Here comes the release info for the October deployment of Iris 2 patches and another video demo.
Improvising live on video with two (vocaloid) Iris 2 presets, tweaking the installed Macros and the modulation wheel on the fly.
https://www.youtube.com/watch?v=jsufXyouoqA
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15 converted and 3 original Iris 2 patches were distributed on October 25th - 2018 - 538.9 MB unzipped.
Clay Flute Trems (Iris 2 only)
Two clay flute tremolos layered in two oscillators. S2 has a dedicated volume control (Macro 3) and runs in non-retrigger mode. Macros 1/2 control attack/release time, M4 adds re-triggering HP filter modulation (LFO1), M5 introduces pan modulation, M6 controls delay FX mix, M7 tunes S2 up an octave when fly engaged, M8 controls reverb mix. MW controls chorus mix and adds pitch modulation via LFO3. Glide is activated.
Edgy Glass Scape Split
A long glass texture made by processing layered glass sounds from my HALion 5 library Sonic Cinema with some Trash 2-waveshaping and GRM tools Evolution. Each keyboard zone plays a different segment of the same sample, overlapping spilt points are C2 (C3 in Iris) and C4 (C5). MW introduces fast random pitch modulation in all oscillators (slightly different LFO speeds in each LFO). Macro 1 (x) controls delay mix, M2 controls delay time and feedback amount which makes for some nice glitch effects. M3 adds some screaming distortion, M4 controls reverb amount, M5 controls the release time in all oscillators.
In the Iris 2-version, Macro 6 adds re-triggering pan modulation (per note played), M7 increases panning speed (inverted polarity in S2), inverted M8 controls LP cutoff.
Indi Flute Pad (Iris 2 only)
Processed sustained note played on a large clay flute, S1 plays the first part of the sample, S2 the effect tail, both oscillators run in non-retrigger mode. Macros 1/2 control attack/release time (ENV5), M3 adds re-triggering LP filter modulation, M4 introduces re-triggering pan modulation. M5-8 control chorus/chorus rate/delay/reverb mix. MW adds tempo-synced amplitude modulation (LFO2 for S2, LFO3 for S3), AT adds vibrato (LFO1).
OudBellDrone (Iris 2 only)
Physical modeling bells layered with granulated oud and wave-tabled bell harmonics, this texture was sampled at 4 pitches mapped across the keyboard in S1-4 (check Mapping-page for split points). Macro 1 introduces re-triggering, tempo-synced LP filter/distortion modulation (via LFO1), M2 adds tempo-synced amplitude modulation, M3/4 control attack/release time, M5/6 control delay/reverb FX, M7 engages pitch modulation at audio rate speed (via LFO5).
Out There Split
S1 plays a processed Absynth sound, S2+S3 play different aspects of another processed Absynth sound. S1 plays up to G3 (Iris:G4), S2 plays from C3 (C4) upwards, S3 plays over the entire range. The volume of S3 is assigned to the modulation wheel. S1+2 play in non-retrigger mode so that overlapping notes (legato) will not restart the samples, S3 plays in Radius RT mode. Please check the labelled Macro page to see what the 7 assigned Macros are actually doing.
In the Iris 2-version, AT adds vibrato (LFO1) and Macro 8 introduces re-triggering pan modulation via LFO2.
Outskirts
Looking at a crystal clear sky in the middle of the night led to making this patch. The involved sample was produced by meta-synthing the recording of a turning plastic tube which creates higher harmonics the faster you turn it. S1+2 play different spectral aspects of the same sample, S2 having a very "dotted" selection. The Sub-oscillator adds a sine wave with noise-shaped pitch modulation. MW adds fast random pitch modulation to S1+2, the Iris FX are routed in Send-mode, no Macros are assigned, so if you want to change FX, please do that on the "Mix" page.
In the Iris 2-version, an additional sample was added in S3 (wave-tabled music box tones processed with Kaleidoscope), control volume of S3 with Macro 1, add tempo-synced pitch modulation with M2.
Overtone Animal Split
Lower register: Audio-morphing a Tuva vocal drone from MetaVox for Alchemy with a synth drone, S1/2 play inverted spectral selections, S1 running in Radius RT-mode, S2 in non-retrigger mode, the latter having it’s dedicated volume control (S3).
Upper register: A re-synthesized vocal texture made with Melodyne 4 running in non-retrigger mode, M1 (x) controls distortion send, M2 adds chorus to the lower sounds, MW introduces tempo-synced amplitude modulation - split point C#3 (C#4 in Iris).
In the Iris 2-version, the FX section is running in Master-mode, Macro1/2 control amount of distortion/chorus FX. M4 introduces tempo-synced peak filter modulation via LFO4/5, M5 controls release time (ENV5 assigned to master gain), M6 controls delay FX.
Phythagoras Ocean Split
In the upper keyboard half a beautiful, submerged, water-like tonal texture is playing in S3, in the lower half different segments and spectral aspects of a dark drone texture are layered - overlapping split point is C2 (C3 in Iris), all oscillators are running in non-retrigger mode. Macro 2 introduces amplitude modulation in all oscillators at different speeds, M2 also shifts pan position of S1/2 to L-R so the layers are more separated from each other. Add delay FX with M3, control release time with M4. MW decreases LP cutoff, adds aliased distortion and chorus FX.
In the Iris 2-version, ENV5 controls master gain, Macros 4/5 control attack/release time of ENV5.
Piano Scrapes (Split)
2 raw samples (from my soundset Alchemistry Beyond) of treating my upright piano (one coin-scraped/one beaten) were first processed with a tuned comb-filter, some saturation and some additional pitch-shifting and then imported into Iris. Split across the keyboard, the sound on the upper half of the keyboard being 2 different segments of sample 2 with different spectral selections, (Slots S2+S3, S3 playing the loop backwards -> forwards). Overlapping split point is C3 (Iris: C4). All samples are playing back in non-retrigger mode so that playing overlapping notes will not re-rigger the samples from the start which is good for a more interesting flow of things. MW adds chorus FX, Macros 1-4 control delay, reverb, LP filter cutoff and distortion.
In the Iris 2 version, Macro 5 adds tempo-synced amplitude modulation (LFO4 assigned to master gain), M6 adds re-triggering pan modulation, M7 controls panning speed.
Place With No Name
ocaloidsCosmic soundscape, S1-3 play different segments and aspects of the same sample, all play in non-retrigger mode. MW controls HP filter cutoff. Macro1 adds cosmic phasing.
In the Iris 2-version, Macro 2 controls delay mix, M3 introduces tempo-synced amplitude modulation (LFO2/4 assigned to master gain), M4 adds re-triggering pan modulation in S2 (via LFO5).
Poly Pulses
A massive Zebra drone processed with various things, all three oscillators are running in non-retrigger mode and use the same long drone sample. MW introduces slow amplitude modulation with a different LFO speed in each oscillator. Use Macros 3-5 to balance the layers, Please check the Macro page for FX and filter controls.
In the Iris 2-version, individual volume controls for each oscillators have been removed. ENV5 controls master gain, control attack/release time with Macros 4/5.
Prayer Day Split
A field recording of a church choir singing during an Easter Mass in a Moscow church, re-tuned and spectrally processed, S1/2 - mapped from C2 - C5 (C3 - C6 in iris) both use the same long sample, highlighting different frequency aspects and segments, use Macros 3/4 for volume balancing. S3 - mapped from C-1 – C2 (C0 - C3) adds a dark breathing drone sound, alls samples a re playing in non-retrigger mode. MW adds tempo-synced amplitude modulation in S3 and noise-shaped pitch modulation in S1/2. M2 (Y) increases HP filter cutoff, M1 (X) adds tempo-synced filter modulation. M8 controls release time, check the Macro page for FX controls.
Singing Bowl Abyss Split 01
Two different samples of a long singing bowl impro granulated with crusherX and further processed with various effects are playing in S1+2, split across the keyboard, S2 playing back and forth and running in non-retrigger mode, overlapping split point at C3 (C4 in Iris). MW controls amount of chorus FX. Add amplitude modulation with Macro 2, control modulation speed with M1. Add distortion FX with M3, control LP filter cutoff with M4. M5/6 control amount of delay FX/delay time and feedback, M7 controls release time for both oscillators.
In the Iris 2-version, AT introduces noise-shaped pitch modulation.
Singing Bowl Abyss Split 02
A long singing bowl impro granulated with crusherX and further processed with various effects is used in both oscillators split across the keyboard, S1 in the upper keyboard region running in Radius RT-mode, S2 running in non-retrigger mode, split point at B2/C3 (B3/C4 in Iris). Macro 1 introduces the filter envelope applied to the HP filter cutoff, M2 adds tempo-synced amplitude modulation to S2 and synced pitch modulation to S1. M3/4 control amount of delay FX/delay time and feedback. MW adds distortion and chorus FX.
In the Iris 2-version, ENV5 controls master gain, Macros 5/6 control attack/release time. The filter envelope was substituted by a re-triggering LFO (LFO3). Macros 7 adds re-triggering pan modulation, M8 controls panning speed.
Vocaloid Drone Cloud Split
Vocaloid Phonem texture about moonshine, overlapping split point S1 - S2/3 -> C3 (C4 in Iris), S1/3 run in non re-trigger mode, S2 in Radius RT mode, control the volume of the layered textures in the upper half with Macros 3/4. MW introduces tempo-synced amplitude modulation, Macro 2 controls LP cutoff, M1 adds tempo-synced filter modulation, Check the Macro page for FX controls.
Vocaloid Nostalgia Split
Vocaloid Phonem texture with fantasy lyrics, the same long scape is used in all 3 oscillators, (all running in non-retrigger mode) S1/2 are layered in the lower half (use Macros 3/4 for balancing), overlapping split point -> C3 (C4 in Iris). MW introduces tempo-synced amplitude modulation, Macro 2 controls LP cutoff, M1 adds tempo-synced filter modulation, Check the Macro page for FX controls.
In the Iris 2-version, AT adds vibrato (via LFO4), Macro 8 controls release time (ENV5 assigned to master gain).
Windgong Split
Featuring my one and only Windgong, scraped and beaten. In the upper half (S2/3) playing from C3 (C4 in Iris) upwards, there is a scraped gong texture. S1 plays from C3 (C4) and below and uses a heavily processed/distorted and stretched gong accent. MW introduces tempo-synced amplitude modulation in all 3 oscillators. Macros 1/2 (x/y) control amount of delay/distortion FX. The peak-filter follows key, M3 introduces filter modulation and increases filter resonance, control the modulation speed with M4. Add chorus FX with M5, M6/7 control release times in S1 and S2/3.
In the Iris 2-version, S4 adds another wind-gong sample (played with a rubber mallet) in the lower half (layered with S3). Macros 6/7 control attack/release time (ENV5 assigned to master gain).
Wonderland Split
3 wondrous electronic textures, S1+2 play up to C4 (C5 in Iris), S3 plays from C4 (C5) upwards. S2+S3 play in Radius RT mode. MW adds pitch modulation, Macro 1 - reverb mix, M2 - LP cutoff, M3 adds LFO-modulation to the filter cutoff, this will be more prominent when you turn the cutoff down with Macro 2. M4 controls filter modulation speed.
In the Iris 2-version, Macro 5 adds re-triggering pan modulation, M6 increases panning speed.
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725 Iris 1-patches (with 17+ GB of samples) and 496 Iris 2-patches (with 12.54 GB of samples) are currently available in the subscription library.
The price for the Iris 2 subscription was increased to € 90 EUR.
Annual Subscription for Iris Presets
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286 - KVRAF
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- 16300 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
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Demo for an Iris 2 preset from the upcoming deployment - tweaking some of the installed Macros and the modulation wheel on the fly.
https://www.youtube.com/watch?v=pNWkiY_51nM
https://www.youtube.com/watch?v=pNWkiY_51nM
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
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4 Iris 2 presets from the upcoming deployment in a dreamy atmosphere, automating some of the installed Macros/modulation wheel and volume in some instances in LogicX.
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
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- 16300 posts since 12 Oct, 2008 from Here and there
Cosmic soundscape: improvising live on video with an Iris 2 preset from the upcoming subscription deployment, tweaking some of the installed Macros and the modulation wheel on the fly.
https://www.youtube.com/watch?v=m_0UIgjsNuU
https://www.youtube.com/watch?v=m_0UIgjsNuU
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
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And here comes the release info for the December deployment of Iris 2 sounds:
5 original and 10 converted Iris 2 patches, 434 MB unzipped:
Cosmo Pearls (Iris 2 only)
Tinkling textural drone made with one of my BYOME patches and other things, all three oscillators play in non-retrigger mode and use the same long sample with S3 playing reverse/forward. MW introduces tempo-synced amplitude modulation (LFO2), AT adds noise-shaped pitch modulation (LFO 4 assigned to fine-tuning). Macros 1/2 control attack/release time, M3 adds slow pitch modulation in S3 (LFO3), M4 engages tempo-synced, re-triggering LP filter modulation (LFO5). M5 adds re-triggering pan modulation (LFO1), control panning speed with M6. M7 controls amount of distortion/chorus, M6 controls amount of delay FX.
Glass Organ (Iris 2 only)
A long drone produced with granulated glass harp samples playing octaves/fifths, processed with more granulation and space effects. Both oscillators use the same long sample, each one having a dedicated LFO for re-triggering/tempo-synced amplitude modulation (LFO1/2). MW decreases LP cutoff and adds some distortion, AT adds vibrato. Macros 1/2 control attack/release time, M3 adds pan modulation (per note, inverted polarity in S2), M4 controls panning speed. M5/6 control amount of chorus FX/chorus rate, M7 adds delay, M8 adds reverb.
Glass Particles (Iris 2 only)
Upper half playing from C3 upwards (C4 in Iris), layered in S1/2: textural soundscape made with granulated glass harp and further processing. S2 is running in non-retrigger mode and has permanent re-triggering amplitude modulation applied, control modulation speed with Macro 3.
Lower half playing below C3 (C4): granulated glass harp drone running in non-retrigger mode.
Macros 1/2 control attack/release time, M4/5 control amount of delay/reverb FX (delay time modulation via free-running LFO3). M6 introduces re-triggering LP filter modulation, control modulation speed with M7. M8 controls amount of chorus FX.
Princess Drone Split
Friendly dronescape, both oscillators use the same long sample highlighting different parts from it, overlapping split point is C3 (C4 in Iris), both oscillators are running in non-retrigger mode. MW introduces tempo-synced amplitude modulation, please check the Macro page for FX/filter controls.
In the Iris 2-version, Macro 5 controls release time (ENV5 assigned to master gain), M6 adds tempo-synced, re-triggering LP filter modulation (dial M1 to the left to adjust cutoff range).
Psaltery Dream Scape Split
The sample of a sequence with processed psaltery intervals is playing in S1+3, mapped from C2 (C3 in Iris) upwards, S3 using only the reverb tail. S2 mapped up to C2 (C3) uses a soundscape made by sending one of my Spectral patches from Spectral Excursions into a convolution reverb, using a psaltery texture as the impulse response. MW introduces square-shaped, tempo-synced (triplet-based) pitch modulation to S1+2, +/- 1 octave with the wheel fully engaged. S2+3 play in non-retrigger mode. M1+2 (x/y) control amount of tempo-synced filter modulation (also triplet based) and LP filter cutoff. M3 controls the volume of S3, M4 controls amount of delay FX.
In the Iris 2-version, Macro 5 controls pan modulation amount in S3, M6 controls panning speed (LFO3).
Pyramid Drone Split
All three oscillators are using the same long drone-scape sample derived from an atonal electronic texture re-tuned with PitchMap and further processed. S1/2 are mapped up to B2 (B3 in Iris), S1 running in Radius RT-mode and S2 in non-retrigger mode, the latter has slow amplitude modulation applied so it fades in and out. S3 is mapped from C3 - C7 (C4 - C8) and is also running in non-retrigger mode using backwards/forward looping, slow pan modulation is applied. MW introduces fast random pitch modulation in S1, please check the Macro page for filter and FX assignments.
In the Iris 2-version, MW also introduces pitch modulation in S2, Macro 7 adds tempo-synced pitch modulation in S3 (LFO 4 assigned to fine-tuning).
Radio Cloud Split
In the upper half there is a vocal texture layered in S1/2 (use Macros 1/2 to set the level for each layer), produced by audio-morphing a field recording I made in a Hongkong shopping mall (a pentatonic Chinese song) with an electronic pad sound, in the lower half there is a (processed) snippet of the violin solo from Strauss’ Heldenleben, a recording I made standing backstage during a concert of the Berlin philharmonic orchestra in Beijing. Split point is C3 (C4 in Iris). S2/3 are playing in non-retrigger mode. MW introduces amplitude modulation in S3/2 (use M7/8 to control the modulation speed) and tempo-synced, square-shaped pitch modulation in S1. Check the Macro page for more controls.
Reminiscence Split
A glassy drone texture derived from speech recordings processed with numerous applications, S3 (Resample/non-retrigger mode) mapped up to C3 (C4 in Iris) plays the 2nd half of the long sample, S1/2 (the latter in non-retrigger mode) are layered from C3 (C4) upwards, each oscillator has it’s dedicated volume control (Macros 3/4). MW adds fast random pitch modulation, Macro 2 (y) controls LP cutoff, M1 (x) adds tempo-synced random filter modulation, please check the Macro page for more FX assignments.
Resonances Split
Split comb-filter drones sampled at different root notes. S1/2 are layered from C0 - F2 (C1 - F4 in Iris) - with S2 playing the entire frequency range of the sample, use Macro 3 for volume control - S3 plays from F2 to C6 (F3 - C7). The Modwheel introduces tempo-synced amplitude modulation. Please check the Macro page for FX and filter controls.
In the Iris 2-version, Macro 7 adds re-triggering/tempo-synced pan modulation (LFO4).
Scrape Drone Scape
A texture I made with Metasynth, re-synthesizing an electronic texture and playing the re-synthesized data with scraped cymbal sounds from my soundset Alchemistry Metallurgy. The result then filtered by importing a geometrical image and then processed with more Plug-Ins. The 2 Oscillators play different frequency bands of the same sample, S2 runs in Radius RT mode. MW adds noise-shaped pitch modulation, Macros 1+2 control delay mix and LP cutoff. Macro 3 adds filter modulation (turn Macro 2 down for more audible results) and Macro 4 controls the filter modulation speed.
in the Iris 2-version, S3 adds a wavetable drone, running in Radius RT-mode, control volume of S3 with Macro 7. M5/6 control attack/release time (ENV5 assigned to master gain).
Seoul Temple Monks
Two buddhist monks performing a puja which I recorded in a Seoul temple, a recording I used in my soundtrack for the cinema-documentary Trip to Asia. One of the monks was actually singing through a little guitar amp holding a SM 58 in his hands, I was standing behind the half-open room so they wouldn't notice me too much. S1+2 are running in Radius RT mode, so the original tempo of the sample is preserved no matter what pitch you play. S1 plays almost the entire frequency range, bring it in with the Modwheel. S2 plays a more narrow spectral selection in the lower frequency range. Macros 1+2 (x/y) control the amount of distortion and the HP filter cutoff, M3 controls the amount of reverb, M4 adds random pitch modulation which is somewhat synced to the rhythm of the singing and percussion.
In the Iris 2-version, Macros 5/6 control attack/release time (ENV5 assigned to master gain). M7 adds re-triggering pan modulation (LFO3) with inverted polarity in S2.
Shelter Drone (Iris 2 only)
Complex synth sound made with MSoundFactory, sampled at 4 pitches (check the mapping page). Macros 1/2 control attack/release time, M3 adds tempo-synced, re-triggering LP filter modulation via LFO5, M4 adds tempo-synced, re-triggering amplitude modulation via LFO1/2. M5 adds re-triggering pan modulation (per note - via LFO3, panning speed modulated by LFO4), M6-8 control delay/phaser/distortion mix. Glide is activated.
Star Collector Split
Galactic soundscape, all three oscillators are use the same long soundscape sample each highlighting different spectral aspects. S3 is mapped from C-1 - B2 (C0 - B3 in Iris), S 1/2 are layered between C3 - C7 (C4 - C8). MW introduces tempo-synced amplitude modulation. Please check the Macro page for FX and filter controls.
In the Iris 2-version, Macro 5 adds re-triggering LP filter modulation via LFO5 (LFO shape modulated via LFO4), dial LP cutoff down with Macro 2 to adjust the modulation range.
Star Drifter (Iris 2 only)
Textural soundscape with synth accents playing octaves and fifths (and a few in-betweens), originally produces at 105 BPM with one of my Icarus/BYOME patches. All three oscillators use the same long sample, S1 playing in Radius RT-mode (thus preserving the original tempo), S2 running in non-retrigger mode, S3 playing backward/forward. MW introduces noise-shaped pitch modulation (LFO1), Macros 1/2 control attack/release time (ENV5 assigned to master gain). M3 adds tempo-synced amplitude modulation in S2 via LFO2, M4 introduces re-triggering pan modulation in S3 via LFO3. M5 controls LP filter cutoff/resonance, M6 adds re-triggering filter modulation (LFO5, speed control via LFO4). M7/8 control amount of phaser/delay FX.
Tokyo Tickets
Stochastic mystery - I recorded the involved sample in the Tokyo subway, bleeping ticket machines, some pedestrians talking and general subway ambience. S1+2 spectrally focus on the bleeps, using a very narrow selection to enhance them. S3 adds a broad selection of the same sample, bring it in with Macro 3. All samples run in non-retrigger mode. Add random pitch modulation to S1+2 with MW, control the LFO speed with Macro 4. M1+2 control delay mix/rate, M5+6 control reverb mix/size.
Wholetone Magic
Re-synthesizing a waterphone sample taken from waterphone recordings (pic here) I made for my MachFive-library Scattered Entity in Metasynth, tuning the re-synthesized data to a wholetone sale and further processing it, then playing back the re-synthesized result with muted Thai Gong samples, also from Scattered Entity. S1+2 play very dotted selections of this sample, S3 plays a full range segment of this texture. S3 is only mapped up to C6 (C7 in Iris). Add slow square-shaped pitch modulation to S1+2 with MW. Macros 1-5 control various parameters of the involved FX modules.
The patchpool Iris subscription library currently contains 725 Iris 1 patches (17 GB of samples) and 512 Iris 2 patches (12.97 GB of samples).
5 original and 10 converted Iris 2 patches, 434 MB unzipped:
Cosmo Pearls (Iris 2 only)
Tinkling textural drone made with one of my BYOME patches and other things, all three oscillators play in non-retrigger mode and use the same long sample with S3 playing reverse/forward. MW introduces tempo-synced amplitude modulation (LFO2), AT adds noise-shaped pitch modulation (LFO 4 assigned to fine-tuning). Macros 1/2 control attack/release time, M3 adds slow pitch modulation in S3 (LFO3), M4 engages tempo-synced, re-triggering LP filter modulation (LFO5). M5 adds re-triggering pan modulation (LFO1), control panning speed with M6. M7 controls amount of distortion/chorus, M6 controls amount of delay FX.
Glass Organ (Iris 2 only)
A long drone produced with granulated glass harp samples playing octaves/fifths, processed with more granulation and space effects. Both oscillators use the same long sample, each one having a dedicated LFO for re-triggering/tempo-synced amplitude modulation (LFO1/2). MW decreases LP cutoff and adds some distortion, AT adds vibrato. Macros 1/2 control attack/release time, M3 adds pan modulation (per note, inverted polarity in S2), M4 controls panning speed. M5/6 control amount of chorus FX/chorus rate, M7 adds delay, M8 adds reverb.
Glass Particles (Iris 2 only)
Upper half playing from C3 upwards (C4 in Iris), layered in S1/2: textural soundscape made with granulated glass harp and further processing. S2 is running in non-retrigger mode and has permanent re-triggering amplitude modulation applied, control modulation speed with Macro 3.
Lower half playing below C3 (C4): granulated glass harp drone running in non-retrigger mode.
Macros 1/2 control attack/release time, M4/5 control amount of delay/reverb FX (delay time modulation via free-running LFO3). M6 introduces re-triggering LP filter modulation, control modulation speed with M7. M8 controls amount of chorus FX.
Princess Drone Split
Friendly dronescape, both oscillators use the same long sample highlighting different parts from it, overlapping split point is C3 (C4 in Iris), both oscillators are running in non-retrigger mode. MW introduces tempo-synced amplitude modulation, please check the Macro page for FX/filter controls.
In the Iris 2-version, Macro 5 controls release time (ENV5 assigned to master gain), M6 adds tempo-synced, re-triggering LP filter modulation (dial M1 to the left to adjust cutoff range).
Psaltery Dream Scape Split
The sample of a sequence with processed psaltery intervals is playing in S1+3, mapped from C2 (C3 in Iris) upwards, S3 using only the reverb tail. S2 mapped up to C2 (C3) uses a soundscape made by sending one of my Spectral patches from Spectral Excursions into a convolution reverb, using a psaltery texture as the impulse response. MW introduces square-shaped, tempo-synced (triplet-based) pitch modulation to S1+2, +/- 1 octave with the wheel fully engaged. S2+3 play in non-retrigger mode. M1+2 (x/y) control amount of tempo-synced filter modulation (also triplet based) and LP filter cutoff. M3 controls the volume of S3, M4 controls amount of delay FX.
In the Iris 2-version, Macro 5 controls pan modulation amount in S3, M6 controls panning speed (LFO3).
Pyramid Drone Split
All three oscillators are using the same long drone-scape sample derived from an atonal electronic texture re-tuned with PitchMap and further processed. S1/2 are mapped up to B2 (B3 in Iris), S1 running in Radius RT-mode and S2 in non-retrigger mode, the latter has slow amplitude modulation applied so it fades in and out. S3 is mapped from C3 - C7 (C4 - C8) and is also running in non-retrigger mode using backwards/forward looping, slow pan modulation is applied. MW introduces fast random pitch modulation in S1, please check the Macro page for filter and FX assignments.
In the Iris 2-version, MW also introduces pitch modulation in S2, Macro 7 adds tempo-synced pitch modulation in S3 (LFO 4 assigned to fine-tuning).
Radio Cloud Split
In the upper half there is a vocal texture layered in S1/2 (use Macros 1/2 to set the level for each layer), produced by audio-morphing a field recording I made in a Hongkong shopping mall (a pentatonic Chinese song) with an electronic pad sound, in the lower half there is a (processed) snippet of the violin solo from Strauss’ Heldenleben, a recording I made standing backstage during a concert of the Berlin philharmonic orchestra in Beijing. Split point is C3 (C4 in Iris). S2/3 are playing in non-retrigger mode. MW introduces amplitude modulation in S3/2 (use M7/8 to control the modulation speed) and tempo-synced, square-shaped pitch modulation in S1. Check the Macro page for more controls.
Reminiscence Split
A glassy drone texture derived from speech recordings processed with numerous applications, S3 (Resample/non-retrigger mode) mapped up to C3 (C4 in Iris) plays the 2nd half of the long sample, S1/2 (the latter in non-retrigger mode) are layered from C3 (C4) upwards, each oscillator has it’s dedicated volume control (Macros 3/4). MW adds fast random pitch modulation, Macro 2 (y) controls LP cutoff, M1 (x) adds tempo-synced random filter modulation, please check the Macro page for more FX assignments.
Resonances Split
Split comb-filter drones sampled at different root notes. S1/2 are layered from C0 - F2 (C1 - F4 in Iris) - with S2 playing the entire frequency range of the sample, use Macro 3 for volume control - S3 plays from F2 to C6 (F3 - C7). The Modwheel introduces tempo-synced amplitude modulation. Please check the Macro page for FX and filter controls.
In the Iris 2-version, Macro 7 adds re-triggering/tempo-synced pan modulation (LFO4).
Scrape Drone Scape
A texture I made with Metasynth, re-synthesizing an electronic texture and playing the re-synthesized data with scraped cymbal sounds from my soundset Alchemistry Metallurgy. The result then filtered by importing a geometrical image and then processed with more Plug-Ins. The 2 Oscillators play different frequency bands of the same sample, S2 runs in Radius RT mode. MW adds noise-shaped pitch modulation, Macros 1+2 control delay mix and LP cutoff. Macro 3 adds filter modulation (turn Macro 2 down for more audible results) and Macro 4 controls the filter modulation speed.
in the Iris 2-version, S3 adds a wavetable drone, running in Radius RT-mode, control volume of S3 with Macro 7. M5/6 control attack/release time (ENV5 assigned to master gain).
Seoul Temple Monks
Two buddhist monks performing a puja which I recorded in a Seoul temple, a recording I used in my soundtrack for the cinema-documentary Trip to Asia. One of the monks was actually singing through a little guitar amp holding a SM 58 in his hands, I was standing behind the half-open room so they wouldn't notice me too much. S1+2 are running in Radius RT mode, so the original tempo of the sample is preserved no matter what pitch you play. S1 plays almost the entire frequency range, bring it in with the Modwheel. S2 plays a more narrow spectral selection in the lower frequency range. Macros 1+2 (x/y) control the amount of distortion and the HP filter cutoff, M3 controls the amount of reverb, M4 adds random pitch modulation which is somewhat synced to the rhythm of the singing and percussion.
In the Iris 2-version, Macros 5/6 control attack/release time (ENV5 assigned to master gain). M7 adds re-triggering pan modulation (LFO3) with inverted polarity in S2.
Shelter Drone (Iris 2 only)
Complex synth sound made with MSoundFactory, sampled at 4 pitches (check the mapping page). Macros 1/2 control attack/release time, M3 adds tempo-synced, re-triggering LP filter modulation via LFO5, M4 adds tempo-synced, re-triggering amplitude modulation via LFO1/2. M5 adds re-triggering pan modulation (per note - via LFO3, panning speed modulated by LFO4), M6-8 control delay/phaser/distortion mix. Glide is activated.
Star Collector Split
Galactic soundscape, all three oscillators are use the same long soundscape sample each highlighting different spectral aspects. S3 is mapped from C-1 - B2 (C0 - B3 in Iris), S 1/2 are layered between C3 - C7 (C4 - C8). MW introduces tempo-synced amplitude modulation. Please check the Macro page for FX and filter controls.
In the Iris 2-version, Macro 5 adds re-triggering LP filter modulation via LFO5 (LFO shape modulated via LFO4), dial LP cutoff down with Macro 2 to adjust the modulation range.
Star Drifter (Iris 2 only)
Textural soundscape with synth accents playing octaves and fifths (and a few in-betweens), originally produces at 105 BPM with one of my Icarus/BYOME patches. All three oscillators use the same long sample, S1 playing in Radius RT-mode (thus preserving the original tempo), S2 running in non-retrigger mode, S3 playing backward/forward. MW introduces noise-shaped pitch modulation (LFO1), Macros 1/2 control attack/release time (ENV5 assigned to master gain). M3 adds tempo-synced amplitude modulation in S2 via LFO2, M4 introduces re-triggering pan modulation in S3 via LFO3. M5 controls LP filter cutoff/resonance, M6 adds re-triggering filter modulation (LFO5, speed control via LFO4). M7/8 control amount of phaser/delay FX.
Tokyo Tickets
Stochastic mystery - I recorded the involved sample in the Tokyo subway, bleeping ticket machines, some pedestrians talking and general subway ambience. S1+2 spectrally focus on the bleeps, using a very narrow selection to enhance them. S3 adds a broad selection of the same sample, bring it in with Macro 3. All samples run in non-retrigger mode. Add random pitch modulation to S1+2 with MW, control the LFO speed with Macro 4. M1+2 control delay mix/rate, M5+6 control reverb mix/size.
Wholetone Magic
Re-synthesizing a waterphone sample taken from waterphone recordings (pic here) I made for my MachFive-library Scattered Entity in Metasynth, tuning the re-synthesized data to a wholetone sale and further processing it, then playing back the re-synthesized result with muted Thai Gong samples, also from Scattered Entity. S1+2 play very dotted selections of this sample, S3 plays a full range segment of this texture. S3 is only mapped up to C6 (C7 in Iris). Add slow square-shaped pitch modulation to S1+2 with MW. Macros 1-5 control various parameters of the involved FX modules.
The patchpool Iris subscription library currently contains 725 Iris 1 patches (17 GB of samples) and 512 Iris 2 patches (12.97 GB of samples).
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16300 posts since 12 Oct, 2008 from Here and there
Improvising with an Iris 2 presets from the patchpool subscription series (January 2019) which makes use of processed waterphone sounds - automating the installed Macros and the modulation wheel in Cubase.
https://www.youtube.com/watch?v=g1K3tDeYb-c
https://www.youtube.com/watch?v=g1K3tDeYb-c
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16300 posts since 12 Oct, 2008 from Here and there
Demo for an Iris 2 presets from the upcoming subscription deployment. This patch makes use of four multi-sampled wave-table drone samples (I made with Icarus and some external FX), automating the installed Macros and the modulation wheel in Cubase.
https://www.youtube.com/watch?v=OlJgdPqXX-o
https://www.youtube.com/watch?v=OlJgdPqXX-o
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16300 posts since 12 Oct, 2008 from Here and there
Demo for an Iris 2 presets from the upcoming subscription deployment using multi-sampled, spectrally re-synthesized bowed crotales samples in S1-3 and a time-stretched rainmaker sound in S4. Macro and modulation wheel automation in LogicX.
https://soundcloud.com/sampleconstruct/ ... bscription
https://soundcloud.com/sampleconstruct/ ... bscription
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16300 posts since 12 Oct, 2008 from Here and there
Here comes the release info for the deployment sent out today:
12 converted and 4 original Iris 2 patches (525 MB unzipped) were distributed on February 3rd - 2019 including:
Celebration Mediation Split - Iris 2 only
Layered in the lower half an audio-morphed drone sound with overtone movement is playing in S1/2, layered in the upper half an audio-morphed sus-chord (no thirds) is playing in S3/4, all oscillators are playing in non-retrigger mode. All oscillators have permanent amplitude modulation via LFO1 applied (inverted polarity in S2/4), control modulation speed with Macro 7. MW adds tempo-synced pitch modulation (LFO2 assigned to fine-tuning), Macros 1/2 control attack/release time, M3 adds chorus FX. M4 introduces re-triggering peak-filter modulation via LFO5, modulation speed modulated via LFO4. M5/6 control amount of delay/saturation FX.
Glockenspiel Surreality 01
The long sample used in this patch by all 3 oscillators is an excerpt from an improvisation I played on this Musser Glockenspiel (pic here), with the windows of the recording room wide open so that environmental sounds (birds, dogs, cars, wind, other suburban noises) would chime into the recording. The result was processed with crusherX and other things. Each oscillator highlights different aspects from this excerpt and has it’s dedicated volume control (Macros 3 - 5). S1/2 are mapped up to C5 (C6 in iris), S3 is mapped up to C6 (C7 in Iris). MW introduces noise-shaped pitch modulation in S3, M1 introduces pan modulation in S1/2, please check the Macro page for more controls.
In the Iris 2-version, MW also adds noise-shaped pitch modulation to S1/2 (to lesser extent than in S3).
Gloomy Plateau
Convoluting a noise sweep made with Photosounder with two different samples in two frequency bands, all 3 (layered) oscillators make use of the same long drone sample, S1 is mapped up to C5 (C6 in Iris), S2/3 are mapped up to C6 (C7). S1 has a dedicated volume control (Macro 1), all samples are playing in non-retrigger-mode. With M2 dialed towards the bottom, the filter envelope becomes engaged. MW introduces tempo-synced amplitude modulation in all 3 oscillators (at different speeds). Check the Macro page for more FX controls.
In the Iris 2-version, the spectral selection in S1/3 were adjusted as Iris 2 doesn’t allow for very narrow frequency bands. M6 adds noise-shaped pitch modulation, M8 controls release time (ENV5 assigned to master gain).
Granular Sax 01
A phrase played on my soprano sax processed with a granulator. MW introduces noise-shaped pitch modulation. Macros 1+2 control delay/chorus amount.
In the Iris 2-version, S2 adds the same sample with a different spectral selection, Macro 3 adds pitch modulation in S2, M4 adds tempo-synced, re-triggering LP filter modulation.
Granular Sax 02 Split
A phrase played on my soprano sax processed with a granulator. 2 samples were isolated from one long file.
S1 plays in Radius RT mode, S2 in Resample/non-retrigger mode. Split point: B3/C4 (Iris: B4/C5)
MW adds Tube distortion, Macros 1+2 control LP cutoff and reverb mix.
In the Iris 2-version, the spectral selection in S2 was adjusted. MW adds tempo-synced, square-shaped pitch modulation (LFO shape modulated via LFO2), Macro 3 adds distortion, M4/5 control amount of chorus/delay FX.
Pro Drone – Iris 2 only
Multi-sampled wavetable drone in four oscillators, each sample mapped over two octaves (check the Map-page). Macros 1/2 control attack/release time, M3 introduces tempo-synced, re-triggering LP filter modulation via LFO4/5, M4 adds tempo-synced, re-triggering amplitude modulation via LFO1/2, M5 controls amount of delay FX, M6 adds re-triggering pan modulation. MW adds flanger/distortion FX. Glide is activated.
Ship Lift Mix – Iris 2 only
Pure and processed field recordings I made in a big ship lift, S1 uses a stell impact sound, only looping the decay part, decay time/sustain level are modulated by key follow. S2 in non re-trigger mode adds a water-ish sound processed with Kaleidoscope and other things, S3/4 use different frequency bands of the same sample with water and ship engine tones. MW ads pitch modulation to S2, M1 decreases volume of S3/4, M2 adds distortion, M3/4 control delay mix/feedback amount, M5 adds re-triggering, tempo-synced HP filter modulation, M6 adds reverb.
Singing Bowls Granular
A sequence of hits played on one of my singing bowls, granulated with MBandGranular with different grain settings for 3 frequency bands, further processed with some other plugs. All 3 oscillators use the same long sample playing different spectral aspects and segments, S3 running in non-retrigger mode. Increase the volume of S2 with the Modwheel, please have a look at the Macro page to learn how the 6 assigned Macros modify the sound.
In the Iris 2-version, the spectral selection in S1 was adjusted. Macro 7 adds re-triggering pan modulation (per note played).
Spectral Flute Trill
Spectralized flute trill, both oscillators use the same long sample, S1 running in Radius RT-mode, S2 playing back and forth in non-retrigger mode, use Macro 3 for controlling the volume of S2, bipolar M4 tunes S2 down/up 1 octave (scaled in semitones). M5 adds pan modulation. M1/2 (x/y) control amount of delay/reverb FX, MW decreases filter cutoff, adds aliasing distortion and chorus FX.
In the Iris 2-version, S3 (Radius RT mode) adds a drone sound derived from processed flute harmonics, control it’s volume with Macro 6.
Spectrality Flares - Iris 2 only
S1-3, running in non-retrigger mode: multi-sampled, spectrally re-synthesized bowed crotales with formant movement and various effects, sampled at three pitches (check the Map-page). S4 (with dedicated volume control -> Macro 4) adds a time-stretched rainmaker sound which has a fixed pitch (no key follow), permanent pitch modulation via LFO4. MW adds re-triggering, tempo-synced amplitude modulation (LFO3), Macro 1 controls attack time (ENV5), M2 adds re-triggering LP filter modulation (LFO5), M3 controls filter modulation speed. M5 adds noise-shaped pitch modulation, control chorus/delay/reverb mix with M6-8.
Slow Morpher Split
Two wavetable synth textures split across the keyboard, a drone in the lower half (S1) and a rich chord in the upper half (layered in S2/3), overlapping split point is C3 (C4 in Iris). All oscillators play in non-retrigger mode, MW introduces tempo-synced amplitude modulation. Tune up S3 an octave using M4, check the Macro page for more assignments.
In the Iris 2-version, Macro 7 adds re-triggering pan modulation, M8 controls pan modulation speed.
Texture Dots
I live for these kind of beautiful textures...
S1 plays a dotted spectral selection and S2 running in non-retrigger mode plays a broader spectral selection from the second half of the sample which is only audible when Macro 3 is turned up. Modwheel adds some subtle tube distortion, Macros 1+2 for amount of pitch modulation amount and speed.
In the Iris 2-version, the volume control for S2 has been removed, Macro 3 adds pitch modulation to S2, M4/5 control amount of delay/reverb FX.
Tinkle Stars Split
Ethereal tinkle scape made with Melodyne 4, both oscillators use the same long soundscape, the sound in the upper half (S1) playing a very dotted selection running in Radius RT-mode, overlapping split point: C3 (C4 in Iris). MW adds tempo-synced pitch modulation - saw up-shaped in S1, square-shaped in S2. Tune S1 up an octave with Macro 2 (y). Check the Macro page for filter and FX controls.
In the Iris 2-version, Macro 6 adds noise-shaped pan modulation to S1, M7 controls attack time of S2.
Tubular Windchimes
Here is a pic of the tubular windchimes I sampled.
After a first sampling session with some very large tubular winchimes, I made this Iris patch using an unprocessed sample (S1) and a processed version (S2). S1 has a complex spectral selection, S2 plays the entire frequency range. Increase the volume of S2 with the Modwheel. Add random pitch modulation to S1 with the x/y-pad (Macros 1+2), add Noise-shaped pitch modulation to S2 with M3 and control LP cutoff with the inverted M4.
In the Iris 2-version, MW adds chorus/distortion FX, Macro 5 controls volume of S2, Macros 6/7 control attack/release time, (ENV5 assigned to master gain).
Tuning In
An orchestra tuning in before the rehearsal of my composition Windschatten.
S1 plays a broad spectral selection of this sample, bring it in with the Modwheel. S2 plays a very narrow spectral selection, both oscillators run in non-retrigger mode. Macro1+2 control LP cutoff and resonance, as the filter has an envelope applied to the cutoff, turning down M2 will make this envelope curve audible, especially when the Modwheel is up. Add tempo-synced amplitude modulation to S1 with Macro 3, Macros 4+5 control chorus and delay amount.
In the Iris 2-version, MW adds tempo-synced pitch modulation, volume control for S1 and the filter envelope have been removed. Macros 6/7 control attack/release time.
WaterPhoneDrone
The involved sample was taken from waterphone recordings (pic here) I made for my MachFive-ibrary Scattered Entity. The sample was granulated with crusherX, playing several octaves to create a rich drone. Oscillators 1-3 all play different segments and spectral aspects of this sample, S2 running in non-retrigger mode plays almost the entire frequency range, control it’s volume with the modulation wheel. S3, also in non-retrigger mode only plays the reverb tail of the sample looped back and forth. This is a rather cosmic patch...
In the Iris 2-version, Macro 5 adds re-triggering pan modulation in S3 (LFO3), control panning speed via Macro 6. M7 adds re-triggering LP filter modulation (LFO5), control filter modulation speed with M8.
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The subscription library now contains 725 Iris 1 patches (17+GB of samples) and 528 Iris 2 presets (13.49 GB of samples).
12 converted and 4 original Iris 2 patches (525 MB unzipped) were distributed on February 3rd - 2019 including:
Celebration Mediation Split - Iris 2 only
Layered in the lower half an audio-morphed drone sound with overtone movement is playing in S1/2, layered in the upper half an audio-morphed sus-chord (no thirds) is playing in S3/4, all oscillators are playing in non-retrigger mode. All oscillators have permanent amplitude modulation via LFO1 applied (inverted polarity in S2/4), control modulation speed with Macro 7. MW adds tempo-synced pitch modulation (LFO2 assigned to fine-tuning), Macros 1/2 control attack/release time, M3 adds chorus FX. M4 introduces re-triggering peak-filter modulation via LFO5, modulation speed modulated via LFO4. M5/6 control amount of delay/saturation FX.
Glockenspiel Surreality 01
The long sample used in this patch by all 3 oscillators is an excerpt from an improvisation I played on this Musser Glockenspiel (pic here), with the windows of the recording room wide open so that environmental sounds (birds, dogs, cars, wind, other suburban noises) would chime into the recording. The result was processed with crusherX and other things. Each oscillator highlights different aspects from this excerpt and has it’s dedicated volume control (Macros 3 - 5). S1/2 are mapped up to C5 (C6 in iris), S3 is mapped up to C6 (C7 in Iris). MW introduces noise-shaped pitch modulation in S3, M1 introduces pan modulation in S1/2, please check the Macro page for more controls.
In the Iris 2-version, MW also adds noise-shaped pitch modulation to S1/2 (to lesser extent than in S3).
Gloomy Plateau
Convoluting a noise sweep made with Photosounder with two different samples in two frequency bands, all 3 (layered) oscillators make use of the same long drone sample, S1 is mapped up to C5 (C6 in Iris), S2/3 are mapped up to C6 (C7). S1 has a dedicated volume control (Macro 1), all samples are playing in non-retrigger-mode. With M2 dialed towards the bottom, the filter envelope becomes engaged. MW introduces tempo-synced amplitude modulation in all 3 oscillators (at different speeds). Check the Macro page for more FX controls.
In the Iris 2-version, the spectral selection in S1/3 were adjusted as Iris 2 doesn’t allow for very narrow frequency bands. M6 adds noise-shaped pitch modulation, M8 controls release time (ENV5 assigned to master gain).
Granular Sax 01
A phrase played on my soprano sax processed with a granulator. MW introduces noise-shaped pitch modulation. Macros 1+2 control delay/chorus amount.
In the Iris 2-version, S2 adds the same sample with a different spectral selection, Macro 3 adds pitch modulation in S2, M4 adds tempo-synced, re-triggering LP filter modulation.
Granular Sax 02 Split
A phrase played on my soprano sax processed with a granulator. 2 samples were isolated from one long file.
S1 plays in Radius RT mode, S2 in Resample/non-retrigger mode. Split point: B3/C4 (Iris: B4/C5)
MW adds Tube distortion, Macros 1+2 control LP cutoff and reverb mix.
In the Iris 2-version, the spectral selection in S2 was adjusted. MW adds tempo-synced, square-shaped pitch modulation (LFO shape modulated via LFO2), Macro 3 adds distortion, M4/5 control amount of chorus/delay FX.
Pro Drone – Iris 2 only
Multi-sampled wavetable drone in four oscillators, each sample mapped over two octaves (check the Map-page). Macros 1/2 control attack/release time, M3 introduces tempo-synced, re-triggering LP filter modulation via LFO4/5, M4 adds tempo-synced, re-triggering amplitude modulation via LFO1/2, M5 controls amount of delay FX, M6 adds re-triggering pan modulation. MW adds flanger/distortion FX. Glide is activated.
Ship Lift Mix – Iris 2 only
Pure and processed field recordings I made in a big ship lift, S1 uses a stell impact sound, only looping the decay part, decay time/sustain level are modulated by key follow. S2 in non re-trigger mode adds a water-ish sound processed with Kaleidoscope and other things, S3/4 use different frequency bands of the same sample with water and ship engine tones. MW ads pitch modulation to S2, M1 decreases volume of S3/4, M2 adds distortion, M3/4 control delay mix/feedback amount, M5 adds re-triggering, tempo-synced HP filter modulation, M6 adds reverb.
Singing Bowls Granular
A sequence of hits played on one of my singing bowls, granulated with MBandGranular with different grain settings for 3 frequency bands, further processed with some other plugs. All 3 oscillators use the same long sample playing different spectral aspects and segments, S3 running in non-retrigger mode. Increase the volume of S2 with the Modwheel, please have a look at the Macro page to learn how the 6 assigned Macros modify the sound.
In the Iris 2-version, the spectral selection in S1 was adjusted. Macro 7 adds re-triggering pan modulation (per note played).
Spectral Flute Trill
Spectralized flute trill, both oscillators use the same long sample, S1 running in Radius RT-mode, S2 playing back and forth in non-retrigger mode, use Macro 3 for controlling the volume of S2, bipolar M4 tunes S2 down/up 1 octave (scaled in semitones). M5 adds pan modulation. M1/2 (x/y) control amount of delay/reverb FX, MW decreases filter cutoff, adds aliasing distortion and chorus FX.
In the Iris 2-version, S3 (Radius RT mode) adds a drone sound derived from processed flute harmonics, control it’s volume with Macro 6.
Spectrality Flares - Iris 2 only
S1-3, running in non-retrigger mode: multi-sampled, spectrally re-synthesized bowed crotales with formant movement and various effects, sampled at three pitches (check the Map-page). S4 (with dedicated volume control -> Macro 4) adds a time-stretched rainmaker sound which has a fixed pitch (no key follow), permanent pitch modulation via LFO4. MW adds re-triggering, tempo-synced amplitude modulation (LFO3), Macro 1 controls attack time (ENV5), M2 adds re-triggering LP filter modulation (LFO5), M3 controls filter modulation speed. M5 adds noise-shaped pitch modulation, control chorus/delay/reverb mix with M6-8.
Slow Morpher Split
Two wavetable synth textures split across the keyboard, a drone in the lower half (S1) and a rich chord in the upper half (layered in S2/3), overlapping split point is C3 (C4 in Iris). All oscillators play in non-retrigger mode, MW introduces tempo-synced amplitude modulation. Tune up S3 an octave using M4, check the Macro page for more assignments.
In the Iris 2-version, Macro 7 adds re-triggering pan modulation, M8 controls pan modulation speed.
Texture Dots
I live for these kind of beautiful textures...
S1 plays a dotted spectral selection and S2 running in non-retrigger mode plays a broader spectral selection from the second half of the sample which is only audible when Macro 3 is turned up. Modwheel adds some subtle tube distortion, Macros 1+2 for amount of pitch modulation amount and speed.
In the Iris 2-version, the volume control for S2 has been removed, Macro 3 adds pitch modulation to S2, M4/5 control amount of delay/reverb FX.
Tinkle Stars Split
Ethereal tinkle scape made with Melodyne 4, both oscillators use the same long soundscape, the sound in the upper half (S1) playing a very dotted selection running in Radius RT-mode, overlapping split point: C3 (C4 in Iris). MW adds tempo-synced pitch modulation - saw up-shaped in S1, square-shaped in S2. Tune S1 up an octave with Macro 2 (y). Check the Macro page for filter and FX controls.
In the Iris 2-version, Macro 6 adds noise-shaped pan modulation to S1, M7 controls attack time of S2.
Tubular Windchimes
Here is a pic of the tubular windchimes I sampled.
After a first sampling session with some very large tubular winchimes, I made this Iris patch using an unprocessed sample (S1) and a processed version (S2). S1 has a complex spectral selection, S2 plays the entire frequency range. Increase the volume of S2 with the Modwheel. Add random pitch modulation to S1 with the x/y-pad (Macros 1+2), add Noise-shaped pitch modulation to S2 with M3 and control LP cutoff with the inverted M4.
In the Iris 2-version, MW adds chorus/distortion FX, Macro 5 controls volume of S2, Macros 6/7 control attack/release time, (ENV5 assigned to master gain).
Tuning In
An orchestra tuning in before the rehearsal of my composition Windschatten.
S1 plays a broad spectral selection of this sample, bring it in with the Modwheel. S2 plays a very narrow spectral selection, both oscillators run in non-retrigger mode. Macro1+2 control LP cutoff and resonance, as the filter has an envelope applied to the cutoff, turning down M2 will make this envelope curve audible, especially when the Modwheel is up. Add tempo-synced amplitude modulation to S1 with Macro 3, Macros 4+5 control chorus and delay amount.
In the Iris 2-version, MW adds tempo-synced pitch modulation, volume control for S1 and the filter envelope have been removed. Macros 6/7 control attack/release time.
WaterPhoneDrone
The involved sample was taken from waterphone recordings (pic here) I made for my MachFive-ibrary Scattered Entity. The sample was granulated with crusherX, playing several octaves to create a rich drone. Oscillators 1-3 all play different segments and spectral aspects of this sample, S2 running in non-retrigger mode plays almost the entire frequency range, control it’s volume with the modulation wheel. S3, also in non-retrigger mode only plays the reverb tail of the sample looped back and forth. This is a rather cosmic patch...
In the Iris 2-version, Macro 5 adds re-triggering pan modulation in S3 (LFO3), control panning speed via Macro 6. M7 adds re-triggering LP filter modulation (LFO5), control filter modulation speed with M8.
----
The subscription library now contains 725 Iris 1 patches (17+GB of samples) and 528 Iris 2 presets (13.49 GB of samples).
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16300 posts since 12 Oct, 2008 from Here and there
Ambient music made with three Iris 2 patches from the upcoming subscription deployment - some Macro automation and modulation wheel action, 100% Iris 2.
https://soundcloud.com/sampleconstruct/ ... -patchpool
https://soundcloud.com/sampleconstruct/ ... -patchpool
-
Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16300 posts since 12 Oct, 2008 from Here and there
Here comes another demo for the March deployment of Iris 2 sounds and the release info, as I've already sent out the download link to all subscribers.
Ominous SciFi atmosphere made with three Iris 2 patches from the March deployment, some Macro/volume automation and modulation wheel action, 100% Iris 2.
https://soundcloud.com/sampleconstruct/ ... -patchpool
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Deployment March 24 - 2019 – 16 converted and 5 original Iris 2 patches (511.6 MB unzipped)
Angry Dragon Split 01 - Iris 2 only
Two segments of an ominous soundscape made with Reaktor, Sound Particles and other tools - segment 1 layered in S1/2 playing in the lower half, segment 2 playing in the upper half in S3 - split point C3 (C4 in Iris). Macros 1-3 add tempo-synced, re-triggering amplitude modulation to each oscillator, M4 introduces tempo-synced HP filter modulation, M5 adds re-triggering pan modulation (inverted polarity in S2), M6/7 control amount of delay/reverb FX, M8 controls release time (ENV5).
Angry Dragon Split 02 - Iris 2 only
Ominous soundscape made with Reaktor, Sound Particles and other tools, all three oscillators use the same sample, dial in re-triggering amplitude modulation with Macro 1 (dedicated LFO for each oscillator, running at slightly different speeds), control modulation speed with Macro 2. MW adds pitch modulation (LFO4, speed modulated by LFO5), M4 controls LP cutoff. M3/5/6 control amount of reverb/delay/chorus FX (delay time/chorus delay modulated via LFO5), M7/8 control amount/mix of distortion FX.
Gimme Cushion Split – Iris 2 only
Lower half - layered in S3/4 is a processed cello sustain, inverted spectral selection in S4, non-retrigger mode.
Upper half - two tonal soundscapes layered in S1/2, non-retrigger mode.
Overlapping split point: C3 (C4 in Iris).
MW introduces pitch modulation (LFO 5), Macro 1 adds re-triggering, tempo-synced LP filter modulation (LFO1), M2 adds re-triggering, tempo-synced amplitude modulation in S1/2 (LFO2), M3/4 control amount of delay/phaser FX, M5 adds pan modulation (per note) in S4 (via LFO4), M6 adds amplitude modulation in S3/4 (via LFO3 - inverted polarity in S4), M7 controls release time (ENV5).
Hang Free Loop
A Hang loop fluctuating in tempo played with soft mallets on a Hang without a clicktrack is used in both oscillators, original speed at G2 (G3 in Iris). S2 is using the inverted spectral selection of S1, it's volume is assigned to MW, so with the wheel fully engaged you hear the entire frequency spectrum. The 7 assigned Macros provide plenty of FX, filter and pitch modulation control.
In the Iris 2-version, Macro 8 controls release time (ENV5).
Hang Hit And Stretch
A dry Hang hit played with a soft mallet in S1 (root G2, G3 in iris) with a looped decay phase is layered with it's time-stretched and processed derivative in S2+3 which focus on different spectral bands. S3 can be tuned up an octave with Macro 4. The volume of S2 can be controlled with M5. The other Macros provide controls for delay, chorus, release time and LP filter cutoff.
In the Iris 2-version, the volume control for S2 has been removed, Macro 5 instead adds re-triggering pan modulation in S2/3.
Hang Loop In Seven
Hang loop in 7/8 signature, slightly quantized, running in Radius RT mode so the original tempo (90 BPM) is preserved. MW adds Tube-distortion. Macro 5 adds tempo-synced, random pitch modulation (which only really makes sense if your DAW / host is running at 90 BPM). The other assigned Macros provide control over delay, chorus, LP cutoff, room and release time.
Hang Mallet Glitch Loop
A Hang loop played with soft mallets, quantized and processed with various glitch tools is used in both oscillators (original tempo - root G2, G3 in Iris). S2 is using the inverted spectral selection of S1 and has pan modulation applied. Control the volume of S2 with Macro 3. The other Macros provide control over delay, reverb, distortion, distortion tone and HP filter cutoff.
In the Iris 2-version, Macro 7 controls release time (ENV5).
Harmonic Entropy Split
A very dense texture created in Metasynth is used in both oscillators. S1 mapped from C3 (C4) upwards plays a very dotted selection with fast transitions and other mayhem. S2 mapped from C3 (C4) downwards plays a broader selection from the second half of the sample. The effect section runs in Send mode, so you can add Delay FX individually to each oscillator. MW adds fast square-shaped pitch modulation, reduce the LFO speed with Macro 3. Macro 4 reduces LP cutoff, M5 adds random filter modulation, M6 controls filter modulation speed. M7+8 add Chorus FX to S1+2.
In the Iris 2-version, the FX section is running in Master mode, Macro 2 controls delay time, M8 controls reverb mix.
Harmonic Sweeper
A spectral drone made with Metasynth by...too convoluted to explain. S1+2 running in non-retrigger mode are panned hard left right, playing the same sample and spectral selection with an offset.
MW controls LP filter cutoff, 6 Macros are assigned, check the Macro page please. Works well for deep drones and chord playing in the higher ranges alike.
Living Drone
S2 plays a strange ocarina/voice-sample, S2 uses a drone-like texture made by layering various patches from one of my Padshop Pro libraries. Both samples play in non-retrigger mode. MW controls HP filter cutoff., Macro 1 adds noise-shaped pitch modulation to S2.
In the Iris 2-version, S3 adds an airy drone sample (non-retrigger mode), the FX section is set to Master, spectral selection in S1 has been re-edited. MW increases HP cutoff/adds filter modulation (LFO5), Macro 2 adds pitch modulation in S1, M3-6 control amount of chorus/delay/distortion/reverb FX.
Mallet Texture
Mallet texture programmed with Chromaphone, processed with delays and other things.
Both oscillators are running in non-retrigger mode and use the same sample with an identical spectral selection, S2 is tuned down an octave and plays backwards / forwards. The inverted modulation wheel controls LP filter cutoff. Macro 2 (y) adds square-shaped pitch modulation, +/- 1 octave when fully engaged, M1 (y) controls modulation speed (set differently for each oscillator). Please check the Macro page to learn what the other 3 assigned Macros do to the sound.
In the Iris 2-version, Macro 6 control release time.
Mellow Pad XT
Processed table bell texture, S1+2 play different aspects of the same sample, both samples play in non-retrigger mode. The global bandpass filter is LFO-controlled and the cutoff is also modulated by key follow. With each key you press the Filter LFO is restarted which causes some glitches and subtle clicks which I like (only affects Iris 1). If you don't like that, switch of the LFO for filter cutoff. MW adds vibrato in S1. Macro 1 controls delay amount, M3 controls the LFO speed for the filter modulation.
In the Iris 2-version, S3 adds a hardware synth sample (Nordlead) - control it’s volume with Macro 2. M4 adds tempo-synced amplitude modulation in S1, M5 control chorus FX mix, M6 controls release time.
Milky Way
A rich, rather cosmic texture I made with Kaleidoscope and other things layered in S1/2, both oscillators are playing in non-retrigger mode, S2 reverses the second half of the sample, Macro 4 controls the volume of S2. The Modwheel introduces tempo-synced amplitude modulation in S1 and tempo-synced pan modulation in S2, set the LFO speeds for each with Macros 3/5. Macros 1/2 (x/y) control LP filter cutoff and amount of filter modulation. Check the Macro page for more controls.
Okarina Birds
A field recording of a bird which I recorded in the deep woods on a sunny morning in early spring is used in S1. S2 plays a re-synthesized version of that sample produced in Metasynth by playing back the re-synthesized and retuned data of the bird with some Okarina samples from my sound library Granular Worlds for Padshop Pro. S3 adds a calm pad sound programmed on my good old Z1 hardware synthesizer. MW reduces LP filter cutoff and adds Tube distortion. Macros 1+2 control amount of delay/reverb FX, M3 adds a tad of pitch modulation to S3, M5 controls the volume of S3, M4 adds random pitch modulation to the bird in S1.
In the Iris 2-version, Macro 6 adds re-triggering pan modulation in S1/2, M7 control panning speed. The volume control for S3 has been removed, instead, Macro 5 adds chorus FX.
Ominousity
Remixed excerpt from a spooky electronic texture I composed for a theatre-play Macbeth some years ago.
Both oscillators use the same long sample playing different segments and spectral selections from it, running in non-retrigger mode. The sound in S2 is a rather short loop, control it's amplitude sustain level with Macro 4, add pan modulation to it with M3, control pan-mod-speed with M5. M1+2 (x/y) control amount / time, feedback of delay FX. M6 for reverb control. M7 controls LP filter cutoff. The Modwheel adds slow pitch modulation to S1.
In the Iris 2-version, an additional ominous sound is layered in S3/4, control volume with Macro 8. M3 also adds pan modulation to S4, MW also adds pitch modulation to S2/3/4 (LFO1 for S1-4, LFO3 for S2/3).
Rain Has Passed - Iris 2 only
A one-finger pad mad with Metasynth, the same sample is layered in all three oscillators highlighting different frequency bands, S3 playing reverse/forward, all oscillators are running in non-retrigger mode. Macros 1/2 control attack/release time, M3 adds re-triggering LP filter modulation, M4-6 control amount of chorus/delay/reverb FX. MW adds tempo-synced, re-triggering amplitude modulation with each oscillator having it’s dedicated LFO (running at different synced speeds).
Resonant Consonants Split
Textural sample -> processed and tonalized choir recording with a high proportion of consonants. All 3 oscillators use the same sample, S1 (non-retrigger mode) and S2 are layered from C3 - C6 (C4 - C7 in Iris), S1(Radius RT-mode) is mapped from C0 - C3 (C1 - C4) and has slow, re-triggering pan modulation applied (which kicks in with a delay). MW adds fast random pitch modulation in S3 and tempo-synced amplitude modulation in S2. Macro 2 (y) controls LP cutoff, M1 (x) adds filter modulation, control modulation speed with M3. M4/5 control amount of delay/chorus FX, M6 controls chorus speed.
In the Iris 2-version, Macro 7 adds fast random pitch modulation in S3 (instead of MW).
Spring Drum Layers
Layered spring drum accents and tremolo in S1-3, each oscillator playing a different segment of the same sample, S3 running in non-retrigger mode. Macros 1/2 (x/y) control amount of stereo phasing/HP filter cutoff, M3/4 introduce pan modulation tin S2/3, control amount of delay/reverb FX with M5/6. MW adds heavy distortion.
In the Iris 2-version, Macro 7 controls release time.
String And Glass Split - Iris 2 only
Two tonal soundscapes made from/with e-bowed string and glass sounds, S2/3 layer different segments of the same sample, all oscillators are playing in non-retrigger mode, overlapping split point C3 (C4 in Iris). Macros 1/2 control attack/release time, M3 adds re-triggering, tempo-synced LP filter modulation (LFO 4/5 - resonance/cutoff), M4 adds tempo-synced, re-triggering amplitude modulation (LFO1/2 with LFO3 modulating shape of LFO2), M5/6 control amount of delay/chorus FX. MW adds distortion.
Surreal Music Box Split
S1+3 use the sample of a music box played on a crash cymbal, creating different metallic resonances while moving the box around the cymbal, the result was retuned with Melodyne and further processed with various granulators and effect processors. S2 has a dedicated volume control (Macro 3) and uses he sample of a dark distorted drone derived from an electric guitar. S1 playing back and forth in non-retrigger mode is mapped up to C3 (C4 in Iris), S2+3 are layered and play in non-retrigger mode from C3 - C7 (C4 - C8). MW introduces tempo-synced amplitude modulation. M1/2 control delay/chorus mix, M4 controls reverb amount, M5 controls LP filter cutoff, M6 adds Tube distortion.
In the Iris 2-version, Macro 7 controls release time (ENV5), M8 introduces re-triggering pan modulation (per note via LFO4), AT adds pitch modulation (LFO5 assigned to fine-tuning).
Surreal Seaside
S1 uses a sample recorded at the german sea side, it actually cost me a Zoom H2 as I put the recorder on a big stone only some centimeters above the water surface, after some minutes a wave decided to drown the recorder, but the recordng was well worth it. S1 doesn't react to incoming Midi notes, instead a LFO is constantly modulating the pitch. S2 plays the sample of some very de-noised seagulls recorded at the same beach, these react to Midi but also have a LFO assigned to pitch. Control the modulation speed with the Modwheel. Macros 1+2 (x/y) control delay and reverb FX, the inverted Macro 3 controls LP cutoff.
In the Iris 2-version, Macro 4 adds noise-shaped pan modulation.
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725 Iris 1-patches (including 17+ GB of samples) and 549 Iris 2-patches (including 14+ GB of samples) are currently available in the subscription library.
Ominous SciFi atmosphere made with three Iris 2 patches from the March deployment, some Macro/volume automation and modulation wheel action, 100% Iris 2.
https://soundcloud.com/sampleconstruct/ ... -patchpool
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Deployment March 24 - 2019 – 16 converted and 5 original Iris 2 patches (511.6 MB unzipped)
Angry Dragon Split 01 - Iris 2 only
Two segments of an ominous soundscape made with Reaktor, Sound Particles and other tools - segment 1 layered in S1/2 playing in the lower half, segment 2 playing in the upper half in S3 - split point C3 (C4 in Iris). Macros 1-3 add tempo-synced, re-triggering amplitude modulation to each oscillator, M4 introduces tempo-synced HP filter modulation, M5 adds re-triggering pan modulation (inverted polarity in S2), M6/7 control amount of delay/reverb FX, M8 controls release time (ENV5).
Angry Dragon Split 02 - Iris 2 only
Ominous soundscape made with Reaktor, Sound Particles and other tools, all three oscillators use the same sample, dial in re-triggering amplitude modulation with Macro 1 (dedicated LFO for each oscillator, running at slightly different speeds), control modulation speed with Macro 2. MW adds pitch modulation (LFO4, speed modulated by LFO5), M4 controls LP cutoff. M3/5/6 control amount of reverb/delay/chorus FX (delay time/chorus delay modulated via LFO5), M7/8 control amount/mix of distortion FX.
Gimme Cushion Split – Iris 2 only
Lower half - layered in S3/4 is a processed cello sustain, inverted spectral selection in S4, non-retrigger mode.
Upper half - two tonal soundscapes layered in S1/2, non-retrigger mode.
Overlapping split point: C3 (C4 in Iris).
MW introduces pitch modulation (LFO 5), Macro 1 adds re-triggering, tempo-synced LP filter modulation (LFO1), M2 adds re-triggering, tempo-synced amplitude modulation in S1/2 (LFO2), M3/4 control amount of delay/phaser FX, M5 adds pan modulation (per note) in S4 (via LFO4), M6 adds amplitude modulation in S3/4 (via LFO3 - inverted polarity in S4), M7 controls release time (ENV5).
Hang Free Loop
A Hang loop fluctuating in tempo played with soft mallets on a Hang without a clicktrack is used in both oscillators, original speed at G2 (G3 in Iris). S2 is using the inverted spectral selection of S1, it's volume is assigned to MW, so with the wheel fully engaged you hear the entire frequency spectrum. The 7 assigned Macros provide plenty of FX, filter and pitch modulation control.
In the Iris 2-version, Macro 8 controls release time (ENV5).
Hang Hit And Stretch
A dry Hang hit played with a soft mallet in S1 (root G2, G3 in iris) with a looped decay phase is layered with it's time-stretched and processed derivative in S2+3 which focus on different spectral bands. S3 can be tuned up an octave with Macro 4. The volume of S2 can be controlled with M5. The other Macros provide controls for delay, chorus, release time and LP filter cutoff.
In the Iris 2-version, the volume control for S2 has been removed, Macro 5 instead adds re-triggering pan modulation in S2/3.
Hang Loop In Seven
Hang loop in 7/8 signature, slightly quantized, running in Radius RT mode so the original tempo (90 BPM) is preserved. MW adds Tube-distortion. Macro 5 adds tempo-synced, random pitch modulation (which only really makes sense if your DAW / host is running at 90 BPM). The other assigned Macros provide control over delay, chorus, LP cutoff, room and release time.
Hang Mallet Glitch Loop
A Hang loop played with soft mallets, quantized and processed with various glitch tools is used in both oscillators (original tempo - root G2, G3 in Iris). S2 is using the inverted spectral selection of S1 and has pan modulation applied. Control the volume of S2 with Macro 3. The other Macros provide control over delay, reverb, distortion, distortion tone and HP filter cutoff.
In the Iris 2-version, Macro 7 controls release time (ENV5).
Harmonic Entropy Split
A very dense texture created in Metasynth is used in both oscillators. S1 mapped from C3 (C4) upwards plays a very dotted selection with fast transitions and other mayhem. S2 mapped from C3 (C4) downwards plays a broader selection from the second half of the sample. The effect section runs in Send mode, so you can add Delay FX individually to each oscillator. MW adds fast square-shaped pitch modulation, reduce the LFO speed with Macro 3. Macro 4 reduces LP cutoff, M5 adds random filter modulation, M6 controls filter modulation speed. M7+8 add Chorus FX to S1+2.
In the Iris 2-version, the FX section is running in Master mode, Macro 2 controls delay time, M8 controls reverb mix.
Harmonic Sweeper
A spectral drone made with Metasynth by...too convoluted to explain. S1+2 running in non-retrigger mode are panned hard left right, playing the same sample and spectral selection with an offset.
MW controls LP filter cutoff, 6 Macros are assigned, check the Macro page please. Works well for deep drones and chord playing in the higher ranges alike.
Living Drone
S2 plays a strange ocarina/voice-sample, S2 uses a drone-like texture made by layering various patches from one of my Padshop Pro libraries. Both samples play in non-retrigger mode. MW controls HP filter cutoff., Macro 1 adds noise-shaped pitch modulation to S2.
In the Iris 2-version, S3 adds an airy drone sample (non-retrigger mode), the FX section is set to Master, spectral selection in S1 has been re-edited. MW increases HP cutoff/adds filter modulation (LFO5), Macro 2 adds pitch modulation in S1, M3-6 control amount of chorus/delay/distortion/reverb FX.
Mallet Texture
Mallet texture programmed with Chromaphone, processed with delays and other things.
Both oscillators are running in non-retrigger mode and use the same sample with an identical spectral selection, S2 is tuned down an octave and plays backwards / forwards. The inverted modulation wheel controls LP filter cutoff. Macro 2 (y) adds square-shaped pitch modulation, +/- 1 octave when fully engaged, M1 (y) controls modulation speed (set differently for each oscillator). Please check the Macro page to learn what the other 3 assigned Macros do to the sound.
In the Iris 2-version, Macro 6 control release time.
Mellow Pad XT
Processed table bell texture, S1+2 play different aspects of the same sample, both samples play in non-retrigger mode. The global bandpass filter is LFO-controlled and the cutoff is also modulated by key follow. With each key you press the Filter LFO is restarted which causes some glitches and subtle clicks which I like (only affects Iris 1). If you don't like that, switch of the LFO for filter cutoff. MW adds vibrato in S1. Macro 1 controls delay amount, M3 controls the LFO speed for the filter modulation.
In the Iris 2-version, S3 adds a hardware synth sample (Nordlead) - control it’s volume with Macro 2. M4 adds tempo-synced amplitude modulation in S1, M5 control chorus FX mix, M6 controls release time.
Milky Way
A rich, rather cosmic texture I made with Kaleidoscope and other things layered in S1/2, both oscillators are playing in non-retrigger mode, S2 reverses the second half of the sample, Macro 4 controls the volume of S2. The Modwheel introduces tempo-synced amplitude modulation in S1 and tempo-synced pan modulation in S2, set the LFO speeds for each with Macros 3/5. Macros 1/2 (x/y) control LP filter cutoff and amount of filter modulation. Check the Macro page for more controls.
Okarina Birds
A field recording of a bird which I recorded in the deep woods on a sunny morning in early spring is used in S1. S2 plays a re-synthesized version of that sample produced in Metasynth by playing back the re-synthesized and retuned data of the bird with some Okarina samples from my sound library Granular Worlds for Padshop Pro. S3 adds a calm pad sound programmed on my good old Z1 hardware synthesizer. MW reduces LP filter cutoff and adds Tube distortion. Macros 1+2 control amount of delay/reverb FX, M3 adds a tad of pitch modulation to S3, M5 controls the volume of S3, M4 adds random pitch modulation to the bird in S1.
In the Iris 2-version, Macro 6 adds re-triggering pan modulation in S1/2, M7 control panning speed. The volume control for S3 has been removed, instead, Macro 5 adds chorus FX.
Ominousity
Remixed excerpt from a spooky electronic texture I composed for a theatre-play Macbeth some years ago.
Both oscillators use the same long sample playing different segments and spectral selections from it, running in non-retrigger mode. The sound in S2 is a rather short loop, control it's amplitude sustain level with Macro 4, add pan modulation to it with M3, control pan-mod-speed with M5. M1+2 (x/y) control amount / time, feedback of delay FX. M6 for reverb control. M7 controls LP filter cutoff. The Modwheel adds slow pitch modulation to S1.
In the Iris 2-version, an additional ominous sound is layered in S3/4, control volume with Macro 8. M3 also adds pan modulation to S4, MW also adds pitch modulation to S2/3/4 (LFO1 for S1-4, LFO3 for S2/3).
Rain Has Passed - Iris 2 only
A one-finger pad mad with Metasynth, the same sample is layered in all three oscillators highlighting different frequency bands, S3 playing reverse/forward, all oscillators are running in non-retrigger mode. Macros 1/2 control attack/release time, M3 adds re-triggering LP filter modulation, M4-6 control amount of chorus/delay/reverb FX. MW adds tempo-synced, re-triggering amplitude modulation with each oscillator having it’s dedicated LFO (running at different synced speeds).
Resonant Consonants Split
Textural sample -> processed and tonalized choir recording with a high proportion of consonants. All 3 oscillators use the same sample, S1 (non-retrigger mode) and S2 are layered from C3 - C6 (C4 - C7 in Iris), S1(Radius RT-mode) is mapped from C0 - C3 (C1 - C4) and has slow, re-triggering pan modulation applied (which kicks in with a delay). MW adds fast random pitch modulation in S3 and tempo-synced amplitude modulation in S2. Macro 2 (y) controls LP cutoff, M1 (x) adds filter modulation, control modulation speed with M3. M4/5 control amount of delay/chorus FX, M6 controls chorus speed.
In the Iris 2-version, Macro 7 adds fast random pitch modulation in S3 (instead of MW).
Spring Drum Layers
Layered spring drum accents and tremolo in S1-3, each oscillator playing a different segment of the same sample, S3 running in non-retrigger mode. Macros 1/2 (x/y) control amount of stereo phasing/HP filter cutoff, M3/4 introduce pan modulation tin S2/3, control amount of delay/reverb FX with M5/6. MW adds heavy distortion.
In the Iris 2-version, Macro 7 controls release time.
String And Glass Split - Iris 2 only
Two tonal soundscapes made from/with e-bowed string and glass sounds, S2/3 layer different segments of the same sample, all oscillators are playing in non-retrigger mode, overlapping split point C3 (C4 in Iris). Macros 1/2 control attack/release time, M3 adds re-triggering, tempo-synced LP filter modulation (LFO 4/5 - resonance/cutoff), M4 adds tempo-synced, re-triggering amplitude modulation (LFO1/2 with LFO3 modulating shape of LFO2), M5/6 control amount of delay/chorus FX. MW adds distortion.
Surreal Music Box Split
S1+3 use the sample of a music box played on a crash cymbal, creating different metallic resonances while moving the box around the cymbal, the result was retuned with Melodyne and further processed with various granulators and effect processors. S2 has a dedicated volume control (Macro 3) and uses he sample of a dark distorted drone derived from an electric guitar. S1 playing back and forth in non-retrigger mode is mapped up to C3 (C4 in Iris), S2+3 are layered and play in non-retrigger mode from C3 - C7 (C4 - C8). MW introduces tempo-synced amplitude modulation. M1/2 control delay/chorus mix, M4 controls reverb amount, M5 controls LP filter cutoff, M6 adds Tube distortion.
In the Iris 2-version, Macro 7 controls release time (ENV5), M8 introduces re-triggering pan modulation (per note via LFO4), AT adds pitch modulation (LFO5 assigned to fine-tuning).
Surreal Seaside
S1 uses a sample recorded at the german sea side, it actually cost me a Zoom H2 as I put the recorder on a big stone only some centimeters above the water surface, after some minutes a wave decided to drown the recorder, but the recordng was well worth it. S1 doesn't react to incoming Midi notes, instead a LFO is constantly modulating the pitch. S2 plays the sample of some very de-noised seagulls recorded at the same beach, these react to Midi but also have a LFO assigned to pitch. Control the modulation speed with the Modwheel. Macros 1+2 (x/y) control delay and reverb FX, the inverted Macro 3 controls LP cutoff.
In the Iris 2-version, Macro 4 adds noise-shaped pan modulation.
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725 Iris 1-patches (including 17+ GB of samples) and 549 Iris 2-patches (including 14+ GB of samples) are currently available in the subscription library.
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16300 posts since 12 Oct, 2008 from Here and there
Improvising live on video with an Iris 2 patch from the upcoming deployment which uses a sample of audio-morphed singing nuns from a Taipei temple, tweaking some of the installed Macros and the modulation/pitch wheel on the fly.
https://www.youtube.com/watch?v=dBw7Rd1l0eI
https://www.youtube.com/watch?v=dBw7Rd1l0eI
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16300 posts since 12 Oct, 2008 from Here and there
A single Iris 2 patch from the upcoming deployment, Macro and modulation wheel automation in LogicX, 100% Iris 2.
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
- 16300 posts since 12 Oct, 2008 from Here and there
Here are two more demos for the current deployment and the release info - I've already sent out the download link to all subscribers.
https://soundcloud.com/sampleconstruct/ ... bscription
https://www.youtube.com/watch?v=BcvAKfAPDLQ
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Subscription deployment for Iris 2 sounds released on May 5th, 2019 containing:
Frozen State - Iris 2 only
S1/3 play a pad sample made with Adaptiverb and Comet, S2 adds a drone sample playing the root note, all oscillators are running in non-retrigger mode. S3 has permanent tempo-synced amplitude modulation (LFO3, modulation depth modulated by LFO4), bipolar Macro 4 tunes S3 +/- 1 octave when fully engaged to either side. MW adds tempo-synced amplitude modulation in S1/2 (LFO1/2), M1 engages LP filter modulation (LFO5), M2/3 control amount of phaser/delay FX, M5/6 control attack/release time (ENV5 assigned to master gain).
Minor Vox Drone Split - Iris 2 only
Layered in S1/2 in the upper half is a processed male voice texture in minor tonality, layered in S3/4 in the lower half is a rich drone sound, split point: C3 (C4 in Iris), all oscillators are running in non-retrigger mode. MW introduces tempo-synced, re-triggering amplitude modulation (LFO4 for S1/3, LFO3 for S2/4). Macros 1/2 control attack/release time, M3 engages tempo-synced, re-triggering LP filter modulation (via LFO1/5), M4 adds re-triggering pan modulation (per voice - LFO2). M5-7 control amount of delay/saturation/chorus FX.
Night Drones Split - Iris 2 only
Two airy drone samples split across the keyboard, S1/2 layer the same sample in the lower half, S3/4 layer the second sample in the upper half, all oscillators are running in non-retrigger mode. MW adds re-triggering, tempo-synced pitch modulation (LFO1), Macro 1 adds tempo-synced, re-triggering amplitude modulation (LFO3). S2/4 also have permanent, re-triggering amplitude modulation via LFO2. M2 adds free-running LP filter modulation. M3/4 control chorus/delay mix, M5 adds re-triggering, tempo-synced pan modulation (LFO4, inverted polarity in S2/4).
Nightmare Beauty Split
All oscillators use a long mysterious texture made with various synths, crusherX and other FX, all oscillators are running in non-retrigger mode. S2+3 in the lower register are layered, each oscillator has a dedicated volume control (Macros 4+5), split point is B2/C3 (B3/C4 in Iris). MW adds tempo-synced pitch modulation to S1+2. Macros 1+2 control amount of delay/reverb FX, M3 decreases LP filter cutoff and adds some Tube-distortion. M6 controls attack time of the lower layers (S2+3).
In the Iris 2-version, Macro 3 also engages free-running LP filter modulation. M6 controls release time of ENV5, M7 controls release time, M8 adds re-triggering pan modulation in S3, MW also adds pitch modulation in S3.
Pointillism Joy Split - Iris 2 only
Layered in the upper half in S1/2 is a tonal texture mad with Kaleidoscope and other tool, S1 is running in Radius RT-mode. Layered in the lower half in S3/4 is sweeping synth arpeggio using a Mixolydian scale (actually this is a sweeping square wave pitch-quantized with PitchMap). Split point C3 (C4 in Iris), S4 is extended up to C4 (C5). MW adds noise-shaped pitch modulation Macros 1/2 control attack/release time (ENV5), M3/4/5 control amount of chorus/reverb/delay FX, M6 controls LP cutoff, M7 adds re-triggering amplitude modulation in S2/4, M8 controls modulation speed.
Psaltery Drone And Riser Split
A long processed bowed psaltery drone is playing in S1, S2 uses a processed psaltery arpeggio, overlapping split point is C3 (C4 in Iris). S1 plays in non-retrigger mode. MW introduces tempo-synced amplitude modulation to both oscillators. M1 (x) adds Phaser FX, M2 (y) controls LP filter cutoff. With M2 turned downwards, the slowly rising filter envelope becomes audible. M3 controls amount of Delay FX, M4 controls delay time/feedback.
In the Iris 2-version, Macro 5 introduces noises-shaped pitch modulation (LFO4 assigned to fine-tuning), M6 controls attack time (ENV5 assigned to master gain).
Psaltery Scale Scape
A rising plucked psaltery scale processed with various things is playing in both oscillators, S2 looping backwards/forwards for reverse effects. MW adds random pitch modulation to both oscillators, control modulation speed with Macro 3. The FX section is running in Send-mode, M1 controls delay send for both oscillators, M2 (y) controls delay time/feedback. M4 controls LP filter cutoff, when dialed to the left it also reduces the reverb send amount, as Iris' FX sends are routed pre-filter, so if you want a dull/filtered sounds, also turn down the delay send. M5 adds chorus to S1, M6 controls the sustain level of S2.
In the Iris 2-version, the FX section is running in Master mode so Macros 1/5/7 control amount of delay/chorus/reverb mix, the S&H-LFO for creating random pitch modulation was substituted by a noise-shaped LFO.
Psaltery Tremolo Duet Split
Two psaltery textures with tremolos/repetitions are used in this patch. S1 plays a bowed tremolo, mapped up to B2 (B3 in iris), S2 uses a texture played with Glockenspiel mallets on one note. Both samples play in non-retriger mode. The inverted modulation wheel controls LP filter cutoff. Macros 1+2 (x/y) control amount of delay/chorus FX. M3 introduces pan modulation to both oscillators, control modulation speed with M4. M5 adds distortion, M6 controls the amount of reverb.
In the Iris 2-version, MW adds tempo-synced LP filter modulation.
Psychedelic Ringtones
Another wondrous Metasynth texture - S3 runs in non-retrigger mode. MW adds noise-shaped pitch modulation to S1+2. Macros 1+2 for chorus/delay mix. Macro 3 controls the speed of the filter modulation.
In the Iris 2-version, Macro 3 controls pitch modulation speed (LFO1), M5 adds re-triggering pan modulation (per voice - LFO2), M6 controls pan modulation speed.
Puja Morph Split
Chanting buddhist nuns and temple visitors I field-recorded in a Taipei temple some years ago, audio-morphed with a Serum Pad from Tabula Rasa. Each oscillator plays a different segment from the 2+ minute long sample, both oscillators are running in Radius RT-mode. MW introduces amplitude modulation in both samples, as the rhythm of the chanting and drumming is not tempo-synced, I set the LFO speeds approximately to match the tempo of the sample. Check the Macro page for assignments.
In the Iris 2-version, Macro 6 adds re-triggering pan modulation (per note - LFO3), M7 controls panning speed.
Puja Resynth Split
A field recording I made in a Taipei temple, Buddhist nuns singing and drumming - re-synthesized with Melodyne 4 and then time-stretched. Both oscillators use the same sample, highlighting different segments, running in non-retrigger mode overlapping split point: C3 (C4 in Iris). Macro 2 controls LP filter cutoff, dialing in M2 makes the cutoff velocity sensitive. Glide is activated. MW adds vibrato. Check the Macro page for filter and FX controls.
In the Iris 2-version, the velocity sensitivity for LP cutoff has been removed, as one can modulate modulation depth in Iris 2. Macro 5 introduces tempo-synced, re-triggering amplitude modulation (LFO3).
Reso Kids Split
Playing and shouting kids I recorded in Taipei processed with some morphing resonators (GRM) and a bit of Aether
Each one of the 3 Oscillators plays a different segment of that sample
Range: S1+2 play up to C4 (C5 in Iris)
S3 plays from C3 (C4) upwards
MW adds chorus, Macro 1 controls LP Cutoff, Macro 2 adds reverb
In the Iris 2-version, M3 adds aliasing distortion, M4 adds long delays.
Resonant Gibberish Split
Processed and tonalized mixed choir gibberish. The same sample is used in all 3 oscillators, S2 (Radius-RT mode) and S3 (Resample/non-retrigger mode) are layered from C3 (C4 in iris) - C6 (C7), each oscillator having a dedicated volume control (macros 3/4), S1 (Resample/non-retrigger mode) plays from C0 - C3 (C1 - C4). MW introduces tempo-synced amplitude modulation, adds some distortion and increases “Loudness“, Dialing Macro 2 (y) towards the left/down introduces filter modulation, control modulation speed with M1 (x), please check the Macro page for more FX assignments.
In the Iris 2-version, Macro 8 adds re-triggering pan modulation (per note - LFO4). M2 engages filter modulation when dialed to the right.
Rising Darkness Split
S1+2 are running in split mode, both using a mysterious texture made with Metasynth. Overlapping split point is C3 (C4 in Iris), both samples are running in non-retrigger mode. Add noise-shaped pitch modulation with MW. Check the Macro page to see how the 6 assigned Macros modify the sound.
In the Iris 2-version, the spectral selection had to be broadened as some frequencies weren’t audible. Macro 7 adds re-triggering amplitude modulation (LFO3, speed modulation via LFO4).
Rising Empire Split
A long rising ambient soundscape made with a patch from my MachFive library Ambient Strings, processed with various effects is used in all three oscillators. S1 plays up to C3 (C4 in Iris), S2+3 are layered and play from C#3 (C#4) and above. S1+2 are running in non-retrigger mode. MW introduces tempo-synced amplitude modulation in S1+2, S3 has pan modulation applied, control modulation speed with Macro 5 and control sustain level of S3 with M4. The FX section runs in Send-mode, control delay/reverb send for all 3 oscillators with M1/2, increase distortion send level for S1 using M3.
Stone Grains - Iris 2 only
Granular lithophone texture processed with Comet reverb, three oscillators use the same sample, S2 running in non-retrigger mode. MW adds noise-shaped pitch modulation (LFO3). Macros 1/2 control attack/release time, M3 adds chorus with rate modulation via LFO2, M4 adds saturation, M5 introduces re-triggering LP filter modulation (LFO5, speed modulation via LFO1), M6 adds delay FX, M7 adds re-triggering pan modulation (per note) for S2/3 via LFO4.
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725 Iris 1-patches (including 17+ GB of samples) and 565 Iris 2-patches (14.44 GB of samples) are currently available in the subscription library.
https://soundcloud.com/sampleconstruct/ ... bscription
https://www.youtube.com/watch?v=BcvAKfAPDLQ
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Subscription deployment for Iris 2 sounds released on May 5th, 2019 containing:
Frozen State - Iris 2 only
S1/3 play a pad sample made with Adaptiverb and Comet, S2 adds a drone sample playing the root note, all oscillators are running in non-retrigger mode. S3 has permanent tempo-synced amplitude modulation (LFO3, modulation depth modulated by LFO4), bipolar Macro 4 tunes S3 +/- 1 octave when fully engaged to either side. MW adds tempo-synced amplitude modulation in S1/2 (LFO1/2), M1 engages LP filter modulation (LFO5), M2/3 control amount of phaser/delay FX, M5/6 control attack/release time (ENV5 assigned to master gain).
Minor Vox Drone Split - Iris 2 only
Layered in S1/2 in the upper half is a processed male voice texture in minor tonality, layered in S3/4 in the lower half is a rich drone sound, split point: C3 (C4 in Iris), all oscillators are running in non-retrigger mode. MW introduces tempo-synced, re-triggering amplitude modulation (LFO4 for S1/3, LFO3 for S2/4). Macros 1/2 control attack/release time, M3 engages tempo-synced, re-triggering LP filter modulation (via LFO1/5), M4 adds re-triggering pan modulation (per voice - LFO2). M5-7 control amount of delay/saturation/chorus FX.
Night Drones Split - Iris 2 only
Two airy drone samples split across the keyboard, S1/2 layer the same sample in the lower half, S3/4 layer the second sample in the upper half, all oscillators are running in non-retrigger mode. MW adds re-triggering, tempo-synced pitch modulation (LFO1), Macro 1 adds tempo-synced, re-triggering amplitude modulation (LFO3). S2/4 also have permanent, re-triggering amplitude modulation via LFO2. M2 adds free-running LP filter modulation. M3/4 control chorus/delay mix, M5 adds re-triggering, tempo-synced pan modulation (LFO4, inverted polarity in S2/4).
Nightmare Beauty Split
All oscillators use a long mysterious texture made with various synths, crusherX and other FX, all oscillators are running in non-retrigger mode. S2+3 in the lower register are layered, each oscillator has a dedicated volume control (Macros 4+5), split point is B2/C3 (B3/C4 in Iris). MW adds tempo-synced pitch modulation to S1+2. Macros 1+2 control amount of delay/reverb FX, M3 decreases LP filter cutoff and adds some Tube-distortion. M6 controls attack time of the lower layers (S2+3).
In the Iris 2-version, Macro 3 also engages free-running LP filter modulation. M6 controls release time of ENV5, M7 controls release time, M8 adds re-triggering pan modulation in S3, MW also adds pitch modulation in S3.
Pointillism Joy Split - Iris 2 only
Layered in the upper half in S1/2 is a tonal texture mad with Kaleidoscope and other tool, S1 is running in Radius RT-mode. Layered in the lower half in S3/4 is sweeping synth arpeggio using a Mixolydian scale (actually this is a sweeping square wave pitch-quantized with PitchMap). Split point C3 (C4 in Iris), S4 is extended up to C4 (C5). MW adds noise-shaped pitch modulation Macros 1/2 control attack/release time (ENV5), M3/4/5 control amount of chorus/reverb/delay FX, M6 controls LP cutoff, M7 adds re-triggering amplitude modulation in S2/4, M8 controls modulation speed.
Psaltery Drone And Riser Split
A long processed bowed psaltery drone is playing in S1, S2 uses a processed psaltery arpeggio, overlapping split point is C3 (C4 in Iris). S1 plays in non-retrigger mode. MW introduces tempo-synced amplitude modulation to both oscillators. M1 (x) adds Phaser FX, M2 (y) controls LP filter cutoff. With M2 turned downwards, the slowly rising filter envelope becomes audible. M3 controls amount of Delay FX, M4 controls delay time/feedback.
In the Iris 2-version, Macro 5 introduces noises-shaped pitch modulation (LFO4 assigned to fine-tuning), M6 controls attack time (ENV5 assigned to master gain).
Psaltery Scale Scape
A rising plucked psaltery scale processed with various things is playing in both oscillators, S2 looping backwards/forwards for reverse effects. MW adds random pitch modulation to both oscillators, control modulation speed with Macro 3. The FX section is running in Send-mode, M1 controls delay send for both oscillators, M2 (y) controls delay time/feedback. M4 controls LP filter cutoff, when dialed to the left it also reduces the reverb send amount, as Iris' FX sends are routed pre-filter, so if you want a dull/filtered sounds, also turn down the delay send. M5 adds chorus to S1, M6 controls the sustain level of S2.
In the Iris 2-version, the FX section is running in Master mode so Macros 1/5/7 control amount of delay/chorus/reverb mix, the S&H-LFO for creating random pitch modulation was substituted by a noise-shaped LFO.
Psaltery Tremolo Duet Split
Two psaltery textures with tremolos/repetitions are used in this patch. S1 plays a bowed tremolo, mapped up to B2 (B3 in iris), S2 uses a texture played with Glockenspiel mallets on one note. Both samples play in non-retriger mode. The inverted modulation wheel controls LP filter cutoff. Macros 1+2 (x/y) control amount of delay/chorus FX. M3 introduces pan modulation to both oscillators, control modulation speed with M4. M5 adds distortion, M6 controls the amount of reverb.
In the Iris 2-version, MW adds tempo-synced LP filter modulation.
Psychedelic Ringtones
Another wondrous Metasynth texture - S3 runs in non-retrigger mode. MW adds noise-shaped pitch modulation to S1+2. Macros 1+2 for chorus/delay mix. Macro 3 controls the speed of the filter modulation.
In the Iris 2-version, Macro 3 controls pitch modulation speed (LFO1), M5 adds re-triggering pan modulation (per voice - LFO2), M6 controls pan modulation speed.
Puja Morph Split
Chanting buddhist nuns and temple visitors I field-recorded in a Taipei temple some years ago, audio-morphed with a Serum Pad from Tabula Rasa. Each oscillator plays a different segment from the 2+ minute long sample, both oscillators are running in Radius RT-mode. MW introduces amplitude modulation in both samples, as the rhythm of the chanting and drumming is not tempo-synced, I set the LFO speeds approximately to match the tempo of the sample. Check the Macro page for assignments.
In the Iris 2-version, Macro 6 adds re-triggering pan modulation (per note - LFO3), M7 controls panning speed.
Puja Resynth Split
A field recording I made in a Taipei temple, Buddhist nuns singing and drumming - re-synthesized with Melodyne 4 and then time-stretched. Both oscillators use the same sample, highlighting different segments, running in non-retrigger mode overlapping split point: C3 (C4 in Iris). Macro 2 controls LP filter cutoff, dialing in M2 makes the cutoff velocity sensitive. Glide is activated. MW adds vibrato. Check the Macro page for filter and FX controls.
In the Iris 2-version, the velocity sensitivity for LP cutoff has been removed, as one can modulate modulation depth in Iris 2. Macro 5 introduces tempo-synced, re-triggering amplitude modulation (LFO3).
Reso Kids Split
Playing and shouting kids I recorded in Taipei processed with some morphing resonators (GRM) and a bit of Aether
Each one of the 3 Oscillators plays a different segment of that sample
Range: S1+2 play up to C4 (C5 in Iris)
S3 plays from C3 (C4) upwards
MW adds chorus, Macro 1 controls LP Cutoff, Macro 2 adds reverb
In the Iris 2-version, M3 adds aliasing distortion, M4 adds long delays.
Resonant Gibberish Split
Processed and tonalized mixed choir gibberish. The same sample is used in all 3 oscillators, S2 (Radius-RT mode) and S3 (Resample/non-retrigger mode) are layered from C3 (C4 in iris) - C6 (C7), each oscillator having a dedicated volume control (macros 3/4), S1 (Resample/non-retrigger mode) plays from C0 - C3 (C1 - C4). MW introduces tempo-synced amplitude modulation, adds some distortion and increases “Loudness“, Dialing Macro 2 (y) towards the left/down introduces filter modulation, control modulation speed with M1 (x), please check the Macro page for more FX assignments.
In the Iris 2-version, Macro 8 adds re-triggering pan modulation (per note - LFO4). M2 engages filter modulation when dialed to the right.
Rising Darkness Split
S1+2 are running in split mode, both using a mysterious texture made with Metasynth. Overlapping split point is C3 (C4 in Iris), both samples are running in non-retrigger mode. Add noise-shaped pitch modulation with MW. Check the Macro page to see how the 6 assigned Macros modify the sound.
In the Iris 2-version, the spectral selection had to be broadened as some frequencies weren’t audible. Macro 7 adds re-triggering amplitude modulation (LFO3, speed modulation via LFO4).
Rising Empire Split
A long rising ambient soundscape made with a patch from my MachFive library Ambient Strings, processed with various effects is used in all three oscillators. S1 plays up to C3 (C4 in Iris), S2+3 are layered and play from C#3 (C#4) and above. S1+2 are running in non-retrigger mode. MW introduces tempo-synced amplitude modulation in S1+2, S3 has pan modulation applied, control modulation speed with Macro 5 and control sustain level of S3 with M4. The FX section runs in Send-mode, control delay/reverb send for all 3 oscillators with M1/2, increase distortion send level for S1 using M3.
Stone Grains - Iris 2 only
Granular lithophone texture processed with Comet reverb, three oscillators use the same sample, S2 running in non-retrigger mode. MW adds noise-shaped pitch modulation (LFO3). Macros 1/2 control attack/release time, M3 adds chorus with rate modulation via LFO2, M4 adds saturation, M5 introduces re-triggering LP filter modulation (LFO5, speed modulation via LFO1), M6 adds delay FX, M7 adds re-triggering pan modulation (per note) for S2/3 via LFO4.
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725 Iris 1-patches (including 17+ GB of samples) and 565 Iris 2-patches (14.44 GB of samples) are currently available in the subscription library.
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16300 posts since 12 Oct, 2008 from Here and there
Improvising with an Iris 2 preset from the upcoming deployment (processed grand piano sounds), automating some of the installed Macros and the modulation wheel in Cubase, 100% Iris2.
https://www.youtube.com/watch?v=ihk8MMdgk6k
https://www.youtube.com/watch?v=ihk8MMdgk6k
