Thanks for the kind words, Holgmeister! :-)

The Foyer of the Vienna Konzerthaus is a beast. When it's empty, its acoustics indeed resemble those of a cathedral. But as soon as the place is crowded with people, it will be much, much drier than a typical church could ever be. That's due to the fact that the ceilings are considerably lower than in a cathedral, and therefore there's less reflections from the walls. Needless to say that we recorded in an empty Foyer during the night. ;-)

I should add that the Foyer is kind of untypical for a MIR Venue, because we didn't record as many impulse responses as we usually do. The Foyer is hardly insulated against noise from the outside, so it's a tedious task to record a clean IR there, without hearing a car, the noise of a distant tramway or some crows passing by. ;-P ... This could be the reason why certain close positions might sound "wetter" than the ear would expect: MIR interpolates them from positions that were actually recorded farther away (... we're talking about a few meters here).

Regarding your second question: We all are spoiled by decades of listening to artificially reverberated music, or instruments that have been recorded by spot microphones rather than distant room mics. Bringing the Dry/Wet-ratio to something like 70:30 (or even 90:10, like you suggest) is not unusual for a more pop-oriented sound. BTW: Don't forget that the overall reverb length can be reduced easily in MIR Pro, too!

And as a final sidenote: Keep in mind that the natural direct signal component has been removed from all MIR impuse responses, to avoid phasing issues. MIR will use the readily positioned input signal to replace it (like a perfectly phase-aligned spot microphone). In other words: "Full wet" is not the natural room sound, but only the early reflections and the reverb of the room.

Kind regards,