I see. Your best option is to get in contact with ASAP, VSL's support team will be able to sort out that issue swiftly. Make sure to include as many system-specific details as possible (OS, host application, version numbers etc. ... you know the drill :-) ...).

Kind regards,

Hi Sandrew, 

I have no immediate input to handle the first issue, sorry to say so.

The second one could simply be a question of Preference settings, though. AFAIR MIR Pro has individual settings for its plug-in version. Please check if the path to the RoomPacks is set correctly there, too.

HTH.

MIRx was a product specifically developed for Vienna Instruments, with pre-defined settings derived from six MIR Pro Venues. "MIRx Mode" was added to MIR Pro to supply users with the same settings and the added benefit that they could be altered (unlike in MIRx itself).

Therefore you can use MIRx Mode only with Vienna Instruments, and of course only for the Venues you own licenses for. A small exception is the handful of "General Purpose Settings" I created for MIRx - they are quite unspecific and could be used with any input source.

... or did I misunderstand the question?

You're welcome! I know that my answer might not have been exactly what you were hoping for .... Thanks for using MIR Pro in any case! :-)

MIR Pro and Synchron Instruments aren't made for each other. :-)

The latter have been recorded "in situ" (i.e. in the actual position of the instrument(s) in Synchron Stage Vienna), with lots of the ambience and even reverb "burnt in". They are meant to be used in the same way they have been recorded in, all in the same hall.

MIR Pro on the other hand needs quite dry (at least unreverberated) sources, ideally centered, without any bias towards the left or right side. That's the only way to put this source in one of its Venues in a meaningful way, without ending up with a muddy mess of rooms, pannings and reverbs. :-)

... there are mixer presets in Synchron Instruments that try to provide that kind of sound despite their different recording paradigm, but it's not their main goal. 

HTH,

There will be an info-update as soon as we know that we're ready to roll. Thanks for your patience!

All the studios and scoring stages allow for positioning of instruments (almost) everywhere around each and every MIR Microphone:

• Synchron Stage
• Teldex
• ORF Studios 1 and 2
• Studio Weiler - Main Room and Stoneroom
• The Sage - Northern Foundation Hall

All churches offer a main "stage" area around the altar, and a second area in the back (e.g. the organ- and choir-galleries):

• Steinhof
• Pernegg
• Strassengel

And of course there are several other Venues that have additional HotSpots in the back of the hall, or at least on the sides:

• Konzerthaus - Großer Saal, Neuer Saal, Foyer
• The Sage Gateshead - Hall One
• ORF Sendesaal

... make sure to switch on the yellow "HotSpots" overlay to see all positions that where used for IR generation.

HTH,

Hi Rasmus,

thanks for your interest in MIR (3D!)! :-)

I used several approaches for both Auro 3D and ATMOS in MIR Pro. The most obvious one: Use the main microphone for the lower "bed" and add a second pass to your mix from another (preferably more elevated, most likely "wet only") microphone position in the same Venue. Typical example: The monastery church of Pernegg, where Mic 4 is high above the others. - Truth be told, I've even successfully used a mic a few feet behind the main mic (without elevation) for the top layer. 8-)

Another quick'n'dirty solution is to use a 3rd-party upmixer (such as Nugen's HALO) to virtually create the missing channels for the top layer.

... but don't despair - an actual solution for these (and many other) questions is on its way. :-)

Best,

Originally Posted by: Seventh Sam

[...]

Also, another question for Dietz:

When you created the Synchron Stage wide MIRx presets for MIR, did you go off the original VI dimension samples or the altered SYN-zed dry samples?  Or does it really make a difference?

I worked on the original Vienna Instruments Dimension series. AFAIK, the differences (on a sample-level) between them and the Synchronized releases should be marginal (if any), but I hope that Andi or someone else from VSL will correct me if I got that wrong. :-)

Thanks for the kind words.

Originally Posted by: Seventh Sam

[...] I'm sure we'll all be asking you the same two or three questions over and over again once MIR 3D comes out  

:-D ... Yes, that's for sure! 

So do I. :-)

Thanks for your kind words!

Originally Posted by: fatis12_24918

[....] (I hope your boss wasn't too nervous about that LOL)[...]

:-D ... I'm not completely sure, but considering that Herb Tucmandl (our "boss") and I have been friends for more than 30 years now, I have high hopes that we will come through this unscathed, too. ;-)

Originally Posted by: fatis12_24918

[...] Is the new platform still including a plug-in version, to support DAWs beside VEP? [...]

I've been asked to stop talking in detail about products that haven't been released yet, but I think it's safe to say that this won't change, in principle. 8-)

Hello and welcome, Wei An Chien,

just to avoid misunderstandings: Please note that RoomPacks need to be _installed_ after downloading. Quoting the manual:

... if this doesn't solve your problem, please get in contact with ASAP, including as many information about your setup as possible. Thanks!

Enjoy MIR Pro,

:-D You're welcome!

Unfortunately, there is no definitive timetable for any upcoming releases yet.

Thanks for your patience!

That's mostly a question of context and personal preferences. :-)

Personally, I can't stand the artifacts that will occur when you "fold down" timing-difference based stereo to mono (or even to less wide stereo), especially when they are derived artificially ("Haas-panning"). OTOH: If you're sure that your mix will never be played in mono, or if you can live with the aforementioned phasing artifacts, then it's a valid technique to add delay between left and right channels of a stereo signal for precedence effect and increased de-correlation.

HTH,

I just stumbled over this older thread. Has the issue been solved in the meantime? 

If it isn't, please get in contact with . VSL's support team will take care for you. :-)

Best,

As people were asking: Yes, that's indeed Vienna Konzerthaus, Grosser Saal, as we all love and know it from Vienna MIR Pro. :-)

A picture I just found on the 'net:

-> Click here

Unusual, but worth trying! :-)

Quoting the manual:

Originally Posted by: PaoloT

MIR, when used alone, is limited to the early reflection part of the reverb. MIRacle has been added to give the modulation of an algorithmic reverb for this reason. So, they should always work together. [...]

That's a misunderstanding. MIR works beautifully on its own. The whole idea of adding algorithmic reverb to a "real" room is just a consequence of typical production processes and the aesthetic expectations of both the artists and the listeners.

The main reason to develop MIRacle was the idea of having a dedicated tool for this workflow (as well as for presets and example settings) without the need for 3rd-party plug-ins.

Originally Posted by: civilization 3

[...] It appears to me that natural volume is made for pure VSL work and a classical kind of orchestral sound.

^^^^^^^^^  This!

Natural Volume is a hand-crafted collection of settings for Vienna Instruments. The goal is to bring _all_ instruments (ranging from a Violin flautando to a fff-hit on a Tamtam) on the same virtual stage, which means that the headroom has to be huge - thus the seemingly quiet individual volumes.

-> https://www.vsl.info/en/manuals/vienna-instruments-mirx/natural-volume-overview

Don't use Natural Volume when you work in a hybrid setting and/or with 3rd party libraries unless you know very well what you're trying to achieve. :-)

Does this help ...?

-> https://www.vsl.info/en/instruments/synchron/percussion-ii#roto-toms

Hi Andy,

Please forward your findings to . I could do it myself, but then you wouldn't be in the info-loop for any quick fix (if there is one).

TIA!