The last question hides one interesting limitation with Iris, since it is not possible to map different samples to multiple keys in the same sample slot, unlike other samplers like Kontakt that allows you to have multiple velocity layers and multiple samples all over the keyboard. ![]() ![]() For example, are we interested in creating a lush pad, an eerie alien sound from a distant planet, or perhaps an hunting deep and horrific drone? How much of the sound do we want to be pre-processed (end hence embedded in the actual sample file)? Do we want this pad to play nice at high intervals, more or less equally through the spectrum, or focused on the lower end? That is not to say that you should avoid experimenting and creating patches just by randomly move knobs and tweak sounds, this is where most of the inspiration is hiding after all! On the other end, giving us a concrete target, can set things straight for some decisions that are necessary to make early. ![]() ![]() In the first article of this series I focused on a quick overview of iZotope Iris 2, I rapidly glanced at its interface and touched on some of the main functionality it is now time to start working on an actual patch.īefore doing that we should first ask ourselves what is the goal we want to achieve with the new sounds.
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