181,945 users have contributed to 42,195 threads and 254,636 posts.
In the past 24 hours, we have 5 new thread(s), 13 new post(s) and 50 new user(s).
Hello,
When you use Drums inside MIR Pro do you usually send the single instruments to an aux channel inside your sequencer and then insert the MIR Pro plugin on that channel so you have just one icon inside MIR Pro or do you actually have an icon for each instrument of the Drums (Kick, Snare, HiHat, Tom 1, Tom 2, and so on)?
Which is the better way to use Drums in MIR Pro, if there is a better way?
Thank you :)
The answer is (as always): "It depends!" :-)
I've used multiple instances of MIR Pro directly on the individual elements of drum sets in the context of purely acoustic music (Jazz, Folk, Singer/Songwriter-stuff). I've also used two or three instances set to 100% wet and wide stereo in different distances as some kind of sophisticated AUX-send reverbs in Rock/Pop-mixes. ... an example from a comparable setup (not drums, though) can be seen in the 1st screenshot.
One important thing to keep in mind is that the default 50% Dry/Wet-ratio will be too wet in almost all cases. It's almost equally important to use the RoomEQ to tame boomy or overly metallic resonances. Reducing the reverb time to a length that fits the arrangement and playing-style is another quick fix that's easy to try out.
Finally, a little-known but nifty trick is to use off-center positions of one of MIR Pro's studio-venues by adjusting the rotation of the Main Microphone respectively. One of my favourite spaces for drums is the Live Room of Studio Weiler in portrait orientation, bottom-right behind the Mic, with the huge bass-trap in the corner (see 2nd screenshot).
HTH,
Having only the MIR 24 to work with, I don't put drums in it because I would need a whole 'nother instance of it devoted to drums, owing to the problems Deitz has brought up.. IME a single drums bus to MIR is not it. Once I needed some cymbals to not stick out like a sore thumb and I tried a single stereo cymbals bus in it like a little bit of glue. I wouldn't say the results were terrifically satisfying. The room as it is with the other things, and the Synchron Player enveloping besides, is a very different room than the drums will fit in. Also the drums I'm mixing use a fair bit of room sound in situ, also problematic.
Thank you both for your replies :)
Yeah, indeed I always balance the wet and dry signal on percussion/drums but not only. Often I find Strings work better with less wet amount especially on the short notes, while on Brass and Winds I usually leave it at 50%.
It's also interesting that you can move the mic into the room according to your needs.
