Annual Subscription for Iris Presets

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Sampleconstruct
KVRAF
14385 posts since 12 Oct, 2008 from Here and there

Post Wed Oct 24, 2018 9:27 pm

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.

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KVRAF
14385 posts since 12 Oct, 2008 from Here and there

Re: Annual Subscription for Iris Presets

Post Mon Dec 10, 2018 10:47 am

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

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Sampleconstruct
KVRAF
14385 posts since 12 Oct, 2008 from Here and there

Re: Annual Subscription for Iris Presets

Post Wed Dec 12, 2018 5:27 am

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

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Sampleconstruct
KVRAF
14385 posts since 12 Oct, 2008 from Here and there

Re: Annual Subscription for Iris Presets

Post Wed Dec 12, 2018 9:33 am

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

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Sampleconstruct
KVRAF
14385 posts since 12 Oct, 2008 from Here and there

Re: Annual Subscription for Iris Presets

Post Fri Dec 14, 2018 7:21 am

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).

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KVRAF
14385 posts since 12 Oct, 2008 from Here and there

Re: Annual Subscription for Iris Presets

Post Mon Jan 21, 2019 9:44 am

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

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Sampleconstruct
KVRAF
14385 posts since 12 Oct, 2008 from Here and there

Re: Annual Subscription for Iris Presets

Post Wed Jan 30, 2019 11:28 am

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

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Sampleconstruct
KVRAF
14385 posts since 12 Oct, 2008 from Here and there

Re: Annual Subscription for Iris Presets

Post Thu Jan 31, 2019 7:52 am

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

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Sampleconstruct
KVRAF
14385 posts since 12 Oct, 2008 from Here and there

Re: Annual Subscription for Iris Presets

Post Sun Feb 03, 2019 2:11 am

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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