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Sampleconstruct
KVRAF
 
14024 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
 
14024 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
 
14024 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
 
14024 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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Sampleconstruct
KVRAF
 
14024 posts since 12 Oct, 2008, from Here and there

Postby Sampleconstruct; Sun Aug 05, 2018 3:19 am Re: Annual Subscription for Iris Presets

Demo for a new Iris 2 preset from the upcoming deployment, automating the installed Macros in LogicX.

https://soundcloud.com/sampleconstruct/ ... bscription
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Sampleconstruct
KVRAF
 
14024 posts since 12 Oct, 2008, from Here and there

Postby Sampleconstruct; Mon Aug 06, 2018 7:50 am Re: Annual Subscription for Iris Presets

Video demo for an Iris 2 preset from the upcoming deployment, automating the installed Macros in LogicX. The multi-samples in oscillators 1-4 were made be re-synthesizing the sample of a piano string texture (additive re-synthesis in Icarus).

https://www.youtube.com/watch?v=MSccdGXGe1Y
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Sampleconstruct
KVRAF
 
14024 posts since 12 Oct, 2008, from Here and there

Postby Sampleconstruct; Tue Aug 07, 2018 7:23 am Re: Annual Subscription for Iris Presets

Dark ambient atmosphere featuring two Iris 2 presets from the upcoming deployment, automating some of the installed Macros in LogicX.

https://soundcloud.com/sampleconstruct/ ... bscription
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Sampleconstruct
KVRAF
 
14024 posts since 12 Oct, 2008, from Here and there

Postby Sampleconstruct; Thu Aug 09, 2018 11:42 pm Re: Annual Subscription for Iris Presets

Improvising live on video with an Iris 2 preset the upcoming deployment of Iris2 sounds, tweaking some of the installed Macros and the modulation wheel on the fly.

https://www.youtube.com/watch?v=PqGm6UAmvLw
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Sampleconstruct
KVRAF
 
14024 posts since 12 Oct, 2008, from Here and there

Postby Sampleconstruct; Fri Aug 10, 2018 6:19 am Re: Annual Subscription for Iris Presets

Here comes the release info for the August deployment of Iris 2 sounds:

10 converted and 5 original Iris 2 patches were distributed on August 10th - 2018, 447.8 MB unzipped.

Door Monster Split (Iris 2 only)
Processed door squeaks - in the lower half a melodyned door squeak with all pitch glissandos removed is layered in S1/2, in S3/4 the same door squeak with preserved pitch glissandos is layered in S3/4, the latter each have a dedicated volume control (Macros 2/3), S3 is playing in Radius RT-mode, overlapping split point: C3 (C4 in Iris). MW adds noise-shaped pitch modulation, Macro 1 controls LP cutoff, M4 adds re-triggering pan modulation in S1/2/4, M8 controls panning speed. Re-triggering amplitude modulation can be dialed in with M5 for S1/2 via LFO1/2 running at different speeds, M6 increases modulation speed. M7 controls amount of delay/chorus/reverb FX.

Duduk Synth
S1+2 play different segments and spectral aspects of a duduk phrase, S1 running in Radius RT mode for timing preservation, S2 running in non-retrigger mode. S3 uses the sample of a faster duduk phrase. MW adds tempo-synced pitch modulation to S2+3. Macros 1+2 control delay/reverb Mix, M3 reduces LP cutoff, M4 adds tempo-synced filter modulation, only audible when M3 is engaged.

Evo Bells 01
Processed church bells recorded on a walk through Munich
2 samples, Modwheel -> pitch modulation
Macro 1 increases resonance of the envelope-controlled HP Filter
M2 adds square-shaped filter modulation, M3 adds delay

In the Iris 2-version, S3 adds a sample made with Kaleidoscope, Macro 4 controls it’s volume. M5/6 control amount of re-triggering pan modulation (per voice)/panning speed, M7/8 control chorus mix/speed.

Evo Bells 02
Processed church bells recorded on a walk through Munich
1 sample split up into 2 segments (S1+2)
S1 runs in Radius RT mode
Macros 1+2 control the aliasing FX (amount+tone)
M3 controls panning modulation-speed in S1, M4 adds delay
M5 controls delay time and feedback amount, M6 controls volume of the sub-oscillator, MW tunes the sub-oscillator up 2 octaves

In the Iris 2-version, the sub-oscillator also has pan modulation applied (inverted polarity).

Four Dimensions Var (Iris 2 only)
Drone made with Phonem and Kaleidoscope in S1 (Radius RT-mode) and S2 (non-retrigger mode), Macro 1 controls LP filter cutoff, M2 introduces tempo-synced filter modulation via LFO1/2. M3-5 controls amount of distortion/chorus/delay FX, MW adds tempo-synced amplitude modulation via LFO2.

Four Dimensions (Iris 2 only)
Drone made with Phonem and Kaleidoscope, all three oscillators use the same long sample with S2 running in non-retrigger mode. MW controls amount of distortion FX, Macro 1 controls LP filter cutoff, M2 introduces tempo-synced filter modulation via LFO4/5. M3 adds pitch modulation via noise-shaped LFO3 (assigned to fine-tuning), M4 adds pitch modulation via LFO1, M5 controls modulation speed. M6 controls audio rate-modulation (LFO3 assigned to amplitude), AM speed modulated by LFO1. M7 controls chorus FX mix, M8 controls amount of delay/reverb FX.

Framedrum FX Layers
A single frame-drum hit in S1 and it’s electronic derivatives in S2/3 mapped from C0 - C6 (C1 - C7 in Iris). Each layers has it’s dedicated volume control (Macros 3-5), S2 can be tuned up 2 octaves using M6. Please check the Macro page for more controls.

In the Iris 2-version, LP filter cutoff modulation via velocity is always active (as modulation amount can not be assigned to a Macro).

Framedrum Surreality
A frame-drum texture from my Reaktor Bank No Boundaries for DRON-E processed with Trash 2 and B2. Each oscillator is using the same sample, playing different segments and spectral selections. S2 is not following pitch (Fixed mode), it's pitch is being modulated by an LFO, LFO speed assigned to the modulation wheel. The MW also adds random pitch modulation to S3. Each oscillator has it's dedicated volume control (Macros 3 - 5), Macros 1+2 (x/y) control amount/time of delay FX, M6 controls amount of reverb FX.

In the Iris 2-version, Macro 7 adds noise-shaped, re-triggering pan modulation (inverted polarity in S2).

Perseids Split

A Kaleidoscope texture inspired by/made with NASA images, both oscillators share the same long soundscape, overlapping split point is C4 (C5 in Iris). MW introduces noise-shaped pitch modulation, check the Macro page for FX controls.

In the Iris 2-version, Macro 6 adds re-triggering pan modulation via LFO3, inverted polarity in S2, M7 controls pan modulation speed.

Piano String Drone (Iris 2 only)
Additive re-synthesis of a piano string played with a pencil processed with granulator (one octave higher) and other things, multi-sampled at four pitches (F#0/C2/F#3/C5). Macros 1/2 control attack/decay time, M2 adds tempo-synced, re-triggering LP filter modulation (LFO5), M4-7 control amount of saturation, delay, reverb, flanger FX, M8 controls flanger speed. MW adds tempo-synced, re-triggering amplitude modulation (via LFO1/2).

Psaltery Dots
The soundscape used in this patch was created by sending one of my Spectral patches from Spectral Excursions into a convolution reverb, using a psaltery octave-texture as the impulse response. Both oscillators use the same sample, the spectral selection in S1 - playing in Non-Retrigger mode - is extremely dotted (took about 2 hours to paint - LOL), S2 uses only the reverb tail. Both oscs have dedicated volume controls (Macros 3+4), S2 can be tuned down an octave using M5. M1 (x) adds square-shaped pitch modulation to S1 (+/- 1 octave with M1 fully engaged), M2 (y) controls modulation speed. Macros 6-8 control amount of chorus/delay/reverb FX.

Selective Female (Iris 2 only)
A short female vocal phrase looping back and forth, running in Radius RT-mode is playing in S1, slow amplitude modulation can be dialed in with Macro 1. S2/3 add a multi-sampled, re-synthesized vocal drone, split point located at C3 (C4 in Iris). M6 adds re-triggering pan modulation via LFO3, M7 controls panning speed. M8 increases filter resonance, permanent cutoff modulation is applied via free-running LFO 5. Please check the Macro page for FX assignments.

Space Bed Split
Cosmic soundscape made with Kaleidoscope and Molekular, S1/2 use different segments from the same long sample, S1 is running in non-retrigger mode, S2 is set to backward/forward looping - split point is C4 (C5 in Iris). Control HP cutoff with Macro 2, add tempo-synced filter modulation with M1. Add pan modulation to both samples with Macro 3 (tempo-synced in S2), M4 controls the pan modulation speed for S1. M5/6 control amount of chorus/delay FX.

In the Iris 2-version, MW adds tempo-synced, square-shaped pitch modulation, +/- 1 octave with the wheel fully engaged.

Space Bowl Scape
Soundscape made with this singing bowl. All oscillators use the same long sample, all samples play in non-retrigger mode. MW adds noise-shaped pitch modulation in S1 and controls amount of chorus FX, Macros 1/2 (x/y) control amount of tempo-synced HP filter modulation / cutoff frequency. M3 tunes S3 up 3 octaves when fully engaged, M4 tunes S2 up 1 octave when fully engaged. M5 introduces amplitude modulation in S3, control modulation speed with M6. M7 controls amount of delay FX.

In the Iris 2-version, Macro 8 increases attack time (ENV5).

Space Sax Phrases Split
Three processed soprano sax phrases - derived from a live-on-tape-impro on my sax - in three oscillators split across the keyboard between C0-C6 with a 2-octave range each, all oscillators play in Radius-RT mode. Modwheel adds noise-shaped pitch modulation, Macro 1 adds chorus FX, M2 increases HP filter cutoff, M3-5 control FX amounts M6 controls release time.

In the Iris 2-version, Macro 7 adds re-triggering pan modulation, M8 controls panning speed (LFO4).

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725 Iris 1-patches (including 17+ GB of samples) and 467 Iris 2-patches (including 11.66 GB of samples) are currently available in the subscription library.
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