Synchron Mixer Presets and MIR halls integration

[Bat]

Hello there,

I use libraries in the pre-production stage.

Currently directors and productions have become accustomed to “temp files” which, especially in slow-tempo, are hardly distinguishable from real audio recordings. 

In the composing-rendering step with Sibelius and some VEP Pro preset (in continuously fine tuning) I can get renderings of unimaginable quality exporting  directly from Sibelius. 

Each Sibelius score have his own “Playback configuration” and I can recall complex settings in a breeze. This is a huge time and life saver.

I use mainly Synchron Libraries for orchestral soundtracks, with some extras.

The Mixer preset that I like the most is “Classic Decca Three”, close to the real orchestra sound I’m going to record, so that when mixing with real audio if some inserts of Vienna are needed this happens without big traumas.

Sometimes for certain effects on certain instruments I can use “Distant Decca Three” (the piccolo flute is always too close, a trumpet effect from somewhere, a percussion etc.).

For the Vienna “no Synchron-ized” instrument (now Alto Sax, Recorders) and 3rd parts instrument (now a Piano, Ocarina, Clarinet) I use MIR Pro that I totally love.

I place the Vienna NoSynchron and the 3rd parts sounds together on stage (3rd parts with “General Purpose” profile) and the question is: 

what MIR Room preset is the closest with the Synchron’s “Classic Decca Three”? Or generally speaking what is the best way to integrate Synchron mix presets and no Synchron sounds that are using MIR Pro?

Actually I use the Konzerthaus Mozart, beautiful dynamic hall, while the MIR’s Synchron Stage sounds a bit dry to me for this purpose but probably I’m unable to fine tune the Synchron Stage parameters (the secondary mic-Eq-dry/wet etc.).

Thanks, have a great weekend!

Bat

[Dietz]

Hi Bat,

there is indeed a full-blown Venue Preset for Synchron Stage Vienna available for MIR 3D that was created to match Synchron Instruments as closely as possible. My reference was Synchron Player's famed "Surround Wide to Stereo" mixer preset that many (including me :-) ...) consider to be "the" sound of that marvellous hall. (The additional algorithmic reverb of Synchron Player was switched off in that case, for obvious reasons.)

You find this "Vienna Standards" factory preset in MIR 3D's new Preset Manager (see screenshot below). This setup was the basis for both the MIRx(tension) for Vienna Instruments and the Synchron-ized Series of VSL.

Some hints for further refinements: As you see, more or less all Vienna Instruments are covered by Role Presets, sometime with several flavours. Of course they can serve as basis for Synchron Instruments' close mics, too, but I strongly suggest to switch to General Purpose Instrument Profiles and to turn off the very specific Character EQs, in that case (i.e. select the "Pure" setting). The RoomEQ assignments should be fine, as long as the chosen "instrument family" is the same.

It also might be worth mentioning that this is the original parameter set that relies on 1st Order Ambisonics. I suggest to switch to a more "enveloping" 3rd Order microphone preset, at least for the Main Mic, e.g. "Stereo - MIR 3D HOA Downmix"; just keep in mind that you will have to re-adjust the position offset in that case; these parameters are reset as soon as you switch Output Format settings.

For more "overall wetness" you can either select all MIR Icons on your stage(s) and increase the Dry/Wet ratio of all while pressing the "Alt"-key on your keyboard. A more brute-force ;-) approach is to use the "Global Dry/Wet" offset fader in the Output Panel on the right for the same task. (... see my hints in the second screenshot.)

... once you're happy with the sound you achieved make sure to save your own User Venue Preset. :-)

HTH,

[Dietz]

BTW:

@Bat said:

[...] “Classic Decca Three”?[...]

It's a Decca "Tree" (like the plant), really. Although the "3" would make sense, too, for its central array. 😊

-> https://en.wikipedia.org/wiki/Decca_tree