Honestly - I don't know! :-) Personally I would have assumed that Logic "listens" to the channel's output pre-fade when doing track bounces, that's why I suggested to mute the signal's source rather then the output volume, but I've been proven wrong.

Logic always "thinks" differently ... ;-D

Great to hear that you found a solution.

All the best & stay healthy,

To avoid misunderstandings: I referred to the Volume parameter of the MIR Pro plug-in itself. You will have to automate the respective Logic controller lane.

HTH,

Hi Paolo,

the most straight-forward way would be to create an extra bounce for the RoomTone and use the resulting audio track instesd of the "life" version. Another work-around is to automate the RT plug-in's Volume to "-inf" once the track is supposed to be over.

HTH,

That's great to hear. Thanks for your positive feedback! :-) 

All the best & stay healthy,

For better understanding, yet another screenshot, based on the RoomEQ Bank used in MIRx Mode:

Hi Richard,

that's what MIR Pro's "RoomEQ" is meant to be used for. It will affect the wet signal only and thus leave your direct signal component untouched. You can create a bank of 32 (actually 33) different settings which you can assign to each instance. You can think of it as some kind of bus routing (which it isn't, but it makes it easier to understand).

I'll attach a screenshot to make things clearer.

Alternatively you can use the approach described by Ben in the message above, but only if you're using VE Pro as the plug-in host.

HTH,

The little test I carried out used a 5.1 track routed to a Auro 3D output in 5.1.4 format - which is irrelevant as Nuendo 10 offers bouncing directly from a track's output.

While our support people work on the issue while we speak, I just did a quick test in Nuendo 10 under Windows. Here, a 12 minutes long 5.1 track with one instance of Hybrid Reverb Pro in its insert bounced in about 1 minute and 15 seconds. This looks suspiciously like a problem that is either a DP-specific or an OS-X-specific one (or both), sorry to say so.

I seem to remember that DP offers some kind of nifty tricks like pre-rendering of effects, to minimize the real-time CPU-load. Could it be that it's just a question of activating (or de-activating) one of these processing-related Preferences ...?

Kind regards,

I rarely talk about "musts" when it comes to our instruments - but Appassionata Strings (especially Violins and Celli) flavoured with a healthy dose of Dimension Strings is as good as it gets, if you ask me. :-)

Hi Rickiendies,

sorry for the delay. I just looked up the support history of this case: The VSL support team already works on it. The main problem is that not many people here use Digital Performer for surround work, so testing is a bit more challenging than it usually is, it seems. 

Thanks for your patience!

Hi Rickindies,

sorry to hear that you're facing problems. I'll make this known to VSL software engineers immediatly. I can't test the issue myself right now because I have no access to a DP-based DAW at the moment (... and the virus doesn't make it easier :-/ ...).

We'll get back to you ASAP. Thanks for your patience!

That's so sad. Paul was one of the strongholds of this forum. :-( 

I never met him in person, which is a real pity, but from his messages he must have been an alert, yet warm-hearted man, and a highly knowledgeable musician at that..

All the best, Paul - wherever you are now. You have left permanent traces here.

FWIW: I get around 630 MB/s from my quite mundane Samsung EVO 830 and 850 devices (both SATA and eSATA).

Hi Masi,

Both! :-)

The IRs used for the Synchronized Instruments-series are derived from MIR Pro. MIR Pro interacts with each instrument in a very specific way. This interaction depends on many different factors, e.g.:

- the chosen Main and Secondary Microphone positions and the modelling of the individual virtual mic-capsules

- the instrument's position in the room (in relation to the microphones)

- the instrument's rotation

- the so-called "Instrument Profile", which informs MIR about many unique aspects like Directivity Profile, recording details, Character Presets, etc.

- the pre-EQ settings (... hand-crafted for each and every (!) single instrument)

- the chosen RoomEQ for each instrument family (e.g. 1st violins, 2nd violins, etc.) which affects the wet signal component only

- the chosen ratio between wet and dry signal component

... and some other minor details.

... this I don't understand. Would you try to rephrase, please ...?

Absolutely masterful, both as a composition and as a performance.

Thanks a lot for sharing, Bill!

:-) Good to hear that the issue could be solved _that_ easily.

All the best,

Thanks for your friendly feedback, Pianokey56! Highly appreciated. 

... especially Vienna Suite's "Master EQ" has in fact become so second nature to me that I feel slightly crippled when I have to mix without it. 8-)

Hi Paolo,

thanks for your patience. I just tested MIR Pro in MIRx mode, but I can't reproduce the issue you seemingly ran into. The "Bassoon Ensemble" Instrument Profile is guessed correctly (i.e. MIR "sees" the samples properly), and the respective MIRx settings are assigned as expected in all five MIRx Venues.

Can you please provide a step-by-step reproduction of the problem and send it to ? Ideally you'll include a reference to this thread and as much system- and software-specific information as possible.

TIA!

Hi Paolo,

a gut-feeling tells me that this setting got lost somehow during implementation of the MIRx settings. I can't tell for sure right now as I'm in the midst of an ongoing production and not near my development machine.

I'll get back to you ASAP!

Hi Maxliefkes,

your setup seems to be quite special and complex. :-) From the distance, this makes it a bit hard to understand what's actually going on. Any chance for screenshots and/or exemplary projects ...?

Kind regards,

What I was trying to say is that there is no "correct" value. :-) Natural Volume is a starting point for your own settings - no more, no less. The meaningful combination of features depends on your taste and your habits:

• If you think that Natural Volume gives you the balances you want to rely on, then you have to switch off Distance Dependent Scaling - but then you will have to take care manually for the Wet/Dry ratios of instruments in the back of the stage.

• If you like the way MIR Pro takes care for the impression of depth all by itself it might happen that you have to adjust individual volumes here and there, even when starting from Natural Volume settings.

... IOW: We can't have both. :-)

HTH,

In reality, the actual perceived loudness will depend on the distance between source and listener. MIR Pro tries to mimic this natural phenomenon by means of two features, namely "Distance Dependent Scaling" and "Simulate Air Absorption". Both of them affect the dry signal component only (... as the headline "DRY SIGNAL SETTINGS" in MIR's GUI implies :-) ...), but of course they will change the overall volume of the instrument in a mix.

Natural Volume is meant to be used as a starting point for a "healthy balance" within the virtual orchestra. If you're unsure about it you can always switch off both features, but then you will have do all the distance-dependent dry/wet balancing manually. .... I tend to call this the "pop mix mode", because it makes it easier to keep things under control when realism is _not_ what I'm after. ;-)

HTH,

Hi Illuminatus,

Vienna Suite / Pro plug-ins are available in all major format (VST/AU/AAX), so you should be able to instantiate them in any host application (a.k.a. DAW) you normally use for audio editing.

What you're looking for specifically ("de-reverberation") is more of a restoration task than anything else, though, thus it's not necessarily in the scope of Vienna Suite plug-ins. I'd rather look into specialized tools for this goal, like the Proximity EQ+ from our friends at Sonible, or Akon Digital's DeVerberate. Maybe you own iZoptope's RX restoration suite already which comes with a dedicated de-reverberation processor, too.

Depending on the source material all of these tools leave a quite obvious acoustical trace (i.e. audio artifacts), so don't expect wonders.  :-)

HTH,

Monumental work, Dave. I didn't listen to the piece in its entireness yet, but at least I got an idea of how much time and effort went into this.

Congratulations!