The Birth of Iris

On a Sonic State Sonic TALK podcast in October of 2010, Dave Spiers conceptualized what would eventually become the world’s first spectral re-synthesizer. Luckily, iZotope was listening.

Product News  |  February 20, 2014

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A collection of early sketches and concepts by GForce Software.

The Beginning

Cooped up in a synthesizer-packed workspace just west of London, UK, GForce Software is a mad laboratory of knobs, keys, and buttons, ripe for tinkering. Owned by synth boffins and industry veterans Chris Macleod and Dave Spiers, GForce Software is the birthplace of the must-have Mellotron emulation, M-Tron Pro. Other popular emulations by GForce include impOSCar2, Minimonsta, Virtual String Machine and The Oddity. Most recently, GForce has released the Re-Tron rack extension for Reason, further proving their versatility in today’s synth software industry.

Since the 1970’s, both Macleod and Spiers have had considerable experience getting their hands dirty with synthesizers. For Macleod, becoming a keyboard tech for global touring acts such as Keith Emerson, Rick Wakeman, and Aztec Camera was the tipping point for his interest in synthesizers. As for Spiers, he was simply just "synth obsessive from the get-go." The onsite synthesizer collection at GForce is massive and what’s more impressive is this—the instruments get used almost every day. The self-proclaimed “synthesizer custodians" know the boards inside and out and take great care to ensure they withstand the test of time. Their combined expertise and desire to create something truly unique outside the world of emulations made GForce the perfect fit to help iZotope produce the world’s first spectral sampling re-synthesizer, iZotope Iris.

"Obviously this won’t happen because everyone is too busy," asserted Dave Spiers, live on Sonic Talk 192. What had been an enthusiastic conversation surrounding RX 2’s spectral technology as a tool for synthesis became a quick call to action by Sonic TALK host, Nick Batt. Insisting on the software’s immediate development, Batt roused the masses. "Sonic State users, let’s start a petition to make a synth so that we can use it!" Little did Spiers know, at that moment, iZotope’s Director of Business Development, Alex Westner, was listening attentively, and several months in the future, GForce would be an integral part of the "RX Synth," or what would eventually be called Iris. It became very clear after several meetings with both Mark Ethier, iZotope CEO, and Jonathan Bailey, lead developer of Iris, that GForce was the secret ingredient iZotope needed to create such an instrument. "Mark made a point of coming to see us and he must have picked up on our enthusiasm because not long after, Jonathan was dispatched to discuss ideas that had obviously been talked about within iZotope," Spiers recalls.

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Development

Over the next 14 months, iZotope’s development team would start to design Iris by combining the spectral selection technology found in RX and the playback engine from iZotope’s virtual drum machine, iDrum. As iZotope’s first big foray into virtual instruments, Iris presented several challenges in its development stages, including the design of its user interface (UI). Over 20 mockups of the Iris UI were sketched over the course of development, each one refining possible synthesizer parameters into digestible, user-friendly segments.

Pairing with GForce gave iZotope a competitive advantage for creating the synthesizer’s features and intuitive UI. After having created several acclaimed emulations of analog synths, GForce was used to working with predefined and proven workflows. "Workflow is crucial with any instrument," Chris Macleod says, "particularly with a new one." In the analog realm, workflow is designed around physically interacting with a device. Turning hardware into software, however, presents one large issue: turning those physical actions, such as a knob twist, into practical, ergonomic mouse clicks. "Everyone understands the idea of oscillators, amplitude envelopes, and LFOs so I really wanted to keep the simplicity of this paradigm as a starting point for the user." Looking at Iris as an opportunity to improve traditional synth workflow, Macleod landed on the "blank canvas" approach that would cater to both the casual user and the power user—but not before going a little crazy first. "I actually started to dream about the instrument layout at this time, which was absurd, really." Jonathan Bailey, lead software developer, credits Macleod for creating a forward thinking, non-hardware product interface. "It really is an innovative concept and design—a ‘keep it grounded’ synth." Adhering to iZotope’s belief in user experiences beyond knobs and faders, the design process was made easier for Macleod knowing that iZotope could deliver. "It’s an exceptionally flexible design simply because iZotope had the ability to make it happen."

While Macleod was hard at work on wireframing the Iris UI, iZotope was deeply rooted in feature development. Implementing DSP, modulation, envelopes, oscillators, glide, key mapping, and selection tools while keeping a simple interface proved to be a daunting task.

As for Macleod and Spiers, this meant helping decide which synth features were most desirable. "Chris and I got together and mapped out our ideal feature set. 

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Of course a lot of this was dream-territory but when we relayed our thoughts to iZotope, no one flinched." Jeremy Todd, iZotope’s CTO, helped lead the development in its final stages, reiterating that the world of software development lacks boundaries. "The sky’s the limit—you can do anything really," he says. Staying true to the iZotope brand, Jeremy Todd sought to create a modern take on instruments that have been around since the 70’s by putting an iZotope spin on it. This meant that GForce’s synth dreams could become a reality.

Combining iZotope technologies such as the selection tools in RX 2 and DSP from Trash, Iris is more Frankenstein than synthesizer. "The idea of being able to apply some of iZotope’s effect technology was a must. I really wanted two options here --globally as master effects or individually as send effects, so that you could assign something like distortion to one pool and reverb to another," Spiers says. "For me, the distortion in Trash is a thing of beauty, so it made sense to try and bring this into the fold." Traveling further into the lush feature set, you’ll find Radius RT, iZotope’s revolutionary time and pitch shifting technology, enabling users to play their spectral selections on any key on any MIDI keyboard. Iris is the only product in the world to wholly incorporate Radius RT, or real time pitch shifting. "Now we could make spectral selections and play them back polyphonically and consistently across all keys," he explains. Taking the "sky’s the limit" approach made all the difference for Spiers when transferring feature ideas between GForce and iZotope. "It’s natural when working on something new and exciting to incorporate new ideas along the way—and boy were there some great ideas voiced."

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Content Creation

GForce’s Dave Spiers took charge of collecting many of the samples in Iris while maintaining the GForce standard for sound quality. Having worked with GForce before to generate content for iDrum: Underworld Edition, iZotope had been looking for another excuse to team up. 

"The stuff they make sounds really damn good," asserts Jonathan Bailey. In GForce’s prior experiences, the best products had always been the best sounding, so Spiers went to town cultivating audio for the Iris sound library. From the start, according to product manager Jack Côté, Spiers was "all about making it sound great." Anyone familiar with M-Tron Pro or other GForce software would be hard pressed to argue. Spiers started by recording some of the older, more coveted synthesizers in his treasure trove, including the Yamaha GX-1, Moog Modular, and ARP2500, using an RME Fireface 800. "I really liked the idea of layering specific harmonics from the mighty GX-1 with completely different harmonics from something like a Wasp filter sweep."

Deviating from his own synth collection, time was also spent collecting even more rare synth sounds at Benge’s Play Studios in Hoxton, London UK. As time went on, he started seeking more non-traditional sounds. An early embodiment of Iris’ "find music in everything" motto, he pursued a wide range of sounds that would be turned into something beautiful and musical, regardless of their origin. Zoom H4 field mic in hand, he set out to record "anything and everything." Also enlisting the help of sound designers Tara Busch, Ric Viers, and Scanner, samples were recorded of liposuction, wolf howls, a tattoo needle, and many other unconventional sound sources. "Consideration was regularly given to functionality and musicality," Spiers says. "I wanted the synthesis elements of Iris to eclipse the thought that it was yet another sampler. Iris is so much more than that."

Launch

For iZotope, Iris is a chance to become a force in the virtual instrument industry while keeping what developer Jonathan Bailey playfully calls "an iZotope-y way of doing things." The fun factor of Iris was paramount, but iZotope didn’t want to downplay how powerful the technology really is. 

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Fusing the canvas-like UI and streamlined controls with the creativity and quality of GForce sample content has hit the sweet spot between work and play for many. In a matter of days after the Iris launch, YouTube users were showing off their spectrogram drawings and playing them back. "It’s a beautifully human thing. It is really fun and it actually represents what sound design really is," says Jack Côté. "Iris needed to be fun and inspiring above all," iZotope CTO, Jeremy Todd, adds, "but we also wanted to make sure it wasn’t perceived as a toy." While enthusiastic new users flood the Internet with spectral images containing everything from their names to amateur portraiture, Iris has become a must-have tool for sound designers. Underworld, notable electronic duo and long-time friends of GForce, have started incorporating Iris into their own projects and collaborations. "I know that Karl [Hyde] is working on several projects with other luminaries, such as Leo Abrahams and Brian Eno, where Iris has been used in a way of initiating or expanding a creative dialogue," Spiers says. Designers are now armed with the ability to use Iris as the means to create soundscapes out of any sound in mere minutes.

As a much larger company, iZotope had experience designing software for many segments of the audio industry. As a two-person team, it first seemed overwhelming to GForce. "We’re acutely aware that there’s a million miles between an idea and realization of a product," Spiers says. "The support given to us by the iZotope team was incredibly inspirational." GForce’s highly specialized skill set and perspective were vital in creating the overall Iris user experience. During the final stages of Iris development, it became very clear that what was born out of the partnership was something truly innovative --half synth, half enchantment. "When there are no egos or histrionics to dilute the objective, great things can happen with creative endeavors… and that’s exactly what happened with Iris!"

 

     

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