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Sampleconstruct
KVRAF
 
13960 posts since 12 Oct, 2008, from Here and there

Postby Sampleconstruct; Tue Jun 26, 2018 6:36 pm Re: Annual Subscription for Iris Presets

Demo for an Iris2 patch from the upcoming deployment of Iris2 sounds, Macro/modulation wheel automation in LogicX.

https://www.youtube.com/watch?v=g7UjMY_mIwE
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Sampleconstruct
KVRAF
 
13960 posts since 12 Oct, 2008, from Here and there

Postby Sampleconstruct; Thu Jun 28, 2018 2:09 am Re: Annual Subscription for Iris Presets

Slightly cinematic demo for a single Iris2 patch from the upcoming deployment, some Macro and modulation wheel automation in LogicX, 100% Iris2.

https://soundcloud.com/sampleconstruct/ ... bscription
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Sampleconstruct
KVRAF
 
13960 posts since 12 Oct, 2008, from Here and there

Postby Sampleconstruct; Thu Jun 28, 2018 4:50 am Re: Annual Subscription for Iris Presets

Ambient music demo featuring two Iris 2 patches from the upcoming deployment of Iris 2 sounds, plenty of Macro and modulation wheel automation in LogicX.

https://www.youtube.com/watch?v=YGyftV4WBy0
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Sampleconstruct
KVRAF
 
13960 posts since 12 Oct, 2008, from Here and there

Postby Sampleconstruct; Thu Jun 28, 2018 6:45 am Re: Annual Subscription for Iris Presets

Release info for the June deployment of Iris 2 sounds:

12 converted and 3 original Iris 2 patches were distributed on June 28th - 2018, 469.7 MB unzipped.

Patches:

Drone Harmonics
MW adds distortion, 6 Macros are assigned, please check the Macro page. S2+3 run in non-retrigger mode. In the Iris 2 version, M7 adds fast vibrato to S3.

Drone Mover Split (Iris 2 only)
Three oscillators using different segments the same long sample (a handful of dark drones with the same root note processed with Sound Particles and other things), overlapping split points: C2/C6 (C3/C7 in Iris), S1/3 are running in Radius RT-mode. Macro adds re-triggering LP filter modulation for cutoff/resonance (LFO1/2), M3 increases modulation speed. M3 adds stereo-landing, M4 increases flanger delay/feedback), M5 controls amount of delay FX, M6 adds delay time modulation via free-running LFO3, M7 controls amount of saturation/distortion. MW adds re-triggering amplitude modulation via LFO4 (shape modulated by LFO5).

Gong Octet
Eight Thai gongs played by eight workshop students during one of my recent workshops, the result was processed with GRM Tools Evolution and other things. Each of the three layered oscillators plays different spectral aspects of the long soundscape, Macros 23/4 are dedicated volume controls for S1/3. MW decreases LP filter cutoff and adds distortion, M5 adds random pitch modulation, control modulation speed with M6. M1/2 control amount of chorus/delay FX.

In the Iris 2-version, the random&hold LFOs assigned to Macro 5 are substituted by noise-shaped LFOs, as Iris2 doesn’t allow to modulate S&H speed with any kind of modulator (it’s simply broken). M7 adds re-triggering pan modulation, M8 controls panning speed. Also the modulation wheel introduces some LP filter modulation.

Gong Trio
Improvising with three Thai gongs live on tape/HD. Each oscillator plays a different segment/spectral selection of the same long textural sample, S1 running in Radius RT-mode. MW adds a tad of pitch modulation to S1+2 (different LFO shapes). Macros 1+2 (x/y) control amount of delay/reverb FX, M3 controls HP filter cutoff.

In the Iris 2-version, an additional sample is added in S4 combining chimes with Thai gongs, Macro 6 controls volume of S4, M7 adds noise-shaped pitch modulation. M4 adds re-triggering pan modulation, M5 adds distortion.

Hang Sub Hit And Stretch
Hitting the backside of the Hang with the hand produces a deep sub-tone, A dry version of that sound is used in S1 (which plays the reversed and looped decay phase) and S3 (hit in one-shot-mode), S2 uses a time-stretched derivative of that sound. MW introduces tempo-synced, square-shaped pitch modulation to the time-stretched sound. Macro 3 tunes the stretched sound up an octave, M4 controls the sustain level of the reversed loop in S1, use M5 for adding filter modulation and M6 for controlling filter modulation speed. M1+2 control amount of delay/reverb FX.

Innocence Split
S1/2 share the same long tonal soundscape with inverted frequency spectra in split mode, overlapping split point is A3 (A4 in Iris). MW controls HP filter cutoff.
Introduce noise-shaped pitch modulation with Macro 6, check the matrix to see what the other 7 Macros are doing.

Jupiter Rain
Re-synthesizing a tonal Phonem texture from Phonemklatura with Melodyne 4, both oscillators use the same soundscape sample, S2 has it’s dedicated volume control, playing the end of the sample back and forth. Both oscillators run in non-retrigger mode, MW introduces tempo-synced, square-shaped pitch modulation. Check the Macro page for filter, envelope and FX controls.

In the Iris2-version, Macro 8 adds re-triggering pan modulation via LFO3 (speed modulated by LFO4).

Ocean Drone Split
A drone texture made by processing an ocean drum wave with Kaleidoscope and other things, S1 plays the full sonic picture in non-retrigger mode, S2 plays a very selective spectral version of the sound, split point is C#3 (C#4 in Iris). MW introduces tempo-synced pitch/amplitude modulation in S1/2. Macro 2 (y-axis) shifts the HP filter cutoff, M1 (x) adds tempo-synced filter modulation, control the modulation speed with M3. Check the Macro page for more controls.

In the Iris 2 version, S3 adds processed ocean waves, pitch set to fixed mode, key follow slightly modulates pitch to avoid phasing issues, LFO3 permanently modulates pitch in S3. Macro 7 controls volume of S3.

Organ Animal (Iris2 only)
Stacked synth texture with a variety of timbres and granular components, S1 uses a more selective spectral filter, S2 adds gull range frequencies, Tempo-synced LFO1 modulates amplitude, inverted in S2, control sync-speed with M2. M3 adds re-triggering filter modulation via LFO2/3, M4/5 control chorus/delay FX, M6 controls release time (ENV5). MW adds tempo-synced pitch modulation via LFO5, the shape of the ramp up is modulated by LFO4.

Pollux Drone (Iris2 only)
Multi-sampled synth drone processed with Kaleidoscope and other things, 4 pitches were sampled between C1-G5, check the mapping page for split points, all oscillators are playing in non-re-trigger mode, Glide is activated. MW adds tempo-synced, re-triggering amplitude modulation (LFO1/2), Macros 1/2 control attack/release, M3 adds tempo-synced, re-triggering filter modulation. Macros 4-7 control amount of chorus (modulated by free running LFO5), delay, distortion, reverb FX.

Wondrous Place
Two samples from my Alchemy Bank Alchemistry Beyond, a processed recording of an old backstage piano I found in a Russian concert hall and a vocal sample with melodyned female overtone singing. The inverted modulation wheel controls the LP filter cutoff. Macro 1 adds random pitch modulation to the voice, Macro 2 controls the speed of the amplitude modulation of the piano sample.

In the Iris 2-version, Macro adds vibrato (LFO3), M4 adds re-triggering pan modulation via LFO4 (inverted in S2), M5 controls panning speed.

Woodpecker Trio
The same long sample is used in all 3 oscillators, a field recording with woodpeckers which I recorded in the deep woods on a sunny morning in early spring. The oscillators are fine-tuned to 440 Hz. MW adds distortion and increases the HP filter cutoff. Macros 1+2 control the amount of delay (tempo-synced) and reverb FX, M3+5 add random pitch modulation to oscillators 1+2, M 4+6 control the modulation speed.

In the Iris2-version, Macro 7 controls amount of re-triggering pan modulation in S3, M8 controls panning speed. Also the S&H LFO for modulating pitch has been replaced by a noise-shaped LFO, as the S&H often doesn’t work and it’s speed can’t be modulated (it’s a bug).

Woodpeckers Calling
The same long sample is used in oscillators 1+2, a field recording with two communicating woodpeckers and some bird calls which I recorded in the deep woods on a sunny morning in early spring. Both samples play in non-retrigger mode, in oscillator 2 the sounds plays backward/forward. The x/y-pad controls amount/tone of the aliasing distortion, MW adds random pitch modulation in S1 and increases panning speed in S2. M3 controls amount of delay FX, M4 modulates various delay parameters. Inverted Macro 5 controls LP cutoff and M6 controls amount of reverb FX.

Woodworks 01
Two long field recordings which I recorded in the deep woods on a sunny morning in early spring are used in S1+2. In S1 there is the sound of wooden accents, a bird building his/her nest inside a tree. In S2 there is a bird repetitively singing a rising minor third accompanied by more nest building action. M1+2 (x/y) control amount of delay/flanging FX, M3 adds noise-shaped pitch modulation to the Bird in S2, M4 adds random pitch modulation to the wood sounds in S1. MW increases LP filter cutoff.

In the Iris2-version, Macro 5 adds re-triggering pan modulation (inverted in S2), M6 controls panning speed.

Woodworks 02
The same long sample is used in all 3 oscillators, a field recording which I recorded in the deep woods on a sunny morning in early spring. In S1 there is an angry bird alarming the rest of the family (I suppose she/he was afraid of all my recording gear). In S2 there is a bird repetitively singing a rising minor third accompanied by nest building action and woodpeckers. S3 has a very narrow, surreal sounding spectral selection of all the activities. The FX section is running in Send-mode, S1 is send into the delay, S3 is send into the reverb, all oscillators can be send into the aliasing distortion using Macro 1 (x), control distortion tone with M2 (y). The inverted modulation wheel reduces LP filter cutoff, with the wheel fully engaged, you only hear the effect returns (as the sends are routed pre-filter). M3 adds pan modulation to all oscillators with a slightly different speed for each LFO.

In the Iris2-version, Macro 4 adds noise-shaped pitch modulation (inverted polarity in S3).
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725 Iris 1-patches (with 17+ GB of samples) and 452 Iris 2-patches (with 11+ GB of samples) are currently available in the subscription library.
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