In my limited experience so far with the trial, it does do away with a LOT of tweaking, and I mean about 98%. You still want to use EQ, and you still want to tweak MIR itself, moving instruments etc, and like the previous post just said, using different instances / rooms for certain instruments to achieve a desired effect. Like the manual says it doesn't matter what the stage layout looks like, but how it sounds, so if you want to place a certain instrument in the far rear corner because it sounds right even though you would never do that in real life, go ahead and do it. I still use some eq, but only very simply, to shape the sound, and find that yes, MIR so far, is definitely doing 98% of the hard work.

Of course you can get into all kinds of creative engineering with MIR, like an engineer would when recording from a real room. But the point is that for most people it was simply a task to use EQ, compression etc, as a way to try to fake the realism - so now you don't have to do that - it's automatically (more or less) there. If you want to get into more creative things, that's another story. For many composers I think a set and forget approach is now within reach - concentrate on writing and programming the parts. For others who want to take it to the next level, you can absolutely do that too.

The funny thing is that the best fun I have had with MIR so far was with a loop of a shaker, haha, and I used the audio input feature to send it to a spot on the stage, and it just made it work.

Hey Dietz, are any of the MIR audio demos straight outputs of raw VI sequences through the software, so that one can hear what MIR sounds like reverberating the almost unechoic VSL instruments on its absolute own, free of any other plug-in/parametric adjustments? [And I mean other than the single snare-drum or Paul's voice used in the video examples]

P.S.: If you permit me, I think you locked that other thread a little prematurely; I so wanted to contribute a couple of things over there, regarding realism and musicianship... Always in good taste, naturally...

Hmmm ... you could use MIR Pro right now _and_ with new Venues later. ;-)

BTW - Todd AO scoring stage is history since several years: -> http://www.variety.com/article/VR1117970664?refCatId=2650

Apart from that: There are eleven Venues available for MIR / MIR Pro right now, with over fourty different Main Microphone positions, built from a total of (roughly estimated) fourtythousand individual impulse responses. This you could keep you busy for a while. ;-)

Of course we have plans for new Venues, but there are quite a few things to consider (... I've tried to sum it up in a short section of the "Think MIR!" manual addendum: ->  http://dl.vsl.co.at/downloader.aspx?ID=7629 ). It's not as easy as going in, clapping your hands three times, and you're done. 8-]

Another problematic point is that many (if not all) of the anglo-american "scoring stages" seem to look at MIR as some kind of evil competition, not as a vehicle for spreading their fame, so they don't want us to sample their halls - plain and simple. While this is an (ambivalent) compliment for the realism achievable with MIR, it doesn't help a lot to
swiftly increase the number of Venues with names that are known to you.

Kind regards,

Hi Dietz!

I didn't know about Todd AO but if I mentionned them it was to avoid mentionning Altiverb.

I have always and ever been a big VSL Fan. MIR was for me a great tool for one of my project. But a felow composer once showed me how to setup Altiverb and I had to admit the color (using Todd AO) was (is) much better.

The first thing I did when MIR PRO came out was to try different settings (mics, EQ) to get a great color but it was not as good...I'm sorry to say so...

Despite this, I'd like the people reading this to know that MIR is great...no INCREDIBLE! The tool is now much better now being linked to VE pro using network. Soundwise it's much more a matter of taste than anything else!

Hi everybody,

I've been using VSL:SE for quite some time now since summer 2007, but I've never posted anything to this excellent board, so I guess first thing should be a friendly "Hi!" to everybody and a big warm "thank you" to all at VSL for creating this amazing software.

I'm not a pro, and I only use VSL:SE as a hobby project, but nevertheless I enjoy working with it very much.

When I read about MIR PRO I was curious to learn more about it, but I was not sure if my machine could handle it (i7 CP 930 @2,8Ghz with only 12 Gigs of RAM), but so far, my demo is working just fine (I don't have that many tracks, though, just about 20-24 tracks / instruments usually).

What can I say? I'm blown away, it's an amazing piece of software, very easy to use, and it sounds great even with just the one demo-licence-roompack.

I was seriously thinking about buying Vienna Suite soon, but now I think I should just invest a little bit more money and buy VE PRO 5 / MIR (bundle) and get Vienna Suite later.

Like I said, I'm not a pro, but in my opinion, it's definitely worth its money.

Greetings from Bremen, Germany,
Michael

It will work perfectly!

PS ... I should add that there is nothing like "the sound" for a Venue. A simple change of MIR's Main Microphone setup and/or Reverb Time will lead to a  (maybe even radically) different sonic impression.

I am not debating the good of MIR, it is a really great tool and much more sophisticated and polished than any reverb out there. I'm just making a point about sound. You can explain to me every aspects that are better in MIR it won't change the sound...

Once again, MIR is great and combine with VE Pro it is the best tool ever for reverb...

I'm sure that if I post 2 waves without naming the reverb this could be endless as it is a matter of taste :)

I insist to VSL team, if they could come up with some presets like Izotop does for Ozone 5 it would be amazing!