Hi McArnes,

Thanks again for our interest in MIR Pro. I answered your questions already on VI Control, but for the sake of completeness I'll copy/paste my replies:

 
MIR Pro is the engine, the "sample player", if you want. The RoomPacks contain the IRs of your choice.
 

 
This depends on a lot of factors, like the actual reverb length, cache and buffer settings, but also on system-related ones like processor architecture, RAM speed etc.. As a rule of thumb, CPU speed is always crucial for MIR Pro, RAM size is much more usage dependent.
 

 
Like mentioned in the manual, MIRacle is an algorithmic reverb add-on for those who don't have access to a Lexicon 480 ;-) for spicing up the natural (and sometimes quite raw) sounding room information derived from MIR. It's an integral part of the license.
 

 
This "bleed" concept comes from conventional reverberation approaches, I guess. :-) MIR's impulse responses are all recorded in the same room, using the same mic positions, but different IR positions and directions, and much of the interaction that would happen between instruments in this room (due to phase cancellations and the like) will happen in MIR Pro, too. But of course there is no "bleed" from one instrument in another instrument's channel.
 

 
The more individual signals you give MIR to work with, the better (due to reasons mentioned above). MIR relies on highly sophisticated "Instrument Profiles" to make sure that the typical sound emanation patterns of each instrument type are emulated. - But technically it's ok to use ensemble submixes, too.
 

 
That's nothing that would make a modern DAW sweat, especially with higher latency settings. 
 

 
MIR will handle stereo signals with ease, of course, and as a matter of fact it takes care for proper distance-dependent handling of stereo width all by itself, as the engine is completely based on Ambisonics. But you can overrule this natural narrowing manually, of course. - Using individual instances for each desk is good practice (e.g. with VSL's Dimension Instruments series), but truth to be told: You will get quite far with a submix sent into one single instance of MIR Pro, too.
 

 
That depends completely on your needs and habits. Personally I like to have MIR on my main mixing system, though, and this makes sense especially when taking into account that MIR's license is valid for one machine only. - Keep in mind that MIR Pro comes as "ordinary" VST/AU/AAX plug-in too. It does not necessarily need VE Pro as host (although its workflow is much more streamlined there, especially when using Vienna Instruments).
 

 
No. MIRacle needs to see the same eLicenser as MIR Pro itself.
 

  Yes, of course. Either in the RoomPack manuals, on VSL's product websites, or during the Venue selection in MIR Pro's GUI.
 

 
Like mentioned before: MIR should be used on individual sound sources, but technically you can use submixes, too. - MIR Pro is _not_ meant to be used as conventional AUX-send based reverb, though, as it has to take care for the positioning of the dry/direct signal components too, to work as expected.
 
HTH,
 
/Dietz

Thank you, again!

One last question: I'm trying to figure out how to use MIRacle as a master reverb while still having Mir Pro on a slave. Is there a way? Can I send the master output in Logic to VEP6 and back to Logic again, or will it drive the system crazy? I'm mostly worried about my RAM limits on the master computer.

I figure MIRacle is good if you want to blend VSL instruments with instruments in other halls? 

... errr ... you _could_ achieve this by means of VE Pro's "Audio Input" plug-in, which is able to route audio _from_ your DAW to VE Pro. But to me this setup seems to be a bit convoluted (no pun intended). 8-)

Actually, MIRacle is meant to add some artificial (and typically modulated) reverb tail, on top of the otherwise unaltered room information derived from MIR Pro. After decades of audio engineering our ears got used to that kind of nice, but completely unnatural aural sensation ... the combination of MIR Pro and MIRacle could be seen as some kind of glorified hybrid reverb. ;-)

Kind regards,

Dietz!  What's the scoop with this Sychron setup???  Different from the default when this pack is opened.  I'm seeing the "wide" stage option, but the orchestra set up in the "long" format.

That's the "classical" MIRx setup for Synchron Stage I'm working on since quite a while now. We plan to do a second, "non-classical" setup to supplement the Synchron Instruments series later. 

... and what you see is just the visually rotated Venue Map of SSV "long", for better visibility. You can achieve this by Alt-Ctrl-clicking anywhere in the map. :-) 

That makes sense. I know nothing about programming, but a great feature would be to turn close mics on and off on each instrument with CC.

And some more questions I’m afraid (I hope this thread can be useful for others who are interested in Mir Pro, and if I buy it I want be sure it’s right direction for me.

1. I see that there are no presets in Miracle for the Pernegg Klosterkiche, is that right? I still don't know how to use Miracle though. I have some instruments in Mir Pro, in the Pernegg at the moment. Then I have instruments outside of Mir, from Spitfire. I have positioned the instruments and used Spitfire's mic settings so that they match quite well. But I want to glue all this together with an algorithmic reverb. Is this where using Miracle would be useful? At the moment I'm just using my favorite preset in Lexicon Randomhalll. That works quite well!

2. I guess when I use a VSL instrument in Mir Pro, each instrument’s profile contain eq information? So that a flute loses it’s lower frequencies further back in the room, while a bass drum actually get more lower frequencies back in the room. But it I use a flute or bass drum from another library this changes won’t happen because it’s impossible for Mir Pro to know the instrument. Which means I need to EQ these instruments so that their eq profile gets different in various positions in the room? Or, can I use the 8dio oboe and use the VSL oboe’s profile to get a similar result?

3. When using instruments from other companies, would you recommend using just their close mics before MIr? I won’t use wet Spitfire libraries in Mir though as their just too wet.

Another nice solution will be to add individual mics for the solos 

That's not what MIR is about. :-)

MIR "thinks" like an audio engineer in a recording venue: There's a main microphone array, maybe a secondary one for additional spatiousness and eveloping, and there are perfectly aligned spot mics (i.e. the positioned "dry" signal component). All instruments are meant to sit in different positions, but in the same acoustic space. You can easily bring up the volume of one of them, reduce its dry/wet ratio, or (in case you want to achieve a solo-concert like impression) use a dedicated Icon in front of the Main Microphone. - For a pop-mix like, completely seperated solo instrument, simply don't put it into MIR. ;-)

I think I'm starting to get a good knowledge of what Mir can do now, thanks to you and the manual, of course, Dietz. Not saying I know how to use it in detail though.

I have a limit with Logic, as I can only have 255 separate instrument tracks. But as my 500+ multi-timbral template consists of a lot of Spitfire instruments, I think I'm able to create enough tracks to have each one in Mir Pro.