Here comes the release info for the June deployment.
16 converted and 2 original Iris 2 patches (450.2 MB unzipped) were distributed on June 18th - 2019.
Dreamy Piano Split - Iris 2 only
Upper half playing from C3 – C7 (C4 C8 in iris): Layered processed piano phrase, both oscillators use the same sample, S1 is running in non-retrigger mode.
Lower half playing from C-1 – B2 (C0 – B3 in Iris): S3 uses the middle section of the sample also used in S1/2, S4 adds a rich evolving drone sound and is running in non-retrigger mode.
MW adds tempo-synced, re-triggering pitch modulation (LFO3), Macro 1 introduces tempo-synced, triplet-based, re-triggering amplitude modulation (via LFO1/2), M2 adds tempo-synced, triplet-based, re-triggering HP filter modulation, M3/4 control amount of delay/chorus FX, M5 controls release time (ENV5 assigned to master gain).
Espresso Beings
The sample of the Milkfoamer in my Espresso machine, opening the valve which is also used to discharge excessive air inside the machine. S1 running in Radius RT mode captures the strange animal-like sounds which occur when the excessive air has almost left the machine. S2 plays the gurgling sound which happens at the beginning of the process. MW adds fast random pitch modulation to S1. Macro 1 (x) adds saturated distortion, M2 adds long delay FX, M3 controls the speed of the pitch modulation in S2.
In the Iris 2-version, Macro 4 adds chorus (with high feedback/delay settings).
Espresso Harmonics Split
This patch captures the beautiful harmonics of my Espresso machine. Different aspects of the main drone with narrow spectral selections are playing in S1+2, root notes are located at G1 (G2 in Iris, mapped up to C3 (C4 in Iris). S3 plays above C3 (C4) and captures the sound at the end of the coffee-making-process - the foam on top of the coffee (créma) inside the cup.
MW shifts the cutoff frequency of the HP filter and adds tempo-synced filter modulation. Macro 1 adds delay FX, M2 adds distortion.
In the Iris 2-version, Macro 3 controls filter modulation speed (when MW is engaged), M4 adds reverb, M5 adds noise-shaped pitch modulation in S1.
Espresso Whisper Pad
This patch uses the whispering sound that occurs when the Espresso machine is in standby mode, only audible by extremely boosting the input gain of the microphone. This sample is run through a tuned bandpass filter with high resonance. Shift the sound down an octave with MW (sample pitch and filter cutoff). Macros 1+2 control delay/reverb Mix, M3 adds filter modulation, M4 controls the modulation speed.
In the Iris 2-version, S2 adds a drone sample from my sound library Framedrum for Alchemy, control it’s volume with Macro 5.
Harmonic Tube 01
Sample of playing overtone transitions on a plastic tube by turning it at different speeds. S1+2 play different harmonic aspects of that sample. MW adds some evil distortion, Macros 1+2 control the delay time/feedback and wetness.
In the Iris 2-version, M3 adds noise-shaped pitch modulation, S4/5 control attack release time (EN5 assigned to master gain).
Nightingale Resynthed Split
The re-synthesized/metasynthed field recording of a lovely nightingale singing outside my studio window is used in all three oscillators, playing different segments and spectral selections. S3 is mapped up to B2 (B3 in Iris), S1+2 (running in non-retrigger mode) are mapped from C3 (C4) upwards. All oscillatros have a tiny bit of pitch modulation applied. MW adds aliasing distortion and chorus FX. Macros 1+2 (x/y) control amount of delay/reverb FX, M3 controls LP filter cutoff.
In the Iris 2-version Macro 4 adds re-triggering pan modulation (inverted polarity in S2), M5 controls panning speed (LFO4).
Nightingale Scape
A processed segment of the field recording of a nightingale (only the repeating notes between the verses) singing outside my studio window is used in all three oscillators, each oscillator playing a different spectral band and segment of the same sample. S1 plays over the entire range, S2 is mapped from C3 (C4 in Iris) upwards, S3 is mapped up to C3 (C4). All oscillators are running in non-retrigger mode. S1+2 both have a slow LFO assigned to their volume, so they fade in and out at different speeds. The inverted MW controls LP filter cutoff. Please have a look at the Macro section to see how the 5 assigned Macros affect the sound.
In the Iris 2-version, Macros 6/7 control attack/release time (ENV5), M8 adds noise-shaped pitch modulation (LFO3).
Nightmare Beatz
The electronic drum loop in S1 is set to fixed pitch, use Macro 4 to pitch up/speed up the loop. M1/2 control amount of distortion/distortion tone, M3 controls HP filter cutoff. MW adds reverb.
Piano Mystery - Iris 2 only
Processed piano improvisation, all three oscillators use different segments of the same long sample, S1 playing in Radius RT-mode, S2/3 in non-retrigger mode with S3 playing backward/forward. S3 has permanent, re-triggering amplitude modulation applied (LFO3 - speed modulation via LFO4). Macros 1/2 control attack/release time (ENV5), M3 introduces LP filter modulation (LFO5 - speed modulation via LFO4), M4-6 control amount of delay/reverb/chorus FX, M7 controls chorus speed. MW introduces re-triggering, square-shaped pitch modulation (LFO1 - speed modulation via LFO4), +/- 1 octave with MW fully engaged.
Voice Tails
Vocal samples from my Alchemy library Alchemistry Beyond processed with Eventide's Backhole and some other stuff. Both oscillators play different segments/bands of the same sample. S1 runs in non-retrigger mode so when you play legato/overlapping notes the sample will not retrigger from the start. The inverted MW controls the LP-Filter Cutoff, Macro 1 adds delay FX. This patch is great for big and lush pads/chord progressions.
In the Iris 2-version, M2 controls the speed of the re-triggering amplitude modulation in S2, M3 adds re-triggering pan modulation in S2 (LFO3), M4 controls panning speed, M6 adds phaser FX. MW also adds re-triggering, tempo-synced LP filter modulation (LFO5).
Vox Gong Morph Split
Lower half: layered in S1/2 with inverted spectral selections, running in non-retrigger mode is a Tuvan vocal drone audio-morphed with a processed Thai gong-texture, both oscillators use a slow LFO to modulate their volume at different speeds, creating an ever changing texture.
Upper half: the processed Thai gong texture which was used to morph the vocal drone playing in non-retrigger mode, MW adds tempo-synced amplitude modulation - overlapping split point: C4 (C5 in Iris).
Macro 2 controls HP filter cutoff, M1 adds slow filter modulation, control modulation speed with M3. Check the Macro page for filter and FX controls.
Wahwah Trombone Split
Trombone with Wahwah mute performing an accel/rit with the Wahwah vowels, a sample recorded for my sound library Sonic Cinema for HALion 5. S1+2 both use the same sample, overlapping split point is C4 (C5 in iris), S2 is running in non-retrigger mode. Add random pitch modulation with MW, control the modulation speed with Macro 3. M1+2 control the amount of delay/reverb FX, M4 adds aliased distortion, modulate the tone of the aliasing with Macro 5.
In the Iris 2-version, MW adds noise-shaped pitch modulation (instead of S&H), Macro 6 adds re-triggering, tempo-synced amplitude modulation (LFO2), M7 adds re-triggering pan modulation (LFO3), control panning speed with M8.
Warped Flago Cloud Split
An electric guitar flageolet texture from my sound library Ambient Strings for MachFive processed with various things. The same long soundscape is used in all three oscillators. S1+2 are layered and play up to C3 (C4 in Iris), use Macros 3/4 to balance the sounds, use Macro 5 to tune S2 up an octave (scaled in semitones) - S3 plays from C3 upwards. S2/3 play in non-retrigger mode. M1 (x) introduces tempo-synced random filter modulation, M2 controls LP filter cutoff, the further M2 is down the more modulation will be applied. M6/7 introduce pan modulation in S2/3, M8 controls amount of delay FX.
Water Combs Split
Two (multisampled) tonal textures made with a preset from my soundset Sonic Tabulator are playing in S1+2, S3 is layered with S1 in the lower keyboard region and plays a more dotted spectral selection of the end of the lower soundscape, it also has a dedicated volume control (Macro 3). S1+3 are running in non-retrigger mode, S3 has a random LFO applied to it's pan position, MW adds tempo-synced random pitch modulation to S1+2. Please check the Macro page to learn how the other Macros modify the sound.
Waterfall Percussion
Derived from a chime-thing named Waterfall (picture here), which produces very loud and percussive wooden, bamboo-like textures although it's made totally from plastic. S1 uses an unprocessed Waterfall-improvisation. moving the instrument between the 3 microphones (L-C-R) while playing. S2/3 share a long processed electronic derivative of that sample, S1/2 are running in non-retrigger mode. MW decreases LP filter cutoff and adds distortion FX, Macro 2 (y) introduces random pitch modulation to S1/2, control modulation speed with M1 (x). S3 - playing the full frequency band of the 2nd half of the processed version - does not react to incoming Midi pitch (Fixed-mode), control it's volume with M3, tune it with M4 (+/- 2 octave, middle position -> no transposition), add pitch modulation with M5, control modulation speed with M6. Add very short/combed delays with M7, tune the delays with M8.
In the Iris 2-version, the S&H LFOs 1+2 modulating pitch in S1/2 are substituted by noise-shaped LFOs as the S&H often just don’t work and their speed can’t be modulated (broken). The individual amplitude envelopes are substituted by ENV5 controlling master gain.
Waterphone Gong Texture
The involved sample was made by tremolating on the bottom of a waterphone with a soft gong beater which sounds similar to a Thai Gong. S1 plays a more narrow spectral selection, S2 (volume assigned to MW) plays the entire frequency range and is tuned an octave lower. Tune it up two octaves using Macro 2 (y). Add noise-shaped pitch modulation to S1 with Macro 1. Please check the Macro page to learn how the other 6 assigned Macros affect the sound.
Waterphone Harmonics Split
A long scape made with processed waterphone sounds is used in all three oscillators, each osc playing a different segment. S1+2 are layered playing up to C4 (C5 in iris), S3, mapped from C#4 (C#5) upwards, plays the second half of the sample backwards/forwards. Macros 1-4 control various FX parameters, M5 adds pitch modulation to S1+2, M6 controls the attack time of S1+2. MW reduces LP filter cutoff and adds distortion.
In the Iris 2-version, MW also introduces some free running LP filter modulation (LFO5), Macro 7 adds tempo-synced, square-shaped pitch modulation in S3 (LFO4), M8 controls pan modulation depth for S3.
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725 Iris 1-patches (with 17+ GB of samples) and 583 Iris 2-patches (14.89 GB of samples) are currently available in the subscription library. The price for the Iris 2 subscription was upped to € 99 EUR.
Annual Subscription for Iris Presets
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286 - KVRAF
- Topic Starter
- 16151 posts since 12 Oct, 2008 from Here and there
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16151 posts since 12 Oct, 2008 from Here and there
Whoever thought another vocal pad sound is obsolete was wrong - I just programmed and played this sound in Iris 2, from the upcoming subscription deployment.
https://soundcloud.com/sampleconstruct/ ... bsripction
https://soundcloud.com/sampleconstruct/ ... bsripction
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16151 posts since 12 Oct, 2008 from Here and there
Video demo for an Iris 2 patch from the upcoming deployment which uses processed ocean field recording sounds (which I recorded in France some weeks ago) - Macro automation in LogicX.
https://youtu.be/A7l1kcyxGmA
https://youtu.be/A7l1kcyxGmA
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16151 posts since 12 Oct, 2008 from Here and there
Improvising with an Iris 2 preset from the upcoming August deployment - automating some of the installed Macros and the modulation wheel in a second pass in Logic. This patch makes use of field recordings (processed and unprocessed) I made at the Atlantic coast in France in July.
https://youtu.be/pZ0K2LSEqCA
https://youtu.be/pZ0K2LSEqCA
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16151 posts since 12 Oct, 2008 from Here and there
First: another demo featuring two vocal patches from the August deployment
https://soundcloud.com/sampleconstruct/ ... bsripction
and the release info for the August deployment:
11 converted and 6 original Iris 2 patches (525.8 MB unzipped) were distributed on August 8th - 2019, including:
Calm Sea Stone Beach - Iris 2 only
A field recording of low tide at a stone beach in France, Atlantic coast is playing in S1/2, control volume of 1/2 with Macro 1, add pan modulation with M2. S3/4 use a processed version of that field recording, treated with Kaleidoscope and other tools. M3 tunes S2/4 up an octave so that they’ll match the same root note as their siblings. M4 controls LP cutoff, M5 adds noise-shaped pitch modulation in S1/2, M6/7 control amount of delay/reverb FX. MW adds tempo-synced pitch modulation in S3/4 (ramp up).
Cave Vox - Iris 2 only
Male overtone singing recorded inside a cave at the seaside, de-noised and heavily processed with Melodyne, then layered and further processed with granular and spectral (re)synthesis. All 4 oscillators use the same sample, S2 running in Radius RT-mode, all other oscillators running in non-retrigger mode. Tune up S3 an octave with Macro 1, add re-triggering pan modulation in S2/4 with M2 (via LFO1), M3 control amount of chorus FX. M4 adds -re-triggering, tempo-synced LP filter modulation (LFO5), M5 adds re-triggering, tempo-synced amplitude modulation in S1/2 (LFO2. M6-8 control amount of delay/distortion/reverb FX. MW adds noise-shaped pitch modulation (LFO3 assigned to fine-tuning).
Convoluted Beach Baby - Iris 2 only
A field recording executed on a French beach, a crying baby was running past my microphones, processed in Spectral Layers 6 (time-stretched, de-noised, layered and partially transposed) then auto-tuned to a minor scale with PitchMap and layered with a convoluted sound made by sending the field recording through a choir pad impulse response. All three oscillators use the same sample, S1 functioning as a pad sound with only the octaves selected, S2 running in Radius RT mode, S3 running in non-retrigger mode. S2/3 have dedicated volume control (Macros 1/2), M3 introduces re-triggering, tempo-synced LP filter modulation, M4/5 control delay mix/feedback, M6 adds chorus FX (modulated by LFO2 -> /depth/delay), M7 adds saturation, M8 controls release time (ENV5). MW adds noise-shaped pitch modulation.
Gongclash Stretch
The recording of 2 Thai gongs clashing several times extremely time-stretched and enriched with Paulstretch. All 3 oscillators play different segments and spectral selections of the same long sample. MW decreases LP filter cutoff and adds chorus FX, Macros 1+2 (x/y) control amount of pitch modulation for S1+2 and modulation speed. M3 controls amount of delay FX.
In the Iris 2 version, MW also adds free running LP filter modulation (LFO5).
Ocean Music Split - Iris 2 only
Field recording of ocean waves, low tide, beach with stones, S1 uses only the processed filed recording (dynamics/reverb), pitch is set to “fixed“, add slow pitch modulation with Macro 1, control volume with Macro 2. S2/3 use resonating ocean waves (made with BYOME), S4 uses a resonating ocean wave drone - all samples run in non-retrigger mode. Macro 3 adds tempo-synced, re-triggering LP filter modulation (LFO5), M4 adds re-triggering pan modulation in S2/3 (LFO2), M5/6 control amount of phaser/delay FX, M7/8 control attack/release time. MW adds distortion.
Sax Patch
Soprano sax arpeggios in S2/3, a processed sax phrase in S1, Macro 1/2 control delay/reverb Mic, MW introduces noise-shaped pitch modulation of S2/3. LFO5 permanently modulates LP filter cutoff.
Space Frogs
A 2-minute long sample of frogs in a pond which I recorded some years ago in a suburban area in Dresden is used in all 3 oscillators playing different segments and spectral selections. The nearby motorway makes for some nice distant drones which can be heard in S2. S1 plays in Radius RT mode, S3 is set to non-retrigger mode. Destroy the frogs with the modulation wheel, control LP Cutoff with inverted Macro 1, add delay with M2. M3+4 control pitch modulation for S1 (amount/speed), M5+6 control pitch modulation for S3.
Spectral Layer Drone - Iris 2 only
S1-3 use the same sample made by audio-morphing a synth drone with a mixed choir glissando in Spectral Layers 6. S4 uses a layered synth sound made with Avenger and MSoundFactory. Each oscillator has re-triggering, tempo-synced amplitude modulation applied, S3 runs in non-retrigger mode. Macro 1 introduced tempo-synced filter modulation (LFO5) and adds distortion, M2/3 add chorus/delay FX.
Vastness
This is the sort of sound I hear when looking into the clear sky at night. A long dronish soundscape made with a variety of plugins is used in all three oscillators. All oscillators are running in non-retrigger mode. The MW adds tempo-synced amplitude modulation to S2+3. Macro 1 (x) controls amount of delay FX, M 2 controls HP filter cutoff, M 3+4 control amount of chorus/chorus speed.
In the Iris 2-version, MW also adds tempo-synced amplitude modulation in S1, Macro 5 adds re-triggering pan modulation in S1, M6/7 control attack/release time (ENV5).
Velocity Stretch Harp
Three Celtic harp plucks from my MachFive 3-library Scattered Entity, covering a good range of the instrument, are split across the keyboard in S1-3. Only the decay phase of the harp plucks were time-stretched and reverberated/modulated, so that when playing long sustained notes, there are some nice modulation and timbre shifts occurring. The Sub-oscillator adds a sine from the factory library with a short decay phase and no sustain, control the sine volume with Macro 3, tune it up an octave with M4. Velocity is assigned to the LP filter cutoff. M5/6 control attack/release for all oscillators, MW adds a tad of vibrato with slightly different modulation speeds in each oscillator.
In the Iris 2-version, Macro 3 controls amount of distortion FX (instead of controlling volume of S4).
Venus Rain
A granulated vocal texture tonalized with Kaleidoscope, S1 uses a more pure, less bright version, S2 - running in non-retrigger mode - the original soundscape with noise bursts, control the volume of S2 with Macro 3. MW adds fast random pitch modulation, Macro 1 adds distortion, M2 (Y) controls HP filter cutoff, please check the Macro page for more FX controls.
In the Iris 2-version, Macro 8 controls attack time (ENV5).
Vibra Mystery
The sample of a rising vibraphone chord with the vibrato engine on, changing the vibrato speed while playing is used in S1+2. A spectralized derivative (GRM and more) of this sample running in non-retrigger mode is used in S3, bring in S3 with the modulation wheel. Macros 1+2 control reverb/delay mix, M3 adds square-shaped pitch modulation to S1+2, inverted M4 controls the modulation speed, M5 adds aliased distortion.
In the Iris 2-version, Macro 6 controls release time (ENV5), M6 adds chorus FX.
Viola Scape Split
Processed viola texture. All 3 oscillators use the same long sample playing different segments and spectral selections from it with overlapping split zones. S3 (in the high register) plays in Radius RT-mode. Check the Map display to see where the split points are located. The inverted modulation wheel controls LP filter cutoff. Macros 1+2 control amount of delay/reverb FX, M3 adds subtle pitch modulation to S1+2, M4 controls pitch modulation speed.
In the Iris 2-version, Macro 5 adds re-triggering pan modulation (inverted polarity in S2), M6 controls panning speed.
Violin Abyss
A downward glissando with natural harmonics on all 4 strings played on a violin, extremely time-stretched. S1-3 play different spectral aspects and segments of this same long sample. The volume of S2+3 is assigned to MW, with the wheel down this patch is just a beautiful pad sound, the Abyss opens when you move the wheel up. As the root notes of the samples are very high, it will take some time to explore the entire sound composition. Add tempo-synced amplitude modulation to S1 with Macro 1 (x), M3+4 add fast random pitch modulation to S2+3.
In the Iris 2-version, Macro 2 control delay mix, M5 adds distortion, M6 introduces re-triggering LO filter modulation, M7 adds noise-shaped pitch modulation in S1, M8 control attack time (ENV5).
Vivid Arp Scape Split
Electronic texture made with various synths processed with patches from DNA for Molekular. All 3 oscillators use the same long textural sample, S1/2 are layered with an offset using the first half of the sound, S3 plays the second half - overlapping split point is G3 (G4 in Iris). The inverted modulation wheel controls LP filter cutoff, with MW up the envelope modulation applied to filter cutoff becomes audible. Macros 1+2 (x/y) control amount of delay/chorus FX, M3 introduces pan modulation to all oscillators.
In the Iris 2-version, MW adds re-triggering, tempo-synced LP filter modulation (instead of filter modulation via envelope).
Vocal Phrase Duet Split
Every now and then I have to sing, so here is a patch using 2 variations of the same vocal phrase (in G minor) split across the keyboard, S3 using the same sample as in S2 but playing in backward/forward mode. All oscillators are running in Radius RT-mode. All samples are mapped across 2 octaves between C1 - C7. Add tempo-synced amplitude modulation to all oscillators with Macro 1 (x), the Modwheel introduces tempo-synced, random-shaped filter modulation. M2 (y) controls amount of delay FX, M3/4 control attack/release time.
In the Iris 2-ver4sion, Macro 5 controls amount of chorus FX.
Vocality Synth Pad - Iris 2 only
Multi-sampled vocal pad sound made with HALion 6 and MSoundFactory, 4 pitches sampled between F#1 – C6. Each oscillator uses the full frequency range of each sample (running in non-retrigger mode) so I’m abusing Iris 2 as a mere sample player in this case. MW adds noise-shaped pitch modulation (LFO3), Macro 1 introduces tempo-synced, re-triggering filter modulation (LFO5), M2 adds tempo-synced, re-triggering amplitude modulation (LFO1/2), M3/4 control attack/release time (ENV5). M6-8 control amount of distortion/chorus/delay/reverb FX.
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725 Iris 1-patches (with 17.05 GB of samples) and 600 Iris 2-patches (with 15.41 GB of samples) are currently available in the patchpool subscription library.
https://soundcloud.com/sampleconstruct/ ... bsripction
and the release info for the August deployment:
11 converted and 6 original Iris 2 patches (525.8 MB unzipped) were distributed on August 8th - 2019, including:
Calm Sea Stone Beach - Iris 2 only
A field recording of low tide at a stone beach in France, Atlantic coast is playing in S1/2, control volume of 1/2 with Macro 1, add pan modulation with M2. S3/4 use a processed version of that field recording, treated with Kaleidoscope and other tools. M3 tunes S2/4 up an octave so that they’ll match the same root note as their siblings. M4 controls LP cutoff, M5 adds noise-shaped pitch modulation in S1/2, M6/7 control amount of delay/reverb FX. MW adds tempo-synced pitch modulation in S3/4 (ramp up).
Cave Vox - Iris 2 only
Male overtone singing recorded inside a cave at the seaside, de-noised and heavily processed with Melodyne, then layered and further processed with granular and spectral (re)synthesis. All 4 oscillators use the same sample, S2 running in Radius RT-mode, all other oscillators running in non-retrigger mode. Tune up S3 an octave with Macro 1, add re-triggering pan modulation in S2/4 with M2 (via LFO1), M3 control amount of chorus FX. M4 adds -re-triggering, tempo-synced LP filter modulation (LFO5), M5 adds re-triggering, tempo-synced amplitude modulation in S1/2 (LFO2. M6-8 control amount of delay/distortion/reverb FX. MW adds noise-shaped pitch modulation (LFO3 assigned to fine-tuning).
Convoluted Beach Baby - Iris 2 only
A field recording executed on a French beach, a crying baby was running past my microphones, processed in Spectral Layers 6 (time-stretched, de-noised, layered and partially transposed) then auto-tuned to a minor scale with PitchMap and layered with a convoluted sound made by sending the field recording through a choir pad impulse response. All three oscillators use the same sample, S1 functioning as a pad sound with only the octaves selected, S2 running in Radius RT mode, S3 running in non-retrigger mode. S2/3 have dedicated volume control (Macros 1/2), M3 introduces re-triggering, tempo-synced LP filter modulation, M4/5 control delay mix/feedback, M6 adds chorus FX (modulated by LFO2 -> /depth/delay), M7 adds saturation, M8 controls release time (ENV5). MW adds noise-shaped pitch modulation.
Gongclash Stretch
The recording of 2 Thai gongs clashing several times extremely time-stretched and enriched with Paulstretch. All 3 oscillators play different segments and spectral selections of the same long sample. MW decreases LP filter cutoff and adds chorus FX, Macros 1+2 (x/y) control amount of pitch modulation for S1+2 and modulation speed. M3 controls amount of delay FX.
In the Iris 2 version, MW also adds free running LP filter modulation (LFO5).
Ocean Music Split - Iris 2 only
Field recording of ocean waves, low tide, beach with stones, S1 uses only the processed filed recording (dynamics/reverb), pitch is set to “fixed“, add slow pitch modulation with Macro 1, control volume with Macro 2. S2/3 use resonating ocean waves (made with BYOME), S4 uses a resonating ocean wave drone - all samples run in non-retrigger mode. Macro 3 adds tempo-synced, re-triggering LP filter modulation (LFO5), M4 adds re-triggering pan modulation in S2/3 (LFO2), M5/6 control amount of phaser/delay FX, M7/8 control attack/release time. MW adds distortion.
Sax Patch
Soprano sax arpeggios in S2/3, a processed sax phrase in S1, Macro 1/2 control delay/reverb Mic, MW introduces noise-shaped pitch modulation of S2/3. LFO5 permanently modulates LP filter cutoff.
Space Frogs
A 2-minute long sample of frogs in a pond which I recorded some years ago in a suburban area in Dresden is used in all 3 oscillators playing different segments and spectral selections. The nearby motorway makes for some nice distant drones which can be heard in S2. S1 plays in Radius RT mode, S3 is set to non-retrigger mode. Destroy the frogs with the modulation wheel, control LP Cutoff with inverted Macro 1, add delay with M2. M3+4 control pitch modulation for S1 (amount/speed), M5+6 control pitch modulation for S3.
Spectral Layer Drone - Iris 2 only
S1-3 use the same sample made by audio-morphing a synth drone with a mixed choir glissando in Spectral Layers 6. S4 uses a layered synth sound made with Avenger and MSoundFactory. Each oscillator has re-triggering, tempo-synced amplitude modulation applied, S3 runs in non-retrigger mode. Macro 1 introduced tempo-synced filter modulation (LFO5) and adds distortion, M2/3 add chorus/delay FX.
Vastness
This is the sort of sound I hear when looking into the clear sky at night. A long dronish soundscape made with a variety of plugins is used in all three oscillators. All oscillators are running in non-retrigger mode. The MW adds tempo-synced amplitude modulation to S2+3. Macro 1 (x) controls amount of delay FX, M 2 controls HP filter cutoff, M 3+4 control amount of chorus/chorus speed.
In the Iris 2-version, MW also adds tempo-synced amplitude modulation in S1, Macro 5 adds re-triggering pan modulation in S1, M6/7 control attack/release time (ENV5).
Velocity Stretch Harp
Three Celtic harp plucks from my MachFive 3-library Scattered Entity, covering a good range of the instrument, are split across the keyboard in S1-3. Only the decay phase of the harp plucks were time-stretched and reverberated/modulated, so that when playing long sustained notes, there are some nice modulation and timbre shifts occurring. The Sub-oscillator adds a sine from the factory library with a short decay phase and no sustain, control the sine volume with Macro 3, tune it up an octave with M4. Velocity is assigned to the LP filter cutoff. M5/6 control attack/release for all oscillators, MW adds a tad of vibrato with slightly different modulation speeds in each oscillator.
In the Iris 2-version, Macro 3 controls amount of distortion FX (instead of controlling volume of S4).
Venus Rain
A granulated vocal texture tonalized with Kaleidoscope, S1 uses a more pure, less bright version, S2 - running in non-retrigger mode - the original soundscape with noise bursts, control the volume of S2 with Macro 3. MW adds fast random pitch modulation, Macro 1 adds distortion, M2 (Y) controls HP filter cutoff, please check the Macro page for more FX controls.
In the Iris 2-version, Macro 8 controls attack time (ENV5).
Vibra Mystery
The sample of a rising vibraphone chord with the vibrato engine on, changing the vibrato speed while playing is used in S1+2. A spectralized derivative (GRM and more) of this sample running in non-retrigger mode is used in S3, bring in S3 with the modulation wheel. Macros 1+2 control reverb/delay mix, M3 adds square-shaped pitch modulation to S1+2, inverted M4 controls the modulation speed, M5 adds aliased distortion.
In the Iris 2-version, Macro 6 controls release time (ENV5), M6 adds chorus FX.
Viola Scape Split
Processed viola texture. All 3 oscillators use the same long sample playing different segments and spectral selections from it with overlapping split zones. S3 (in the high register) plays in Radius RT-mode. Check the Map display to see where the split points are located. The inverted modulation wheel controls LP filter cutoff. Macros 1+2 control amount of delay/reverb FX, M3 adds subtle pitch modulation to S1+2, M4 controls pitch modulation speed.
In the Iris 2-version, Macro 5 adds re-triggering pan modulation (inverted polarity in S2), M6 controls panning speed.
Violin Abyss
A downward glissando with natural harmonics on all 4 strings played on a violin, extremely time-stretched. S1-3 play different spectral aspects and segments of this same long sample. The volume of S2+3 is assigned to MW, with the wheel down this patch is just a beautiful pad sound, the Abyss opens when you move the wheel up. As the root notes of the samples are very high, it will take some time to explore the entire sound composition. Add tempo-synced amplitude modulation to S1 with Macro 1 (x), M3+4 add fast random pitch modulation to S2+3.
In the Iris 2-version, Macro 2 control delay mix, M5 adds distortion, M6 introduces re-triggering LO filter modulation, M7 adds noise-shaped pitch modulation in S1, M8 control attack time (ENV5).
Vivid Arp Scape Split
Electronic texture made with various synths processed with patches from DNA for Molekular. All 3 oscillators use the same long textural sample, S1/2 are layered with an offset using the first half of the sound, S3 plays the second half - overlapping split point is G3 (G4 in Iris). The inverted modulation wheel controls LP filter cutoff, with MW up the envelope modulation applied to filter cutoff becomes audible. Macros 1+2 (x/y) control amount of delay/chorus FX, M3 introduces pan modulation to all oscillators.
In the Iris 2-version, MW adds re-triggering, tempo-synced LP filter modulation (instead of filter modulation via envelope).
Vocal Phrase Duet Split
Every now and then I have to sing, so here is a patch using 2 variations of the same vocal phrase (in G minor) split across the keyboard, S3 using the same sample as in S2 but playing in backward/forward mode. All oscillators are running in Radius RT-mode. All samples are mapped across 2 octaves between C1 - C7. Add tempo-synced amplitude modulation to all oscillators with Macro 1 (x), the Modwheel introduces tempo-synced, random-shaped filter modulation. M2 (y) controls amount of delay FX, M3/4 control attack/release time.
In the Iris 2-ver4sion, Macro 5 controls amount of chorus FX.
Vocality Synth Pad - Iris 2 only
Multi-sampled vocal pad sound made with HALion 6 and MSoundFactory, 4 pitches sampled between F#1 – C6. Each oscillator uses the full frequency range of each sample (running in non-retrigger mode) so I’m abusing Iris 2 as a mere sample player in this case. MW adds noise-shaped pitch modulation (LFO3), Macro 1 introduces tempo-synced, re-triggering filter modulation (LFO5), M2 adds tempo-synced, re-triggering amplitude modulation (LFO1/2), M3/4 control attack/release time (ENV5). M6-8 control amount of distortion/chorus/delay/reverb FX.
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725 Iris 1-patches (with 17.05 GB of samples) and 600 Iris 2-patches (with 15.41 GB of samples) are currently available in the patchpool subscription library.
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16151 posts since 12 Oct, 2008 from Here and there
Improvising live on video with an original Iris 2 patch from the upcoming subscription deployment (November 2019).
https://youtu.be/2ziBIp_f5II
https://youtu.be/2ziBIp_f5II
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- Topic Starter
- 16151 posts since 12 Oct, 2008 from Here and there
Mysterious demo track featuring two Iris 2 patches from the upcoming subscription deployment - Macro automation in Logic X, 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
- 16151 posts since 12 Oct, 2008 from Here and there
Here comes the release info for the November subscription-deployment of Iris 2 sounds:
13 converted and 7 original Iris 2 patches (410.1 MB unzipped) were distributed on November 7th - 2019.
Building Walls Split - Iris 2 only
Layered in S1-3 in the upper half of the keyboard is a one-finger chord made with two instances of MSF, S1 (control volume with Macro 1) playing ascending sweeps through the frequency spectrum and S2/3 (non-retrigger mode) playing inverted frequency bands, modulated in amplitude by LFO1/2 running at slightly different speeds. In the lower half there is a spectral drone using the entire frequency spectrum, split point: C3 (C4 in Iris). Macro 2 introduces re-triggering LP filter modulation (LFO4), M3 controls delay mix, M4 adds chorus, M5 adds tempo-synced modulation of chorus delay, M6 controls release time, MW adds distortion FX.
Digital World - Iris 2 only
Layered synth sound sampled at 4 pitches (C1–F#2–C4-F#5), all 4 oscillators play in non-retrigger mode. MW adds noise-shaped pitch modulation (LFO3 assigned to fine-tuning) and chorus FX, Macro 1 adds re-triggering, tempo-synced amplitude modulation (LFO1/2), M2 introduces filter modulation (LFO4, speed modulation via LFO5), M3/4 control amount of delay/saturation FX, M5/6 control attack/release time.
Experimental Djembe Texture
Some processed Djembe flam hits, different aspects and spectral selections of the same sample are playing in S1+2. The Modwheel adds distortion and chorus FX, Macro 1 (x) adds very short delays with a lot of feedback, M2 controls reverb mix.
Harp Valium - Iris 2 only
Tonal, granular harp soundscape - all three oscillators use different segments the same sample, S1/2 running in non-retrigger mode. Tune up S2 an octave with Macro 1, M2 adds re-triggering amplitude modulation with each oscillator having its dedicated LFO (1-3), running at slightly different speeds., control modulation speed with M3. M4 adds re-triggering LP filter modulation (LFO4/5), M5 adds phaser FX, M6 controls amount of delay FX, M7/8 control attack/release time.
Haunting Particle Bell - Iris 2 only
Nepalese bells processed with Sound Particles, all three oscillators (running in non-retrigger mode) use different frequency bands of the same sample. MW adds aliasing distortion (tone modulated by free-running LFO1), control amount with Macro 1. M2 adds tempo-synced, square-shaped pitch modulation via LFO2, +/- 1 octave when fully engaged, M3 introduces re-triggering LP filter modulation (LFO3).
In The Zoo
Field recording of birds, flamingos and a passing airplane made in a zoo in the city of Mannheim/Germany. S1/2 run in Radius RT-mode and use different segments of the same sample. Macro 1 controls LP filter cutoff, M2/3 add random/noise-shaped pitch modulation (LFO1/2) in S1/2, M4 controls reverb mix (in the Iris 2-version).
Knife Scape
Remixed excerpt from a texture I composed for a theatre-play Macbeth some years ago made from rattling knife recordings and other things.
All 3 oscillators use the same long sample playing different segments and spectral selections from it, control the volume of each layer with Macros 3-5, control reverb amount with M6. MW introduces pitch modulation, different speeds for each oscillator. Control filter resonance / cutoff with Macros 1+2.
In the Iris 2-version, Macros 7/8 control attack/release time (ENV5). The spectral selection in all three oscillators was re-edited as the existing selection was too narrow for the Iris 2 engine, resulting in no output.
Leader
A synth wave I programmed in Zebra is used in both oscillators with different spectral selections, both play in non-retrigger mode. If you set polyphony/voices to 1, you can play this sound like a monophonic lead synth. It also produces great bass drones. MW controls the LP cutoff. Macros 1+2 (x/y) control the amount of Delay/Reverb FX, M3 adds distortion.
In the Iris 2-version, AT adds vibrato.
Monsoon Tetxure
Derived from this slick looking rainmaker. S1 plays an unprocessed rain-texture, S2/3 use tonal derivatives produced with Metasynth, all samples play in non-retrigger mode, each oscillator has it's dedicated volume control (Macros 3-5). MW adds pitch modulation in S1 and tempo-synced amplitude modulation in S2/3. The FX-section is running in Send-mode, Macro 1 (x) controls distortion-send, M2 decreases LP filter cutoff and reduces the reverb-send level in S1 (as the effect sends are routed pre-filter).
In the Iris 2-version, the FX section runs in Master-mode so Macros 6/7 control amount of reverb/chorus FX. M8 controls release time (ENV5).
Nightmare Descender - Iris 2 only
Layered in S3/4 in the upper half is a glissando texture made with Transformizer Pro (morphing a choir glissando with a cello sustain and processing the result with VDelay), the lower half uses a spectral synth drone (Falcon) in S1 layered with the tail of the sample (S2) used in S3/4. Macro 1 introduces amplitude modulation in S3/4 (inverted polarity in S4) so that lower and higher frequency bands are alternating, control modulation speed with M2. M3 adds modulation of LP filter and distortion mix (via LFO3), M4 controls modulation speed. M5 adds delay FX, M6 adds chorus FX (speed modulated via LFO4). M7 control release time.
Spectral Blackout
A sample made with one of my Reaktor ensembles, very narrow spectral selections of the same sample play in S1-3, S3 running in non-retrigger mode. MW adds distortion and chorus, Macros 1+2 add pitch modulation/control modulation speed (LFO 1-3), M3 controls delay mix, M4 decreases delay time.
In the Iris 2-version, Macro 5 introduces noise-shaped pan modulation (per note played - via LFO4).
Spectral Cutlery
Another processed cutlery improvisation, this time spectralized with various tools, resulting in a big SciFi soundscape.
S1-3 all play broad frequency selections from different segments of the same sample.MW adds pitch modulation to all oscillators, each LFO (1-3) running at slightly different speeds. M1 (x) controls HP cutoff, M2 (y) adds a fast flanging-FX, M3 adds a long stereo delay.
In the Iris 2-version, the LFOs are re-triggering/polyphonic.
Spectral Dots
One of my early Iris patches, using a long chord texture from my Kontakt patch Beautiful Beds in both oscillators with identical spectral selections, S1 is tuned down a perfect fifth. MW adds aliased distortion, Macros 1/2 control HP filter cutoff/amount of reverb FX.
In the Iris 2-version, M3 adds noise-shaped pitch modulation (LFO1), M4/5 control delay/chorus mix.
Surreal Cans - Iris 2 only
Caviar can accents processed with Sound Particles, all three oscillators use different segments of the same sample. MW introduces Peak-filter modulation (LFO1, speed modulation via LFO2), filter cutoff is also modulated via key-tracking. Macros 1-4 control amount of flanger/aliasing/delay/reverb FX, M5 adds pitch modulation (LFO4), control modulation speed with M6. M7/8 control attack/release (ENV5).
Tokyo Crow Trio
Crows I recorded in Tokyo some years ago, S1/2 play unprocessed samples - S2 has a fixed pitch, it’s pitch is randomized with each attack via a very slow, re-triggering LFO when Macro 3 is engaged, S3 (running in Radius RT-mode) uses a time-stretched/spectrally re-synthesized version with octaves and has a dedicated volume control (Macro 4). M5 controls delay mix, M6 controls various delay parameters, dialed hard left, delay times are very short with a high feedback. Please check the Macro page for filter and more FX controls.
Tonal Swamp
A huge wash of tonal minority in S1 layered with a processed dark brass drone from Sonic Cinema in S2, split point C3 (C4 in Iris), both oscillators are running in non-retrigger mode. MW adds tempo-synced amplitude modulation, Macro 2 (y) decreases LP cutoff, M1 (x) adds slow filter modulation (monophonic LFO), please check the Macro page for FX controls.
In the Iris 2-version, Macros 6/7 control attack/release time (ENV5), M8 adds re-triggering, tempo-synced pan modulation (per note played via LFO3). The LP filter modulation introduced via Macro 1 is re-triggering/ polyphonic (LFO5).
Transparency
A long rhythmical sequence made with some of my metallic patches from various soundsets. S1+2 play different aspects of the same sample. MW adds aliasing and chorus, Macros 1+2 control delay and reverb mix.
In the Iris 2-version, Macro 3 adds re-triggering pan modulation via LFO1 (per voice), inverted polarity in S2.
Transformizer Impacts - Iris 2 only
Dense noise-scape with impacts made with Transformer Pro, all four oscillators use different segments of the same sample. Macro 1 adds pitch modulation to S2, control modulation speed with M2. M3 tunes S4 up two octaves, M4 adds distortion FX (tone modulated by free running LFO2). M5 adds delay FX with very short delay times and high feedback (sounding like a resonator), M6 controls LP cutoff, M7 adds reverb FX, M8 controls release time.
Transportation Music
A field recording I made in a Tokyo train station, standing next to a ticket machine and the barriers passengers have to pass to access the platforms. The same sample and spectral selection is used in both oscillators, S2 having an offset of about 12 seconds. Control the volume of S2 using Macro 3. The x/y-pad controls amount and time of delay FX, play with it for introducing some crazy transitions between comb-filtering and pitch mayhem. Add pitch modulation to each sample individually and control the mod speed using Macros 4+5 for S1 and M 6+7 for S2. M8 controls amount of reverb FX. MW adds clipping distortion (recommended).
Tremor Blackhole
S1 plays a drum-loop made with one of my Tremor Beats and Blackhole - original BPM: 70 - root note C3 (Iris: C4)
S2 plays the same sample without the bass frequencies in Backwards-One-Shot-mode, control its volume with Macro 2.
MW adds saturation - Macro 1 controls HP filter cutoff.
In the Iris 2-version, Macro 3 adds re-triggering pan modulation (LFO1), M4 adds reverb FX. The sample in S2 is looped.
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725 Iris 1-patches (including 17.25 GB of samples) and 620 Iris 2-patches (including 15.81 GB of samples) are currently available in the subscription library.
13 converted and 7 original Iris 2 patches (410.1 MB unzipped) were distributed on November 7th - 2019.
Building Walls Split - Iris 2 only
Layered in S1-3 in the upper half of the keyboard is a one-finger chord made with two instances of MSF, S1 (control volume with Macro 1) playing ascending sweeps through the frequency spectrum and S2/3 (non-retrigger mode) playing inverted frequency bands, modulated in amplitude by LFO1/2 running at slightly different speeds. In the lower half there is a spectral drone using the entire frequency spectrum, split point: C3 (C4 in Iris). Macro 2 introduces re-triggering LP filter modulation (LFO4), M3 controls delay mix, M4 adds chorus, M5 adds tempo-synced modulation of chorus delay, M6 controls release time, MW adds distortion FX.
Digital World - Iris 2 only
Layered synth sound sampled at 4 pitches (C1–F#2–C4-F#5), all 4 oscillators play in non-retrigger mode. MW adds noise-shaped pitch modulation (LFO3 assigned to fine-tuning) and chorus FX, Macro 1 adds re-triggering, tempo-synced amplitude modulation (LFO1/2), M2 introduces filter modulation (LFO4, speed modulation via LFO5), M3/4 control amount of delay/saturation FX, M5/6 control attack/release time.
Experimental Djembe Texture
Some processed Djembe flam hits, different aspects and spectral selections of the same sample are playing in S1+2. The Modwheel adds distortion and chorus FX, Macro 1 (x) adds very short delays with a lot of feedback, M2 controls reverb mix.
Harp Valium - Iris 2 only
Tonal, granular harp soundscape - all three oscillators use different segments the same sample, S1/2 running in non-retrigger mode. Tune up S2 an octave with Macro 1, M2 adds re-triggering amplitude modulation with each oscillator having its dedicated LFO (1-3), running at slightly different speeds., control modulation speed with M3. M4 adds re-triggering LP filter modulation (LFO4/5), M5 adds phaser FX, M6 controls amount of delay FX, M7/8 control attack/release time.
Haunting Particle Bell - Iris 2 only
Nepalese bells processed with Sound Particles, all three oscillators (running in non-retrigger mode) use different frequency bands of the same sample. MW adds aliasing distortion (tone modulated by free-running LFO1), control amount with Macro 1. M2 adds tempo-synced, square-shaped pitch modulation via LFO2, +/- 1 octave when fully engaged, M3 introduces re-triggering LP filter modulation (LFO3).
In The Zoo
Field recording of birds, flamingos and a passing airplane made in a zoo in the city of Mannheim/Germany. S1/2 run in Radius RT-mode and use different segments of the same sample. Macro 1 controls LP filter cutoff, M2/3 add random/noise-shaped pitch modulation (LFO1/2) in S1/2, M4 controls reverb mix (in the Iris 2-version).
Knife Scape
Remixed excerpt from a texture I composed for a theatre-play Macbeth some years ago made from rattling knife recordings and other things.
All 3 oscillators use the same long sample playing different segments and spectral selections from it, control the volume of each layer with Macros 3-5, control reverb amount with M6. MW introduces pitch modulation, different speeds for each oscillator. Control filter resonance / cutoff with Macros 1+2.
In the Iris 2-version, Macros 7/8 control attack/release time (ENV5). The spectral selection in all three oscillators was re-edited as the existing selection was too narrow for the Iris 2 engine, resulting in no output.
Leader
A synth wave I programmed in Zebra is used in both oscillators with different spectral selections, both play in non-retrigger mode. If you set polyphony/voices to 1, you can play this sound like a monophonic lead synth. It also produces great bass drones. MW controls the LP cutoff. Macros 1+2 (x/y) control the amount of Delay/Reverb FX, M3 adds distortion.
In the Iris 2-version, AT adds vibrato.
Monsoon Tetxure
Derived from this slick looking rainmaker. S1 plays an unprocessed rain-texture, S2/3 use tonal derivatives produced with Metasynth, all samples play in non-retrigger mode, each oscillator has it's dedicated volume control (Macros 3-5). MW adds pitch modulation in S1 and tempo-synced amplitude modulation in S2/3. The FX-section is running in Send-mode, Macro 1 (x) controls distortion-send, M2 decreases LP filter cutoff and reduces the reverb-send level in S1 (as the effect sends are routed pre-filter).
In the Iris 2-version, the FX section runs in Master-mode so Macros 6/7 control amount of reverb/chorus FX. M8 controls release time (ENV5).
Nightmare Descender - Iris 2 only
Layered in S3/4 in the upper half is a glissando texture made with Transformizer Pro (morphing a choir glissando with a cello sustain and processing the result with VDelay), the lower half uses a spectral synth drone (Falcon) in S1 layered with the tail of the sample (S2) used in S3/4. Macro 1 introduces amplitude modulation in S3/4 (inverted polarity in S4) so that lower and higher frequency bands are alternating, control modulation speed with M2. M3 adds modulation of LP filter and distortion mix (via LFO3), M4 controls modulation speed. M5 adds delay FX, M6 adds chorus FX (speed modulated via LFO4). M7 control release time.
Spectral Blackout
A sample made with one of my Reaktor ensembles, very narrow spectral selections of the same sample play in S1-3, S3 running in non-retrigger mode. MW adds distortion and chorus, Macros 1+2 add pitch modulation/control modulation speed (LFO 1-3), M3 controls delay mix, M4 decreases delay time.
In the Iris 2-version, Macro 5 introduces noise-shaped pan modulation (per note played - via LFO4).
Spectral Cutlery
Another processed cutlery improvisation, this time spectralized with various tools, resulting in a big SciFi soundscape.
S1-3 all play broad frequency selections from different segments of the same sample.MW adds pitch modulation to all oscillators, each LFO (1-3) running at slightly different speeds. M1 (x) controls HP cutoff, M2 (y) adds a fast flanging-FX, M3 adds a long stereo delay.
In the Iris 2-version, the LFOs are re-triggering/polyphonic.
Spectral Dots
One of my early Iris patches, using a long chord texture from my Kontakt patch Beautiful Beds in both oscillators with identical spectral selections, S1 is tuned down a perfect fifth. MW adds aliased distortion, Macros 1/2 control HP filter cutoff/amount of reverb FX.
In the Iris 2-version, M3 adds noise-shaped pitch modulation (LFO1), M4/5 control delay/chorus mix.
Surreal Cans - Iris 2 only
Caviar can accents processed with Sound Particles, all three oscillators use different segments of the same sample. MW introduces Peak-filter modulation (LFO1, speed modulation via LFO2), filter cutoff is also modulated via key-tracking. Macros 1-4 control amount of flanger/aliasing/delay/reverb FX, M5 adds pitch modulation (LFO4), control modulation speed with M6. M7/8 control attack/release (ENV5).
Tokyo Crow Trio
Crows I recorded in Tokyo some years ago, S1/2 play unprocessed samples - S2 has a fixed pitch, it’s pitch is randomized with each attack via a very slow, re-triggering LFO when Macro 3 is engaged, S3 (running in Radius RT-mode) uses a time-stretched/spectrally re-synthesized version with octaves and has a dedicated volume control (Macro 4). M5 controls delay mix, M6 controls various delay parameters, dialed hard left, delay times are very short with a high feedback. Please check the Macro page for filter and more FX controls.
Tonal Swamp
A huge wash of tonal minority in S1 layered with a processed dark brass drone from Sonic Cinema in S2, split point C3 (C4 in Iris), both oscillators are running in non-retrigger mode. MW adds tempo-synced amplitude modulation, Macro 2 (y) decreases LP cutoff, M1 (x) adds slow filter modulation (monophonic LFO), please check the Macro page for FX controls.
In the Iris 2-version, Macros 6/7 control attack/release time (ENV5), M8 adds re-triggering, tempo-synced pan modulation (per note played via LFO3). The LP filter modulation introduced via Macro 1 is re-triggering/ polyphonic (LFO5).
Transparency
A long rhythmical sequence made with some of my metallic patches from various soundsets. S1+2 play different aspects of the same sample. MW adds aliasing and chorus, Macros 1+2 control delay and reverb mix.
In the Iris 2-version, Macro 3 adds re-triggering pan modulation via LFO1 (per voice), inverted polarity in S2.
Transformizer Impacts - Iris 2 only
Dense noise-scape with impacts made with Transformer Pro, all four oscillators use different segments of the same sample. Macro 1 adds pitch modulation to S2, control modulation speed with M2. M3 tunes S4 up two octaves, M4 adds distortion FX (tone modulated by free running LFO2). M5 adds delay FX with very short delay times and high feedback (sounding like a resonator), M6 controls LP cutoff, M7 adds reverb FX, M8 controls release time.
Transportation Music
A field recording I made in a Tokyo train station, standing next to a ticket machine and the barriers passengers have to pass to access the platforms. The same sample and spectral selection is used in both oscillators, S2 having an offset of about 12 seconds. Control the volume of S2 using Macro 3. The x/y-pad controls amount and time of delay FX, play with it for introducing some crazy transitions between comb-filtering and pitch mayhem. Add pitch modulation to each sample individually and control the mod speed using Macros 4+5 for S1 and M 6+7 for S2. M8 controls amount of reverb FX. MW adds clipping distortion (recommended).
Tremor Blackhole
S1 plays a drum-loop made with one of my Tremor Beats and Blackhole - original BPM: 70 - root note C3 (Iris: C4)
S2 plays the same sample without the bass frequencies in Backwards-One-Shot-mode, control its volume with Macro 2.
MW adds saturation - Macro 1 controls HP filter cutoff.
In the Iris 2-version, Macro 3 adds re-triggering pan modulation (LFO1), M4 adds reverb FX. The sample in S2 is looped.
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725 Iris 1-patches (including 17.25 GB of samples) and 620 Iris 2-patches (including 15.81 GB of samples) are currently available in the subscription library.
