Hi Fabio and Paul
thank you so much for listening and commenting.
A few word on my mixing and the use of the reverb:
The only Equalizing I make is cutting frequencies below 100 Hz of all intruments which are not bass instruments.
Regarding the Reverb I think I tend to err on the dry side. I'm a a mediocre (at best) sound engeneer and thats what I like about MIR so much. Besides from sounding great I just place the instruments at their corresponding location and the magic works.
Following Fabios Advice I have cranked up the reverb a bit, but still very carefully. I developed the piece entirely in Sibelius with the VI Alog Reverb Mix Setting at 40 (this would be 30%). If the music sounds right with that amount of Reverb, I think its a good measure.
I used MIR for the room ambience. Depending on the distance of the instrument between 35 to 41%. wet/dry. That would correspond to my development setting.
The overall reverb is created with Reverence (Austrian Concert Hall). I filtered frequencies below 1000 and above 10000 to avoid tampering with the Early Reflections of MIR. (Honestly I don't know if that makes sense, I read somthing alike somplace, somwhere). The delay was set to 50ms and I used only the tail of the Reverence Reverb. The only reason why I use Reverence instead of Miracle is because I'm used to it for some time.
@Fabio: The Bassoon is from the Extended Edition and the samples are incredible. No wonder you like to work with instruments like that. in this piece I experimented a lot with the dynamic - samples. The pfp are amazing. I will explore the streching functionallity more in the future. Sometimes I edit the vibrato with Melodyne. Seems to work very well. But it's so much work...
@Paul: I really can recommend MIR. I use MIR24 (in our studio we have MIR Pro), but with MIR24 so far I never exceeded any limitation of channels. Personally I like the TELDEX Studio the most.
Again, thanks for listening!
Best Stefan