Iris) there is a drone sound also using octaves from the lower frequency spectrum of the sample. Macro 2 controls HP filter cutoff, M1 introduces tempo-synced filter modulation and increases resonance. MW adds a tad of vibrato (different pitch modulation types in each oscillator), please check the Macro page for FX controls.
In the Iris 2 version, M8 adds tempo-synced pan modulation (via LFO4).
The subscription library now contains 648 Iris 1-patches (15+ GB of samples) and 265 Iris 2-patches (6+ GB of samples).
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16141 posts since 12 Oct, 2008 from Here and there
Two Iris patches from the upcoming set 78, split soundscape meets lead, some Macro/modwheel automation.
https://soundcloud.com/sampleconstruct/ ... bscription
https://soundcloud.com/sampleconstruct/ ... bscription
