Three Iris patches from the upcoming subscription set 81 in a rather dark and experimental track, some Macro and modulation wheel action in each of the three instances - 100% Iris.
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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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- 16138 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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- 16138 posts since 12 Oct, 2008 from Here and there
Two videos featuring two fresh patches from the upcoming subscription set no. 81 – Follow The Locrian and Bowl Shifter Split, improvised live on video, tweaking the Macros and the modulation wheel on the fly.
https://www.youtube.com/watch?v=y_chyUakaWk
https://www.youtube.com/watch?v=hWWL7tp8JLM
https://www.youtube.com/watch?v=y_chyUakaWk
https://www.youtube.com/watch?v=hWWL7tp8JLM
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
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- 16138 posts since 12 Oct, 2008 from Here and there
Here comes the release info for set 81:
Iris Subscription Set 81 uploaded on August 28th - 2017 containing 11 presets for Iris 1/2 (351.3/368.7 MB)including:
Bowl Shifter Split
Two processed singing bowl samples treated with a frequency shifter and other tools, split across the keyboard, the second sample is layered in S2/3 with S3 running in Radius RT-mode, S1/2 are playing in non-retrigger mode - overlapping split point C3 (C4 in Iris). Tune S3 up an octave with Macro 3, M2 (Y) controls LP cutoff, M1 (X) adds distortion. MW adds tempo-synced pitch modulation, M4/5 control delay mix/time, M6 adds chorus FX, M7 controls release time.
In the Iris 2-version, Macro 8 adds tempo-synced amplitude modulation (LFO 4 assigned to master gain).
Follow The Locrian Split
Tonal soundscape composed from spectrally processed percussive cello accents, pitch-quantized to Locrian mode. All three oscillators use the same long sample, layered in S1/2 in the upper half (non-retrigger mode, Macros 3/4 are dedicated volume controls for each oscillator), S3 loping backward/forward, overlapping split point C3 (C4 in Iris). MW adds tempo-synced, square-shaped pitch modulation in S1/2, +/- 1 octave with the wheel fully engaged. Macros 2 (Y) controls LP cutoff, M1 (X) adds tempo-synced filter modulation (ramp up). M5 tunes S2 up an octave, M6 adds tempo-synced amplitude modulation in S3, M7/8 control delay/phaser mix.
In the Iris 2-version, MW also adds tempo-synced, square-shaped pitch modulation in S3.
Glassgong Stretch Split
Two percussive soundscapes split across the keyboard -> three large vases made from thick glass, played with hands/fingers, recorded open-air, time-stretched and further processed with reverb/delay plug-ins. S1/3 layer the same sample with different starting points and spectral frequency selection (M3/4 are dedicated volume controls for S1/3), S2 (use M5 for tuning) is running in non-retrigger mode, overlapping split point: C3 (C4 in Iris). MW adds tempo-synced HP filter modulation, Macro 6 adds slow, noise-shaped pitch modulation. Please check the Macro page for FX controls.
Monster Squeaks Split
Three monstrous window squeaks split across the keyboard - split points: C2/C4 (C3/C5 in Iris), the samples were made by recording the opening and closing of an old window with the rubber isolation at the bottom of the window grinding on the windowsill, the samples were time-stretched and further processed. MW adds pitch modulation, Macro 2 (Y) controls LP cutoff, M1 (X) adds filter modulation. Control distortion mix/tone with Macros 3/4, add reverb with M5, M6 controls delay mix, M7 controls delay time/feedback/frequency cutoff, with the Macro far left a comb-filter like effect can be achieved.
In the Iris 2-version, Macro 8 adds pan modulation (inverted polarity in S2) and AT increases pan modulation speed.
Other World Vocal Pad
Multi-sampled vocal synthesis texture made with Phonem and various FX processors, three pitches were sampled between C1 – C5, split points: G2/F4 (G3/F5 in Iris), all oscillators play in non-retrigger mode. MW decreases LP cutoff frequency, increases filter resonance and adds tempo-synced, random filter modulation. Macro 1/2 control phaser/delay mix, M3 controls attack time, M4 adds tempo-synced amplitude modulation, M5 switches amplitude- and filter-modulation speed from 1/8 T to 1/8.
In the Iris 2-version, Macro 5 only decreases the sync-speed of the amplitude modulation (LFO1) as modulating speed in the S&H via a Macro is broken. Also AT adds vibrato (LFO 2 assigned to fine-tuning, with modulation speed slightly modulated via LFO 3).
Reso People
S1/2 layer a tonal soundscape made from a field recording of people in a Seoul subway station, extremely denoised and pitch-quantized to a minor scale, then time-stretched with IRCAM Stretch (Falcon) using the Remix-Function, enhancing the transients and noisy components and further processed with granulators and various spatial tools. S3 (Radius RT-mode, use Macro 4 for volume control) uses the original denoised sample, S2 is playing in non-retrigger mode, tune S2 up an octave with M3. Macro 5 adds slow amplitude modulation in S1/2 at different LFO speeds, increase modulation speed with M6. MW adds fast random pitch modulation in S3, please check the Macro page for FX controls.
In the Iris 2-version, VEL decreases attack time, as all oscillators are controlled by the same amplitude envelope assigned to master gain (ENV 5).
Sad Angels
A slowly building minor chord texture made with Phonem and various FX processors, all three oscillators (non-retrigger mode) use the same long sample with S3 playing only the tail of the sample backwards/forwards. MW adds tempo-synced amplitude modulation in S1/2, Macros 3/4 are dedicated volume controls for S1/2, M5 adds pan modulation in S3. M2 (Y) engages peak filter modulation, M1 (X) controls modulation speed, M6-8 control delay)chorus/reverb mix. Glide is activated.
In the Iris 2-version, MW also adds tempo-synced amplitude modulation in S3.
Searching
Re-synthesizing an abstract image in Metasynth using a sampled glass harp texture to play back the re-synthesized data, quantizing the resulting pitches with a custom microtonal tuning, then processing the exported result with various spectral and spatial tools. S1 focusses on the lower frequencies, S2 on the higher range, S3 plays the full frequency range backwards/forward, running in non-retrigger mode - M7 is a dedicated volume control for S3, M8 tunes S3 up an octave. MW adds noise-shaped pitch modulation in S1/2 and fast sine-shaped PM in S3. Macro 2 (Y) controls LP cutoff, M1 (X) adds noise-shaped filter modulation. Please check the Macro page for FX controls.
In the Iris 2-version, a 4th sample was added in S4 (processed Thai gong texture), control volume of S4 with AT, MW adds fast random pitch modulation in S4.
Singing Toilet
Haunting vibrato tone recorded while water was running into a toilet’s cistern and some blocked valve interrupted the water flow. Both oscillators use the same sample, S1 running in non-retrigger mode, S2 in Radius-RT mode, Macro 3 is a dedicated volume control for S2, M4 adds slow pan modulation in S4. MW adds tempo-synced, square-shaped pitch modulation in S1 (+/- 1 octave with the wheel fully engaged). Macro 2 (Y) controls LP filter cutoff, M1 (X) adds distortion. Please check the Macro page for more FX controls.
Space Dock Split
Two dark and futuristic drone textures, the first sample layered in S1/2, mapped up to C3 (C4 in Iris), the second drone playing from C3 (C4) upwards. all oscillators are playing in non-retrigger mode. Macro 3 adds tempo-synced amplitude modulation in S2, M4 controls the volume of S2, MW adds tempo-synced, random pitch modulation in S1/3. Macro 2 (Y) controls HP filter cutoff, M1 (X) adds tempo-synced filter modulation, M5/6 control delay/distortion mix, M7 controls distortion tone.
In the Iris 2-version, Macro 8 adds tempo-synced pan modulation via LFO 4 (inverted polarity in S2).
Sun And Life
In the upper half S1/2 (non-retrigger/Radius-RT mode) layer a tonal soundscape made with Alchemy 2, morphing an e-bowed electric guitar tone with a flute sustain, in the lower half there is a deep synth drone with slow filter movement playing in S3 (non-retrigger mode), overlapping split point: C3 (C4 in Iris). Macros 3/4 are dedicated volume controls for S1/2, MW adds tempo-synced amplitude modulation, M2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced filter modulation and increases filter resonance. M5-8 control delay mix, chorus mix/speed, distortion mix.
The subscription library now contains 690 Iris 1-patches (including 16.25 GB of samples) and 338 Iris 2-patches (with 8.16 GB of samples).
Iris Subscription Set 81 uploaded on August 28th - 2017 containing 11 presets for Iris 1/2 (351.3/368.7 MB)including:
Bowl Shifter Split
Two processed singing bowl samples treated with a frequency shifter and other tools, split across the keyboard, the second sample is layered in S2/3 with S3 running in Radius RT-mode, S1/2 are playing in non-retrigger mode - overlapping split point C3 (C4 in Iris). Tune S3 up an octave with Macro 3, M2 (Y) controls LP cutoff, M1 (X) adds distortion. MW adds tempo-synced pitch modulation, M4/5 control delay mix/time, M6 adds chorus FX, M7 controls release time.
In the Iris 2-version, Macro 8 adds tempo-synced amplitude modulation (LFO 4 assigned to master gain).
Follow The Locrian Split
Tonal soundscape composed from spectrally processed percussive cello accents, pitch-quantized to Locrian mode. All three oscillators use the same long sample, layered in S1/2 in the upper half (non-retrigger mode, Macros 3/4 are dedicated volume controls for each oscillator), S3 loping backward/forward, overlapping split point C3 (C4 in Iris). MW adds tempo-synced, square-shaped pitch modulation in S1/2, +/- 1 octave with the wheel fully engaged. Macros 2 (Y) controls LP cutoff, M1 (X) adds tempo-synced filter modulation (ramp up). M5 tunes S2 up an octave, M6 adds tempo-synced amplitude modulation in S3, M7/8 control delay/phaser mix.
In the Iris 2-version, MW also adds tempo-synced, square-shaped pitch modulation in S3.
Glassgong Stretch Split
Two percussive soundscapes split across the keyboard -> three large vases made from thick glass, played with hands/fingers, recorded open-air, time-stretched and further processed with reverb/delay plug-ins. S1/3 layer the same sample with different starting points and spectral frequency selection (M3/4 are dedicated volume controls for S1/3), S2 (use M5 for tuning) is running in non-retrigger mode, overlapping split point: C3 (C4 in Iris). MW adds tempo-synced HP filter modulation, Macro 6 adds slow, noise-shaped pitch modulation. Please check the Macro page for FX controls.
Monster Squeaks Split
Three monstrous window squeaks split across the keyboard - split points: C2/C4 (C3/C5 in Iris), the samples were made by recording the opening and closing of an old window with the rubber isolation at the bottom of the window grinding on the windowsill, the samples were time-stretched and further processed. MW adds pitch modulation, Macro 2 (Y) controls LP cutoff, M1 (X) adds filter modulation. Control distortion mix/tone with Macros 3/4, add reverb with M5, M6 controls delay mix, M7 controls delay time/feedback/frequency cutoff, with the Macro far left a comb-filter like effect can be achieved.
In the Iris 2-version, Macro 8 adds pan modulation (inverted polarity in S2) and AT increases pan modulation speed.
Other World Vocal Pad
Multi-sampled vocal synthesis texture made with Phonem and various FX processors, three pitches were sampled between C1 – C5, split points: G2/F4 (G3/F5 in Iris), all oscillators play in non-retrigger mode. MW decreases LP cutoff frequency, increases filter resonance and adds tempo-synced, random filter modulation. Macro 1/2 control phaser/delay mix, M3 controls attack time, M4 adds tempo-synced amplitude modulation, M5 switches amplitude- and filter-modulation speed from 1/8 T to 1/8.
In the Iris 2-version, Macro 5 only decreases the sync-speed of the amplitude modulation (LFO1) as modulating speed in the S&H via a Macro is broken. Also AT adds vibrato (LFO 2 assigned to fine-tuning, with modulation speed slightly modulated via LFO 3).
Reso People
S1/2 layer a tonal soundscape made from a field recording of people in a Seoul subway station, extremely denoised and pitch-quantized to a minor scale, then time-stretched with IRCAM Stretch (Falcon) using the Remix-Function, enhancing the transients and noisy components and further processed with granulators and various spatial tools. S3 (Radius RT-mode, use Macro 4 for volume control) uses the original denoised sample, S2 is playing in non-retrigger mode, tune S2 up an octave with M3. Macro 5 adds slow amplitude modulation in S1/2 at different LFO speeds, increase modulation speed with M6. MW adds fast random pitch modulation in S3, please check the Macro page for FX controls.
In the Iris 2-version, VEL decreases attack time, as all oscillators are controlled by the same amplitude envelope assigned to master gain (ENV 5).
Sad Angels
A slowly building minor chord texture made with Phonem and various FX processors, all three oscillators (non-retrigger mode) use the same long sample with S3 playing only the tail of the sample backwards/forwards. MW adds tempo-synced amplitude modulation in S1/2, Macros 3/4 are dedicated volume controls for S1/2, M5 adds pan modulation in S3. M2 (Y) engages peak filter modulation, M1 (X) controls modulation speed, M6-8 control delay)chorus/reverb mix. Glide is activated.
In the Iris 2-version, MW also adds tempo-synced amplitude modulation in S3.
Searching
Re-synthesizing an abstract image in Metasynth using a sampled glass harp texture to play back the re-synthesized data, quantizing the resulting pitches with a custom microtonal tuning, then processing the exported result with various spectral and spatial tools. S1 focusses on the lower frequencies, S2 on the higher range, S3 plays the full frequency range backwards/forward, running in non-retrigger mode - M7 is a dedicated volume control for S3, M8 tunes S3 up an octave. MW adds noise-shaped pitch modulation in S1/2 and fast sine-shaped PM in S3. Macro 2 (Y) controls LP cutoff, M1 (X) adds noise-shaped filter modulation. Please check the Macro page for FX controls.
In the Iris 2-version, a 4th sample was added in S4 (processed Thai gong texture), control volume of S4 with AT, MW adds fast random pitch modulation in S4.
Singing Toilet
Haunting vibrato tone recorded while water was running into a toilet’s cistern and some blocked valve interrupted the water flow. Both oscillators use the same sample, S1 running in non-retrigger mode, S2 in Radius-RT mode, Macro 3 is a dedicated volume control for S2, M4 adds slow pan modulation in S4. MW adds tempo-synced, square-shaped pitch modulation in S1 (+/- 1 octave with the wheel fully engaged). Macro 2 (Y) controls LP filter cutoff, M1 (X) adds distortion. Please check the Macro page for more FX controls.
Space Dock Split
Two dark and futuristic drone textures, the first sample layered in S1/2, mapped up to C3 (C4 in Iris), the second drone playing from C3 (C4) upwards. all oscillators are playing in non-retrigger mode. Macro 3 adds tempo-synced amplitude modulation in S2, M4 controls the volume of S2, MW adds tempo-synced, random pitch modulation in S1/3. Macro 2 (Y) controls HP filter cutoff, M1 (X) adds tempo-synced filter modulation, M5/6 control delay/distortion mix, M7 controls distortion tone.
In the Iris 2-version, Macro 8 adds tempo-synced pan modulation via LFO 4 (inverted polarity in S2).
Sun And Life
In the upper half S1/2 (non-retrigger/Radius-RT mode) layer a tonal soundscape made with Alchemy 2, morphing an e-bowed electric guitar tone with a flute sustain, in the lower half there is a deep synth drone with slow filter movement playing in S3 (non-retrigger mode), overlapping split point: C3 (C4 in Iris). Macros 3/4 are dedicated volume controls for S1/2, MW adds tempo-synced amplitude modulation, M2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced filter modulation and increases filter resonance. M5-8 control delay mix, chorus mix/speed, distortion mix.
The subscription library now contains 690 Iris 1-patches (including 16.25 GB of samples) and 338 Iris 2-patches (with 8.16 GB of samples).
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16138 posts since 12 Oct, 2008 from Here and there
Demo for a single Iris patch from the upcoming subscription set no. 82, some Macro automation.
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
- 16138 posts since 12 Oct, 2008 from Here and there
Demo for a single Iris patch from the upcoming subscription set no. 82, some Macro and modulation wheel action. The samples were derived from a field recording of a train entering Cologne station.
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
- 16138 posts since 12 Oct, 2008 from Here and there
Four Iris patches from the upcoming set no. 82 in an ethereal textural new-age track, some Macro and modulation wheel automation. All involved samples were derived from the recording of a metallic tube instrument (tubes mounted in a wooden frame, played with wooden mallets) tuned to a pentatonic scale.
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
- 16138 posts since 12 Oct, 2008 from Here and there
Improvising with an Iris 2 patch from the upcoming subscription set no. 82, tweaking the Macros and the modulation wheel on the fly. A text description of the patch is embedded at the beginning of the video.
https://www.youtube.com/watch?v=nhdrwNK94ZA
https://www.youtube.com/watch?v=nhdrwNK94ZA
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16138 posts since 12 Oct, 2008 from Here and there
Two more videos for set 82:
Improvising live on video with some of the Pentatube-patches from set no. 82, tweaking the installed Macros and the modulation wheel on the fly.
https://www.youtube.com/watch?v=ubhaTW5JxL8
And a patch named Dragon Drone Split, samples derived from processed field recordings of trains and subway.
https://www.youtube.com/watch?v=53iqNSVN7QM
Improvising live on video with some of the Pentatube-patches from set no. 82, tweaking the installed Macros and the modulation wheel on the fly.
https://www.youtube.com/watch?v=ubhaTW5JxL8
And a patch named Dragon Drone Split, samples derived from processed field recordings of trains and subway.
https://www.youtube.com/watch?v=53iqNSVN7QM
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16138 posts since 12 Oct, 2008 from Here and there
Here comes the release info for set 82:
Iris Subscription Set 82 uploaded on October 10th - 2017 containing 13 presets for Iris 1/2 (235.1/260.3 MB) including:
Chime Tubes
S1-3 use the same sample derived from textures I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets) with S1/2 playing in non-retrigger mode. Macro 3 introduces slow amplitude modulation in S1/2 (with different LFO speeds), M5 adds pitch modulation in S2, M6 is a dedicated volume control for S2. Please check the Macro page for FX controls.
In the Iris 2-version, Macro 7 adds re-triggering pan modulation in S1/3 (per voice), M8 controls pan modulation speed (LFO4).
Dragon Drone Split
Layered in S1/2 and mapped from C0 – C3 (C1 – C4 in Iris) is the sample of a comb-filtered and further processed field recording of a train entering Cologne station, In S3, mapped from C3 – C7 (C4 – C8) is a processed field recording which audio-morphs a departing subway with a synth drone. S1 is playing in non-retrigger mode, Macro 3 is a dedicated volume control for S2. MW adds tempo-synced amplitude modulation, Macro 2 (Y) controls LP cutoff, M1 (X) adds filter modulation, M4 controls filter modulation speed. M5/6 control amount of delay/distortion mix.
In the Iris 2-version, Macro 7 controls attack time (as there is only one amplitude envelope active (5) which controls master gain), M8 adds re-triggering pan modulation (per note played), control pan modulation speed with AT (aftertouch).
Dual Penta Mallets
Two samples derived from sequences I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets). Add detune modulation (slow LFO) in S2 with Macro 3, add pan modulation in S1 with M4. Macro 2 (Y) controls LP cutoff, M1 (X) adds fast filter modulation, M5/6 control amount of delay/phaser mix, control M7/8 control attack/release time.
In the Iris 2-version, AT (aftertouch) increase detune modulation speed in S2 (via LFO2).
Ethereal Mallet Split
S1-3 use the same sample derived from textures I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets). S2/3 (non-retrigger mode) are layered in the lower half, mapped from C-1 – C3 (C0 – C4 in Iris), S1 is mapped from C2 – C7 (C3 – C8). MW adds vibrato, Macro 2 (Y) controls LP cutoff, M1 (X) adds slow filter modulation, please check the Macro page for FX controls.
In the Iris 2-version, Macro 7 adds pan modulation (inverted polarity in S3), M8 controls pan modulation speed.
FM Dots
An FM sound with descending harmonics made with Falcon, two pitches were sampled at E2/A3, overlapping split between C3 – E3 (C4 – E4 in Iris), S1/2 layer the lower sample with S2 playing in non-retrigger mode, Macro 3 is a dedicated volume control for S2, Macro 4 adds pan modulation to S1. MW adds fast, random pitch modulation in S2/3, AT (aftertouch) decreases LP filter cutoff. Please check the Macro page for FX controls.
In the Iris 2-version, Macro 4 also adds pan modulation in S2/3 (opposite polarity in S2).
Fusion Mallet Chord Hit
Percussive chord sound, both involved samples are derived from textures I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets). S1/2 layer the same sample, use Macro 1 to pan them L-R and detune S2, S3 adds the second sample, control’s it’s volume with M6. MW adds vibrato, with Macro 2 (Y) dialed to the left, the filter envelope becomes active. M3 controls release time, M4/5 control amount of chorus/delay FX.
As the amount of filter modulation via envelope can not be set with a Macro, envelope 5 is always fully active, so dialing Macro 2 fully to the left will result in a full envelope modulation of filter cutoff.
Haunted Pad
S1/2 play different segments and frequency ranges of a processed field recording which audio-morphs a departing subway with a synth drone, S4 adds a filtered saw-wave, all oscillators are processed by the tuned bandpass filter, increase filter resonance with Macro 1, add tempo-synced filter modulation with M2. M3/4 control attack/release time, MW adds noise-shaped pitch modulation in S1/2. Glide is activated, control glide time with M8, M5-7 control delay/reverb/chorus mix.
In the Iris 2-version, Macro 8 introduces tempo-synced amplitude modulation (LFO3 assigned to master gain), as glide-time can not be modulated in Iris 2, set the glide time with the control on the upper right of the interface.
Heaven Commuter Split
S1 (mapped up to C3, C4 in Iris) uses a pulsating drone sample, a comb-filtered and further processed looped segment of a train entering Cologne station. Layered in S2/3, mapped from C3 – C7 (C4 – C8) is a tonal soundscape (Phrygian mode) also derived from a train recording. All oscillators play in non-retrigger mode, Macro 3/4 control volume and amount of pan modulation in S2. MW adds tempo-synced amplitude modulation in S1/3, Macro 2 (Y) controls LP cutoff, M1 (X) adds tempo-synced filter modulation. M5-7 control amount of delay/phaser/distortion FX.
In the Iris 2-version, MW also adds tempo-synced amplitude modulation in S2/S4. S4 adds another drone sample which is layered with S1, Macro 8 is a dedicated volume control for S4.
Kalimba Scape Split
Both involved samples are using processed kalimba texures, a bass kalimba in S1 (Radius RT-mode) playing up to B2 (B3 in Iris), a kalimba sequence layered in S2/3, mapped from C3 (C4) upwards. Macros 3/4 control volume and amount of pan modulation in S3, MW adds tempo-synced, square-shaped pitch modulation in S1/2. Macro 2 (Y) controls LP cutoff, M1 (X) adds tempo-synced filter modulation. Please check the Macro page for FX controls.
Kalimba Seq Split
All three oscillators use the same processed kalimba sequence, S1 mapped from C3 – C7 (C4 – C8 in Iris), S2/3 layered between C-1 – C3 (C1 – C4), with S2 running in non-retrigger mode, looping back and forth. MW adds noise-shaped pitch modulation in S1/2, Macros 3/4 control volume and amount of pan modulation in S3. M2 (Y) control HP filter cutoff/resonance, M1 (X) adds flanger FX. M5/6 control amount of delay/reverb FX.
In the Iris 2-version, M4 also adds pan modulation in S2 (via LFO 3 with inverted polarity).
Penta Mallet Rise And Fall Split
S1 - mapped from C3 – C7 (C4 – C8 in Iris) uses an ascending sequence of notes played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets), S2/3 - mapped from C-1 – C3 (C0 – C4) layer different segments of a sample with bi-directional glissandos. MW adds tempo-synced random pitch modulation in S1/2, Macro 3 adds pan modulation in S3, Macro 2 (Y) controls LP cutoff, M1 (X) adds slow filter modulation. M4/5 control chorus mix/depth-speed, M6 controls amount of delay FX.
In the Iris 2-version, MW also adds pitch modulation in S3 (tempo-synced/square-shaped via LFO4) and Macro 3 also adds pan modulation in S2 (inverted polarity).
SynthMorphsSynth
S1 uses a long synth texture, audio-morphing a textural synth with a pad sound, S2 adds an FM sound with strange harmonics and has slow amplitude modulation applied, so it fades in and out, both oscillators play in non-retrigger mode. Macro 2 (Y) controls HP cutoff, M1 (X) adds tempo-synced, random filter modulation, MW adds tempo-synced amplitude modulation in S1 (saw down). Please check the Macro page for FX controls.
In the Iris 2-version, Macro 7 adds re-triggering pan modulation (per voice, inverted polarity in S2), M8 controls pan modulation speed (LFO3).
Warped Penta Mallet Split
S1-3 use the same spectrally processed sample derived from textures I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets), S1/2 layering the first half of the sample, mapped from C3 (C4 in iris) upwards, S1 playing the second half of the sample, mapped from C-1 – B2 (C0 – B3 in Iris). MW adds slow, noise-shaped pitch modulation, Macro 3 is a dedicated volume control for S2, M1/2 (X/Y) control amount of delay/reverb FX, M4 controls amount of chorus FX.
In the Iris 2-version, Macro 5 controls attack time of the main amplitude envelope (ENV5), S4 adds another sample, a mysterious bell texture with some impact sounds, control volume of S4 with Macro 6.
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703 Iris 1-patches (including 16.49 GB of samples) and 351 Iris 2-patches (with 8.42 GB) are currently available in the subscription library. The price for the annual Iris 2 subscription was raised to € 70 EUR, renewals for existing Iris 2 subscriptions are discounted by 20%.
Iris Subscription Set 82 uploaded on October 10th - 2017 containing 13 presets for Iris 1/2 (235.1/260.3 MB) including:
Chime Tubes
S1-3 use the same sample derived from textures I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets) with S1/2 playing in non-retrigger mode. Macro 3 introduces slow amplitude modulation in S1/2 (with different LFO speeds), M5 adds pitch modulation in S2, M6 is a dedicated volume control for S2. Please check the Macro page for FX controls.
In the Iris 2-version, Macro 7 adds re-triggering pan modulation in S1/3 (per voice), M8 controls pan modulation speed (LFO4).
Dragon Drone Split
Layered in S1/2 and mapped from C0 – C3 (C1 – C4 in Iris) is the sample of a comb-filtered and further processed field recording of a train entering Cologne station, In S3, mapped from C3 – C7 (C4 – C8) is a processed field recording which audio-morphs a departing subway with a synth drone. S1 is playing in non-retrigger mode, Macro 3 is a dedicated volume control for S2. MW adds tempo-synced amplitude modulation, Macro 2 (Y) controls LP cutoff, M1 (X) adds filter modulation, M4 controls filter modulation speed. M5/6 control amount of delay/distortion mix.
In the Iris 2-version, Macro 7 controls attack time (as there is only one amplitude envelope active (5) which controls master gain), M8 adds re-triggering pan modulation (per note played), control pan modulation speed with AT (aftertouch).
Dual Penta Mallets
Two samples derived from sequences I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets). Add detune modulation (slow LFO) in S2 with Macro 3, add pan modulation in S1 with M4. Macro 2 (Y) controls LP cutoff, M1 (X) adds fast filter modulation, M5/6 control amount of delay/phaser mix, control M7/8 control attack/release time.
In the Iris 2-version, AT (aftertouch) increase detune modulation speed in S2 (via LFO2).
Ethereal Mallet Split
S1-3 use the same sample derived from textures I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets). S2/3 (non-retrigger mode) are layered in the lower half, mapped from C-1 – C3 (C0 – C4 in Iris), S1 is mapped from C2 – C7 (C3 – C8). MW adds vibrato, Macro 2 (Y) controls LP cutoff, M1 (X) adds slow filter modulation, please check the Macro page for FX controls.
In the Iris 2-version, Macro 7 adds pan modulation (inverted polarity in S3), M8 controls pan modulation speed.
FM Dots
An FM sound with descending harmonics made with Falcon, two pitches were sampled at E2/A3, overlapping split between C3 – E3 (C4 – E4 in Iris), S1/2 layer the lower sample with S2 playing in non-retrigger mode, Macro 3 is a dedicated volume control for S2, Macro 4 adds pan modulation to S1. MW adds fast, random pitch modulation in S2/3, AT (aftertouch) decreases LP filter cutoff. Please check the Macro page for FX controls.
In the Iris 2-version, Macro 4 also adds pan modulation in S2/3 (opposite polarity in S2).
Fusion Mallet Chord Hit
Percussive chord sound, both involved samples are derived from textures I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets). S1/2 layer the same sample, use Macro 1 to pan them L-R and detune S2, S3 adds the second sample, control’s it’s volume with M6. MW adds vibrato, with Macro 2 (Y) dialed to the left, the filter envelope becomes active. M3 controls release time, M4/5 control amount of chorus/delay FX.
As the amount of filter modulation via envelope can not be set with a Macro, envelope 5 is always fully active, so dialing Macro 2 fully to the left will result in a full envelope modulation of filter cutoff.
Haunted Pad
S1/2 play different segments and frequency ranges of a processed field recording which audio-morphs a departing subway with a synth drone, S4 adds a filtered saw-wave, all oscillators are processed by the tuned bandpass filter, increase filter resonance with Macro 1, add tempo-synced filter modulation with M2. M3/4 control attack/release time, MW adds noise-shaped pitch modulation in S1/2. Glide is activated, control glide time with M8, M5-7 control delay/reverb/chorus mix.
In the Iris 2-version, Macro 8 introduces tempo-synced amplitude modulation (LFO3 assigned to master gain), as glide-time can not be modulated in Iris 2, set the glide time with the control on the upper right of the interface.
Heaven Commuter Split
S1 (mapped up to C3, C4 in Iris) uses a pulsating drone sample, a comb-filtered and further processed looped segment of a train entering Cologne station. Layered in S2/3, mapped from C3 – C7 (C4 – C8) is a tonal soundscape (Phrygian mode) also derived from a train recording. All oscillators play in non-retrigger mode, Macro 3/4 control volume and amount of pan modulation in S2. MW adds tempo-synced amplitude modulation in S1/3, Macro 2 (Y) controls LP cutoff, M1 (X) adds tempo-synced filter modulation. M5-7 control amount of delay/phaser/distortion FX.
In the Iris 2-version, MW also adds tempo-synced amplitude modulation in S2/S4. S4 adds another drone sample which is layered with S1, Macro 8 is a dedicated volume control for S4.
Kalimba Scape Split
Both involved samples are using processed kalimba texures, a bass kalimba in S1 (Radius RT-mode) playing up to B2 (B3 in Iris), a kalimba sequence layered in S2/3, mapped from C3 (C4) upwards. Macros 3/4 control volume and amount of pan modulation in S3, MW adds tempo-synced, square-shaped pitch modulation in S1/2. Macro 2 (Y) controls LP cutoff, M1 (X) adds tempo-synced filter modulation. Please check the Macro page for FX controls.
Kalimba Seq Split
All three oscillators use the same processed kalimba sequence, S1 mapped from C3 – C7 (C4 – C8 in Iris), S2/3 layered between C-1 – C3 (C1 – C4), with S2 running in non-retrigger mode, looping back and forth. MW adds noise-shaped pitch modulation in S1/2, Macros 3/4 control volume and amount of pan modulation in S3. M2 (Y) control HP filter cutoff/resonance, M1 (X) adds flanger FX. M5/6 control amount of delay/reverb FX.
In the Iris 2-version, M4 also adds pan modulation in S2 (via LFO 3 with inverted polarity).
Penta Mallet Rise And Fall Split
S1 - mapped from C3 – C7 (C4 – C8 in Iris) uses an ascending sequence of notes played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets), S2/3 - mapped from C-1 – C3 (C0 – C4) layer different segments of a sample with bi-directional glissandos. MW adds tempo-synced random pitch modulation in S1/2, Macro 3 adds pan modulation in S3, Macro 2 (Y) controls LP cutoff, M1 (X) adds slow filter modulation. M4/5 control chorus mix/depth-speed, M6 controls amount of delay FX.
In the Iris 2-version, MW also adds pitch modulation in S3 (tempo-synced/square-shaped via LFO4) and Macro 3 also adds pan modulation in S2 (inverted polarity).
SynthMorphsSynth
S1 uses a long synth texture, audio-morphing a textural synth with a pad sound, S2 adds an FM sound with strange harmonics and has slow amplitude modulation applied, so it fades in and out, both oscillators play in non-retrigger mode. Macro 2 (Y) controls HP cutoff, M1 (X) adds tempo-synced, random filter modulation, MW adds tempo-synced amplitude modulation in S1 (saw down). Please check the Macro page for FX controls.
In the Iris 2-version, Macro 7 adds re-triggering pan modulation (per voice, inverted polarity in S2), M8 controls pan modulation speed (LFO3).
Warped Penta Mallet Split
S1-3 use the same spectrally processed sample derived from textures I played on a metallic tube instrument (tubes mounted in a wooden frame tuned to a pentatonic scale, played with wooden mallets), S1/2 layering the first half of the sample, mapped from C3 (C4 in iris) upwards, S1 playing the second half of the sample, mapped from C-1 – B2 (C0 – B3 in Iris). MW adds slow, noise-shaped pitch modulation, Macro 3 is a dedicated volume control for S2, M1/2 (X/Y) control amount of delay/reverb FX, M4 controls amount of chorus FX.
In the Iris 2-version, Macro 5 controls attack time of the main amplitude envelope (ENV5), S4 adds another sample, a mysterious bell texture with some impact sounds, control volume of S4 with Macro 6.
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703 Iris 1-patches (including 16.49 GB of samples) and 351 Iris 2-patches (with 8.42 GB) are currently available in the subscription library. The price for the annual Iris 2 subscription was raised to € 70 EUR, renewals for existing Iris 2 subscriptions are discounted by 20%.
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16138 posts since 12 Oct, 2008 from Here and there
Improvising live on video with a freshly converted Iris2 patch from the patchpool subscription series. I'm working on a new set as well and in parallel converting the next bunch of presets so they sound as they should in Iris 2.
Patch description:
Patch description:
https://www.youtube.com/watch?v=slQa9rS9T3AIce Mystery
S1 plays a sample recorded in the harbor of Kaliningrad during winter time, ice breaking on the water surface after a giant container ship docked at the pier, some seagulls are crying in the second half of the sample. Control the volume of the ice-water using Macro 5.
S2 plays a sample made with Metasynth by re-synthesizing a vocal texture and retuning the result to a custom scale, this sample runs in non-retrigger mode. The Sub-oscillator adds a pitch-modulated sine wave to enhance the tonality of S2. MW adds tempo-synced amplitude modulation to S2. Also check the other Macros to modify the sound.
In the Iris 2-version, Macro 6 adds tempo-synced amplitude modulation to S2, M7 adds re-triggering pan modulation (per voice), M8 control pan modulation speed.
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16138 posts since 12 Oct, 2008 from Here and there
Improvising with an Iris patch (jibber Drones Split) from the upcoming subscription set no. 83, some Macro automation and modulation wheel action, 100% Iris.
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
- 16138 posts since 12 Oct, 2008 from Here and there
Spectral cinema featuring two Iris patches from the upcoming subscription set no. 83, some Macro/volume automation, and modulation wheel action.
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
- 16138 posts since 12 Oct, 2008 from Here and there
Something cosmic: improvising live on video with an Iris 2-patch from the upcoming subscription set.
https://www.youtube.com/watch?v=rf7rA-_WVzI
https://www.youtube.com/watch?v=rf7rA-_WVzI
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16138 posts since 12 Oct, 2008 from Here and there
Another one:
Improvising live on video with an Iris 2-patch from set no. 83, tweaking the Macros and the modulation wheel on the fly.
https://www.youtube.com/watch?v=DgWOtXFcGr0
Improvising live on video with an Iris 2-patch from set no. 83, tweaking the Macros and the modulation wheel on the fly.
https://www.youtube.com/watch?v=DgWOtXFcGr0
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16138 posts since 12 Oct, 2008 from Here and there
Here come the release notes for set 83:
Iris Subscription Set 83 uploaded on November 30th - 2017 containing 11 presets for Iris 1/2 (265.4 MB) including:
Cosmo Chimes
Bright chime-scape, all three oscillators use the same long sample. MW adds noise-shaped pitch modulation, Macro 2 (Y) transposes S2 down and S3 up an octave, M1 (X) decreases LP filter cutoff and introduces aliasing distortion. Please check the Macro page for more FX and envelope controls.
In the Iris 2-version, AT adds vibrato (LFO4, speed modulation via LFO5).
Delusion Split
Processed and partially frozen electric guitar feedbacks, all three oscillators use the same long sample, S1/2 are layered from C3 (C4 in Iris) upwards), S2 playing in non-retrigger mode, S3 plays from C-1 – C3 (C0 – C4) looping the end of the sample back and forth. Macro 3 is a dedicated volume control for S1, M4 adds pitch modulation in S1. MW adds chorus FX and pitch modulation in S2, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds fast random filter modulation and increases filter resonance, M8 adds re-triggering pan modulation (per note played) in S3. M5-8 control amount of reverb/delay/distortion FX.
Drone Pacific
All three oscillators are running in non-retrigger mode and use the same long drone sample, layered in S2/3 between C0 – C3 (C1 – C4 in Iris), S1 mapped from C3 – C7 (C4 – C8). MW adds vibrato in S1/3, Macro 3 adds random-shaped, re-triggering pan modulation (per note played) in S2, M4 is a dedicated volume control for S2. Macro 2 (Y) controls LP filter cutoff, M1 (X) adds distortion. M3-7 control amount of reverb/delay/chorus FX, Glide is activated, control Glide time with M8.
In the Iris 2-version, Macro 8 adds re-triggering pan modulation (per note via LFO4), substituting the Glide time-modulation (which isn’t possible in Iris 2).
Home Drone
All three oscillators are running in non-retrigger mode and use the same long drone sample, layered in S1/3 between C-1 – C3 (C0 – C4 in Iris), S2 mapped from C3 – C7 (C4 – C8). MW adds tempo-synced amplitude modulation, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds slow tempo-synced filter modulation and increases filter resonance, M3 is a dedicated volume control for S3. M4-6 control amount of delay/phaser/saturation FX.
In the Iris 2-version, filter modulation speed is set to 4 bars (re-triggering, per note played), Macro 7 adds tempo-synced, square-shaped pitch modulation (inverted polarity in S3).
Jibber Drones XFade Split
Multi-sampled, re-synthesized vocal texture made with PPGs Infinite-synth and various FX processors, sampled at three pitches with overlapping key-ranges (check the Map-page). MW adds tempo-synced, square-shaped pitch modulation, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced random filter modulation and increases filter resonance. Please check the Macro page for FX and envelope controls.
In the Iris 2-version, Macro 7 adds re-triggering pan modulation (per note player -> LFO4), M8 control pan modulation speed.
Layered Freeze Scapes
Obscure drone-scape made by freezing certain sections of a texture made with Reaktor, each oscillator plays a different section of the same long sample, S1 running in Radius RT-mode, S2 in non-retrigger mode, Macro 3 transposes S2 up an octave when fully engaged, M4/5 are dedicated volume controls for S2/3. MW adds tempo-synced amplitude modulation (different speed in ach LFO), M2 controls HP filter cutoff, M1 (X) adds tempo-synced, random filter modulation. M6-8 control amount of delay/flanger/saturation mix.
Miraculous Split
Bell and synth accents processed with an evolving pitch shifter and other things. All three oscillators use the same long sample, layered in S1/2 between C3 – C7 (C4 – C8 in Iris) with S2 playing in non-retrigger mode, Macro 3 introduces amplitude modulation in S2, M4 control modulation speed.. S3 is using the entire frequency range and runs in Radius RT-mode, mapped from C-1 – C3 (C0 – C4). MW adds noise-shaped pitch modulation in S1 and random pitch modulation in S3. M2 (Y) controls HP filter cutoff, M1 (X) adds tempo-synced, square-shaped filter modulation. Please check the Macro page for FX controls.
In the Iris 2-version, MW also adds random pitch modulation in S2, VEL decrases attack time in the master envelope (5).
Organic Penta Scape Split
Cosmic pentatonic soundscape, all three oscillators use the same long sample, layered in S1/2 between C3 – C7 (C4 – C8 in Iris) with S1 playing in non-retrigger mode, S2 using the inverted frequency spectrum, each oscillator has it’s dedicated volume control (Macros 3/4), M5 transposes S2 up an octave when fully engaged. S3 is mapped from C-1 – C3 (C0 – C4), Macro 7 adds tempo-synced amplitude modulation. M2 (Y) controls HP filter cutoff, M1 (X) adds chorus FX, M6/8 control amount of delay/saturation FX.
PentaVox Scape Split
S3 mapped from C0 – C4 (C1 – C5 in Iris), running in Radius RT-mode uses a sample made from granulated male overtone singing processed with GRM SpaceFilter, S2/3 running in non-retrigger mode use a sample of granulated female vocals, mapped from C3 (C4) upwards in S2 and C4 (C5) upwards in S1. MW introduces tempo-synced amplitude modulation, M2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced, random filter modulation. M3 controls volume of S2, M4 transposes S2 up an octave when fully engaged, M5/6 control amount of phaser/delay FX.
In the Iris 2-version, Macro 7 controls attack time of the master envelope (5), M8 adds noise-shaped pitch modulation (inverted polarity in S2).
SpaceVox Split
Processed female vocal drone, all three oscillators use the same long sample layered in S1/2 (S2 playing the inverted frequency selection) between C3 – C7 (C4 – C8 in Iris) playing in non-retrigger mode, S3 mapped from C1 – C3 (C1 – C4). M1 (X) introduces slow amplitude modulation in S1/2 with different LFO speeds, M2 (Y) controls the speed of both LFOs. M3 controls LP filter cutoff, M4 adds filter modulation. M5 controls filter modulation speed, M6 adds tempo-synced amplitude modulation in S3. M7 controls amount of delay FX, M8 controls release time, MW introduces chorus/distortion FX.
Sparkle Sky
A sequence of rising wahwah tube accents (played with an instrument from my library Falcon AIR) processed with various things, all three oscillators use the same long soundscape, S1 playing a very dotted spectral selection, S2/3 playing in non-retrigger mode. S3 plays the full frequency range and has two dedicated Macros for volume control and pan modulation. MW introduces noise-shaped pitch modulation in S1/2, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds noise-shaped filter modulation and increases filter resonance. M5-7 control amount of reverb/delay/chorus FX.
In the Iris 2-version, Macro 8 controls attack time of the master envelope (5).
The subscription library now contains 714 Iris 1 patches incldugin 16.75 GB of samples and 371 Iris 2 patches with 8.88 GB of samples.
Iris Subscription Set 83 uploaded on November 30th - 2017 containing 11 presets for Iris 1/2 (265.4 MB) including:
Cosmo Chimes
Bright chime-scape, all three oscillators use the same long sample. MW adds noise-shaped pitch modulation, Macro 2 (Y) transposes S2 down and S3 up an octave, M1 (X) decreases LP filter cutoff and introduces aliasing distortion. Please check the Macro page for more FX and envelope controls.
In the Iris 2-version, AT adds vibrato (LFO4, speed modulation via LFO5).
Delusion Split
Processed and partially frozen electric guitar feedbacks, all three oscillators use the same long sample, S1/2 are layered from C3 (C4 in Iris) upwards), S2 playing in non-retrigger mode, S3 plays from C-1 – C3 (C0 – C4) looping the end of the sample back and forth. Macro 3 is a dedicated volume control for S1, M4 adds pitch modulation in S1. MW adds chorus FX and pitch modulation in S2, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds fast random filter modulation and increases filter resonance, M8 adds re-triggering pan modulation (per note played) in S3. M5-8 control amount of reverb/delay/distortion FX.
Drone Pacific
All three oscillators are running in non-retrigger mode and use the same long drone sample, layered in S2/3 between C0 – C3 (C1 – C4 in Iris), S1 mapped from C3 – C7 (C4 – C8). MW adds vibrato in S1/3, Macro 3 adds random-shaped, re-triggering pan modulation (per note played) in S2, M4 is a dedicated volume control for S2. Macro 2 (Y) controls LP filter cutoff, M1 (X) adds distortion. M3-7 control amount of reverb/delay/chorus FX, Glide is activated, control Glide time with M8.
In the Iris 2-version, Macro 8 adds re-triggering pan modulation (per note via LFO4), substituting the Glide time-modulation (which isn’t possible in Iris 2).
Home Drone
All three oscillators are running in non-retrigger mode and use the same long drone sample, layered in S1/3 between C-1 – C3 (C0 – C4 in Iris), S2 mapped from C3 – C7 (C4 – C8). MW adds tempo-synced amplitude modulation, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds slow tempo-synced filter modulation and increases filter resonance, M3 is a dedicated volume control for S3. M4-6 control amount of delay/phaser/saturation FX.
In the Iris 2-version, filter modulation speed is set to 4 bars (re-triggering, per note played), Macro 7 adds tempo-synced, square-shaped pitch modulation (inverted polarity in S3).
Jibber Drones XFade Split
Multi-sampled, re-synthesized vocal texture made with PPGs Infinite-synth and various FX processors, sampled at three pitches with overlapping key-ranges (check the Map-page). MW adds tempo-synced, square-shaped pitch modulation, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced random filter modulation and increases filter resonance. Please check the Macro page for FX and envelope controls.
In the Iris 2-version, Macro 7 adds re-triggering pan modulation (per note player -> LFO4), M8 control pan modulation speed.
Layered Freeze Scapes
Obscure drone-scape made by freezing certain sections of a texture made with Reaktor, each oscillator plays a different section of the same long sample, S1 running in Radius RT-mode, S2 in non-retrigger mode, Macro 3 transposes S2 up an octave when fully engaged, M4/5 are dedicated volume controls for S2/3. MW adds tempo-synced amplitude modulation (different speed in ach LFO), M2 controls HP filter cutoff, M1 (X) adds tempo-synced, random filter modulation. M6-8 control amount of delay/flanger/saturation mix.
Miraculous Split
Bell and synth accents processed with an evolving pitch shifter and other things. All three oscillators use the same long sample, layered in S1/2 between C3 – C7 (C4 – C8 in Iris) with S2 playing in non-retrigger mode, Macro 3 introduces amplitude modulation in S2, M4 control modulation speed.. S3 is using the entire frequency range and runs in Radius RT-mode, mapped from C-1 – C3 (C0 – C4). MW adds noise-shaped pitch modulation in S1 and random pitch modulation in S3. M2 (Y) controls HP filter cutoff, M1 (X) adds tempo-synced, square-shaped filter modulation. Please check the Macro page for FX controls.
In the Iris 2-version, MW also adds random pitch modulation in S2, VEL decrases attack time in the master envelope (5).
Organic Penta Scape Split
Cosmic pentatonic soundscape, all three oscillators use the same long sample, layered in S1/2 between C3 – C7 (C4 – C8 in Iris) with S1 playing in non-retrigger mode, S2 using the inverted frequency spectrum, each oscillator has it’s dedicated volume control (Macros 3/4), M5 transposes S2 up an octave when fully engaged. S3 is mapped from C-1 – C3 (C0 – C4), Macro 7 adds tempo-synced amplitude modulation. M2 (Y) controls HP filter cutoff, M1 (X) adds chorus FX, M6/8 control amount of delay/saturation FX.
PentaVox Scape Split
S3 mapped from C0 – C4 (C1 – C5 in Iris), running in Radius RT-mode uses a sample made from granulated male overtone singing processed with GRM SpaceFilter, S2/3 running in non-retrigger mode use a sample of granulated female vocals, mapped from C3 (C4) upwards in S2 and C4 (C5) upwards in S1. MW introduces tempo-synced amplitude modulation, M2 (Y) controls LP filter cutoff, M1 (X) adds tempo-synced, random filter modulation. M3 controls volume of S2, M4 transposes S2 up an octave when fully engaged, M5/6 control amount of phaser/delay FX.
In the Iris 2-version, Macro 7 controls attack time of the master envelope (5), M8 adds noise-shaped pitch modulation (inverted polarity in S2).
SpaceVox Split
Processed female vocal drone, all three oscillators use the same long sample layered in S1/2 (S2 playing the inverted frequency selection) between C3 – C7 (C4 – C8 in Iris) playing in non-retrigger mode, S3 mapped from C1 – C3 (C1 – C4). M1 (X) introduces slow amplitude modulation in S1/2 with different LFO speeds, M2 (Y) controls the speed of both LFOs. M3 controls LP filter cutoff, M4 adds filter modulation. M5 controls filter modulation speed, M6 adds tempo-synced amplitude modulation in S3. M7 controls amount of delay FX, M8 controls release time, MW introduces chorus/distortion FX.
Sparkle Sky
A sequence of rising wahwah tube accents (played with an instrument from my library Falcon AIR) processed with various things, all three oscillators use the same long soundscape, S1 playing a very dotted spectral selection, S2/3 playing in non-retrigger mode. S3 plays the full frequency range and has two dedicated Macros for volume control and pan modulation. MW introduces noise-shaped pitch modulation in S1/2, Macro 2 (Y) controls LP filter cutoff, M1 (X) adds noise-shaped filter modulation and increases filter resonance. M5-7 control amount of reverb/delay/chorus FX.
In the Iris 2-version, Macro 8 controls attack time of the master envelope (5).
The subscription library now contains 714 Iris 1 patches incldugin 16.75 GB of samples and 371 Iris 2 patches with 8.88 GB of samples.
