Yes please. It's hard to offer meaningful system-specific support on a public forum.

All the best,

Sounds like a great idea. I'll put it on the list of feature requests!

Kind regards,

Hi Andrew,

this sounds a lot like missing path-information. Have you made sure that all applications "know" about the location of the *.dll's?

If that's not the problem please get in contact with . I'm sure that VSL's support team will sort out the issue swiftly.

Have a great Sunday,

That's true, yes - but that shouldn't do any harm feature-wise.

Well, I don't get it, obviously. 8-/

The latest screenshot looks good here, too, although on an old, non-retina MacBook.

Hi Rasmus,

two times "yes":

1. Yes, the "Synch'ed" tag refers to the fact that I tried to build a bridge between the worlds of Vienna Instruments and Synchron Instruments. (... now I have to think about a way to "Viennize" the Synchron Instruments ... ;-D ...)

2. Yes, I strongly suggest to use MIR Pro with dry Dimension Instruments (.... as a matter of fact that's most likely the most powerful and versatile combo in the domain of sampled instruments).

Kind regards,

Looks good for me ...?

(Moved to Synchron Instruments' sub-forum for better visibility.)

I'm not sure that I understand the question. The original Dimension Strings for Vienna Instruments aren't "synchronized". They are the ones I made all the MIRx settings for. :-)

Thanks for the hint! That's a known issue which will be fixed with the upcoming release of MIRx SSV.

All the best,

-> https://www.vsl.info/en/manuals/mir-pro/shortcuts#special-mouse-commands

Holding "ALT" applies a mouse-command to all selected Icons. It's also possible to "Auto-group" selected Icons in MIR Pro's Preferences. In that case holding "ALT" will bypass the selection-dependent behaviour.

Alternatively you could employ Cubase's Link-features.

Originally Posted by: Zaffer

Is there any processor use difference between using MIR Pro as a plugin in each instrument track in my DAW (Cubase), or setting it up on each instrument channel in the Vienna Ensemble Mixer?  Can anybody give me advice on the best setup for 8 singers (audio) and piano (MIDI)?  Should I put a MIR pro plugin on each track in Cubase or bring each audio track into Ensemble Pro with it's own instance of MIR Pro in its mixer channel?  Or should I send the singer's tracks to one or two FX tracks in Cubase with MIR Pro plugin on each.  I'm running Cubase 11 in Windows 10 Pro with 64 GB RAM and Intel Core i9 processor.  My current AISO buffer setting is 256.  My MIR Pro latency setting is 512, and  6 threads for the multiprocessor setting.  Any advice will be greatly appreciated.  Thanks.

The difference of using MIR Pro in Cubase instead of VE Pro should be neglectable as long as all surrounding variables are the same. Just make sure that the Preferences are set identically, most notably the option for Dynamic Processing. 

For your eight singers I would use eight stereo(!)-audio tracks in Cubase, even if the audio files are mono, because Cubase can't switch tracks between formats by means of a plug-in. Instantiate MIR Pro in one of the inserts of each track and you're ready to roll. Same ist true for the piano, of course. :-)

FX sends aren't a good way to use MIR Pro, as the application takes care for the panning and pre-processing of the dry signal components, too. You would have to use pre-fader sends and set the channels' volume faders to -inf., which is quite unhandy especially for automation tasks.

I strongly suggest to stay away from the so called "VE Pro Audio Inputs" whenever possible, even more so with Cubase/Nuendo. It will put enormous strain on the CPU as this feature has to do some really dirty tricks to work at all. The typical DAW won't happily share its power with other applications that try to route signals to the outside world ...

Your computer should be powerful enough for literally hundreds of MIR Pro instances. In case you still encounter CPU overloads simply increase the MIR engine's own latency in its Preferences. Personally, I use 1024 or even 2048 samples for mixing, and I don't restrict its maximum number of processors. Of course, higher ASIO buffer settings will help, too.

HTH,

FYI: VSL software engineers are already looking into the naming/sorting issue. 

You're welcome! 

... for solo piano you might try the 30-days demo of one of these: 

-> Synchron Pianos (... for me, the Synchron Yamaha CFX is maybe the best sampled, and most certainly the most useful virtual piano of all times. 8-) ...)

-> Vienna Imperial (... my all-time favourite, especially great to use with MIR Pro)

Hi Hans-Peter,

The Boesendorfer that comes as part of Special Edition Vol. 1 is definitely meant to be seen as an accompanying instrument in an orchestral context, not as a solo instrument. I tried my best to make some nice-sounding settings for MIR Pro's MIRx-preset mode (check them in Konzerthaus - Großer Saal und Konzerthaus - Mozartsaal), but still they can't (and don't even try to) replace a dedicated concert grand piano like Vienna Imperial or the new Synchron Pianos.

Kind regards,

Originally Posted by: Rasmus Faber

[...] the General Purpose is pretty key for hybrid mixing so that would be awesome to get fixed in SSV Portrait!

For now: Just grab the Icon with the existing GP-profile, adjust its Width and move it to any other desired position on the Venue's stage. The result will be more or less the same as the setting I created for MIRx (minus the Character EQ), or actually even more specific. :-)

They follow different ideas, obviously. "Portrait" is the classical MIRx setup, in any sense of the word: Lots of room, long reverb and an explicit sense of depth. "Wide" adheres to the "Synchronized" approach with more direct, in-your-face instruments, less reverb and a clear focus on width rather than depth. The former would be my choice for pure orchestral pieces, while the latter lends itself clearly to the popular "hybrid orchestral" arrangements.

HTH,

As far as I can say this is mainly a incoherence in the listing of the presets. I already made VSL's software engineers aware of the issue, but I didn't get an answer from them up to now. Shouldn't be too hard to fix.

And Re: 2nd Violins seemingly pointing "away" from the Main Mic: This has been done on purpose, really. :-)

Not yet, sorry to say so.

MIR Pro comes in two flavours:

- "Full-fledged" as part of Vienna Ensemble Pro, with automatic instrument detection for Vienna Instruments and other goodies,

- and as a "Plug-in version" which gives you the same results sound-wise, but with less built-in automatisms when it comes to Vienna Instruments. Available formats are VST II and AAX for Windows and Mac, and AU for Mac only.

All of them will be installed during the conventional installation process. But as far as I remember you can de-select any of these formats, and you can change the installation path manually. If your DAW supports the aforementioned formats, but still can't find the plug-in, I suggest to re-install MIR Pro and to make sure that all the necessary components are in the expected place. I never worked with Audacity, though, so maybe there are other factors to consider which I'm not aware of.

HTH,

Hi Jan,

interesting questions which aren't covered by the manual in its entirety.

Originally Posted by: Jan1981

1) As far as I read it, the Sec-Mic does not contain any spatial information. But what does it contain? does it have a distant depending delay?

It's actually the other way 'round: The Secondary Mic contains _only_ spatial information, i.e. wet signal. The Main Mic's setup is also responsible for the spatialisation of the dry signal components. This is also reflected graphically by the Secondary Mic's icon on a MIR Venue's stage: Its capsules are outlined only (... the opacity of the white filling stands for the volume of the dry signal "captured" by the capsule). 

You can check the Secondary Mic's output by selecting the dedicated "MUTE"-preset for the Main Mic.

There _could_ be issues when you choose the same recording position for both (e.g. "Conductor") and use different RoomEQ settings. But you won't gain a lot by doing so anyway, because you could always add capsules to the Main Mic to achieve the same effect with better manageability.

The idea of having a Secondary Mic at all is to use a _different_ position for better and more decorrelated spatial enveloping, and/or for dedicated surround mics. (That's why the Secondary Mic doesn't contribute to the dry signal created by MIR Pro, because mixing _these_ would most likely exhibit severe phasing issues.)

The height used for recording is always 2.5 meters above floor level (with one or two exceptions). That value is used for the Ambisonics-decoding process in MIR Pro, too. There is no actual "height"-parameter which could be changed by the user, though.

I'm not sure that I understand the term "above" in your question. You mean closer to the stage? This is something that will most likely sound - uhm - "interesting", because the reflection patterns of the room will indicate a closer position than the actual instrument positions determined by the Main Mic. - But you know: If it sounds right, it _is_ right! ;-)

PS: See screenshot! :-)

I can reproduce the issue regarding the General Purpose settings for MIRx SSV Portrait. It seems as something went wrong during the actual implementation of my presets. Sorry for the confusion - I'll ask VSL's software engineers to look into it.

... I can't say that anything is wrong with the Dimension Violin presets, though. Everything behaves as expected here as soon as the MIRx settings are assigned properly.

Hi Rasmus,

Originally Posted by: Rasmus Faber

In Synchron Stage, when selecting the different Dimension Strings Violin solo players, you get a bunch of players, oddly positioned with their back facing the mics.

Well - does it sound bad? ;-) Don't judge the visual parameters and what "looks" right. This was done on purpose for most 2nd Violins in the "classic" MIRx portrait-setup of SSV (and other MIRx-Venues, too), because it adds to the impression of "different" instruments on the right side. Apart from that, the instruments of the 2nd Violin section will point to the opposite direction of the 1st Violins when seated like that in a real hall, too.

I can't say what went wrong in your example, but it should look like this (see screenshot):

As soon as you actually _installed_ the RoomPack data, you should be able to point to the right disk location in MIR Pro's Preferences (see attachment). Just copying the downloaded files won't do.

If you can't solve the problem like that, please get in contact with , including as many system details as possible. 

Thanks for your patience,

PS: I suggest to use "Vienna Konzerthaus - Mozartsaal" as a (more than) adequate substitute for Haydn Hall. :-)