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Hey folks,
I have a little Problem concerning the Vienna MIR Pro, which I own but don't use very often.
I actually love the concept and it works pretty good for me.
One point, that makes it impossible for me to use the MIR Pro in professional productions is, that somehow everything sounds quite "boxy" when I compose something in it.
I tried to play a little with the general dry/wet slider and also tried various positionings of the orchestra.
Still I have the problem that the sound is not what I want it to be.
I often have to compose hollywood like music, is it actually possible to get close e.g. to the sound of an marvel score?
I actually like the concept of the MIR so I would'nt like to ban it from my set up.
-help!
Best
Val
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Hi Val,
I tried to give a few answers to your questions in the tutorial section of MIR Pro's manual - most notably p.55 ff, "Getting “that” sound". I hope that these collected hints will give you a new approach to MIR Pro. :-)
In case you're actually looking for some kind of "ready-mades" (like many people who got used to so-called "pre-mixed libraries" with baked-in reverbs, stage positions and the like), then please don't miss the "MIRx Mode" of MIR Pro. It should give you many meaningful starting points for your own creations.
-> MIRx Mode Manual Add-On
Kind regards, /Dietz - Vienna Symphonic Library
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One thing that really helps keep it from sounding boxy is finding the right primary vs secondary mic configuration. I tend to put the main mic right up in front of the orchestra, like the conductor's view. This makes a more close and immediate sound and gives the sound natural wide panning Then I play around with the secondary mic. Also I imagine many composers out there use a separate reverb on their instruments before running them through MIR, or even another reverb after to glue things together, and reduce the wet output in MIR to make up for it. I find I don't really even need to do that with the right main/secondary configuration.
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Originally Posted by: Casiquire  [...] Also I imagine many composers out there use a separate reverb on their instruments before running them through MIR, or even another reverb after to glue things together, and reduce the wet output in MIR to make up for it. [...]
The latter is a perfectly valid approach (MIRacle has been created with exactly this task in mind), but it doesn't make much sense to put reverb on a signal first and to run it through MIR then. In 99% of all cases, MIR will reduce the width of the input signal considerably, which means that most of the reverb's spatial impression is lost anyway.
... I explained this more detailed in my answer to this recent thread:
-> https://www.vsl.co.at/community/posts/t41511-Distance-vs-Stereo-Positioning-in-MIR-Pro#post248487
Kind regards, /Dietz - Vienna Symphonic Library
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Hey Guys, thank you for your advice.
In the meantime, I found a few problems with in my setup and also found out that actually did a lot wrong with the placement within the MIR. I did some rework and it's at least better now.
I also use the second mic now and think its very good to give a bit more of depth into the mix.
Also I found out that some of the boxiness came from a little to soft eq'ing within the brass section what caused a "bell" shaped frequency push in the lower middle range. There are indeed a lot of factors I have to check, but in the end I think it'll be worth it.
Best
Val
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