Welcome Christer,

I'm sorry to hear that you seem to be facing a bumpy start, but the good news is that your configuration shouldn't cause any serious problems. While it's best to contact immediately in such cases, you could do the following quick checks:

- Reinstall MIR Pro and make sure that the AU component is really part of the installation. 

- Restart the computer.

- Re-check the plug-ins in Logic.

If that doesn't help, you should really talk to our local Logic gurus, they will help you quickly - after the weekend at the latest.

All the best,

Without more data, it is difficult to determine the reason for your problem. Please get in contact with , including as many information as possible (software versions, OS, DAW, audio system ... you know the drill. ;-) ...). I'm sure VSL's support team will be able to solve the issue swiftly.

Kind regards,

Uh ... sorry. I didn't read the subject, obviously. In case of Vienna Suite Pro I don't see the problem, however ...?

PS: I just checked the specs listed on MIR Pro's sub page, and there it says:

Huh! Where does it say "12.2"? That would be totally off, as MIR Pro's maximum output number is eight channels. 

More channels will be available only with the upcoming MIR 3D (which is heavily delayed due to a number of reasons 8-/ ...)

Kind regards,

Hi Colin,

the virtual Synchron Stage in MIR Pro will help immensely when you want to combine Vienna Instruments with Synchron Instruments. However, I'm not sure what you mean by writing "Synch solo strings" as there ain't any, up to now ...?

... or do you mean "Synchronized Solo Strings"? In this case, MIR Pro not only allows you to combine SE with Solo Strings, but you can also use any other MIR Pro Venue with great success, as you can simply turn off the "synchronized" aspects of the Solo Strings: This way you get the pure sound of the Vienna Instruments-based samples.

HTH,

Please get in contact with as quickly as possible.

Kind regards,

Welcome James,

thanks for your interest in MIR Pro! I know very well how hard it can be for us non-native speakers to move in a mostly English-spoken industry, so don't hesitate to ask if you have any specific questions.

Picking out a specific RoomPack is a bit like asking an arranger to limit himself to strings or woodwinds only: That might work to a certain extent, but s/he would miss a lot of beautiful colours of the orchestra ;-) Mixing is my main profession, too, and I have been using all MIR Pro Venues in different context with great results.

If I were really tight on a budget I would choose Synchron Stage Vienna, the Pernegg Monastery and The Sage Gateshead (i.e. RoomPacks 4, 5 and 6). That way you should be able to cover pretty all typical mixing situations. But believe me - in the end you will get them all. ;-)

The difference between RoomPack 2 (Teldex Berlin) and 6 (Synchorn Stage Vienna) is about the same as the difference between a Steinway and a Boesendorfer: Both are world-class grand pianos, but still they serve different tastes and tasks.

Regarding VE Pro: As long as you don't work with Vienna Instruments a lot, MIR Pro won't benefit a lot from using it as a host. The plug-in version (which doesn't offer the same tight integration with other VSL products) will do perfectly fine.

Enjoy MIR Pro! :-)

I'm not in front of my DAW right now, but isn't that what the panner in Synchron Player's Mixer is supposed to do?

I'm pretty sure I adjusted a lot of parameters during the mix of each piece, but I can say with certainty that I used the Venues with little or no reduction applied to their natural reverb length.

I tend to use some sort of M/S setup for the Main Microphone, while  I often start with two hyper-cardioids pointing towards the back of the hall for the Secondary Mic.

... keep in mind that these were full commercial productions, not "pure" MIR Pro demos, so in addition to MIR, numerous tools were used, such as delays and echoes, algorithmic reverbs and so on. 

Kind regards,

I just tried it myself (using the Synchron Bluethner in Nuendo 11, but the principle should be the same):

1. Make sure that you really installed the surround _content_ and the surround player

2. Create an Instrument Track in Cubase for the Synchron Piano Player Surround plug-in, or a Rack Instrument in the VSTi-panel on the right

3. Connect the Instrument Channel to a 5.1-output in Cubase

4. Select one of the surround mixer presets in Synchron Piano Player.

... that should do the trick. If you're still facing problems it might be time to get in contact with VSL's support directly.

Kind regards,

That's true. For some plug-ins presets don't make much sense. :-)

I'm glad to hear that you were able to sort out the issue yourself!

All the best,

/Dietz

Hi Anders,

as long as you're only using Vienna Instruments, MIR Pro's "Natural Volume" feature is meant to give you meaningful starting points for all of them. Give it a try!

Sidenote: You will notice that the overall volume of your orchestra is quite low when using Natural Volume. The purpose of this is to leave enough headroom for the loudest instruments. Simply increase the Master Volume of your mix then, or use MIR Pro's "Selection Group" feature to increase the individual volume of all deployed instruments simultaneously.

HTH,  

Thanks for sharing, David!

If you're interested in other jazz productions where MIR Pro has been used as the primary tool for panning and spatialization, here are some examples I've recorded and mixed in this genre over the past few years (Spotify links ahead):

-> JBBG: "True Stories"

-> Kahiba: "The Sixth Sense"

-> C. P. Auer: "Songs I Like" (... this one I have mixed only).

Enjoy! :-)

Originally Posted by: ColinDougall

Hi Deitz

Mostly classical orchestral with Synch SE1 Plus and quartets with Synch solo strings

I see. With any Synchron(ized) Instrument you already have a scoring stage "built in", so I would focus on more classically oriented venues. The most versatile would be the legendary RoomPack 1 - Vienna Konzerthaus with its five very different halls (... Mozartsaal is considered to be one of the best places for chamber music on this planet). But I openly admit that I have a soft spot for RoomPack 4 - The Sage Gateshead. It encompasses three magnificent halls which you might have visited yourself already, as The Sage is located in Newcastle upon Tyne, just over the border from Scotland ;-).

HTH,

Originally Posted by: ColinDougall

Hi

Is it possible to recommend a "best" roompack to learn MIR Pro with - mostly for Synch SE1 Plus and Synch Solo String?

Thanks, ColinD

What kind of music are you producing mostly? There's no overall "best" RoomPack (of course they are all great!! ... ;-D ...), but some might fit your needs better than others.

Colin,

MIR and MIRx are different products which just happen to be based on the same technology. Please see this older posting of mine for a quick comparison.

Re - Venue data: For better understanding, look at MIR Pro as the sample player engine. It still needs to be fed with samples (IR sets, in case of MIR) to be able to do its job. These collections are presented in "RoomPacks" which have little in common with the data you got for MIRx.

Kind regards,

That's simple. Just switch off any kind of reverb offered by the player, and don't use any kind of panning. I seem to remember that there are even dedicated Mixer Presets in Synchron Player for the use with MIR Pro. Your "synchronized" VIs will work with MIR much like the original Vienna Instruments then.

Kind regards,

Just for good measure, without meaning anyone personally: Can everyone please stick to a kind, benevolent and light tone here? Thank you.

Originally Posted by: Dewdman42

[...] I would be very interested to hear what Dietz would have to say about any of this.

This is my personal opinion as a sound engineer and music producer, not an "official" VSL statement: Synchron Instruments were made to be used in situ, in the specific positions in that very specific hall where they were recorded. For free placement on a virtual stage use Vienna Instruments.

Great idea. ;-D

Thing is that this "distance" is just a virtual one anyway. It only affects the phase relations between the individual (virtual) capsules, and only during the diffuse, late part of the reverb. We developed this as a tool to increase the perceived "enveloping" of the hall. The notion of "1 meter" has just been added to make this feature easier to grasp (... "0 - 100 percent" is less sexy, isn't it?).

Outriggers are mainly defined by the typical runtime-differences of a signal source once it reaches the left and the right capsule. This is not possible to achieve by means of coincident microphones like the Ambisonics mics used for capturing MIR's Venues. ... and no, adding delay to MIR's virtual capsules is not the same. ;-)

Kind regards,

Hi Craig,

I provided two different versions of Synchron Stage Vienna as "MIRx-Mode" presets for MIR Pro, covering more or less all Vienna Instruments (which is what I think you refer to as "standard library, don't you?), plus additional "General Purpose" settings for 3rd-party signals.

-> https://www.vsl.info/en/manuals/vienna-instruments-mirx/venue-details/synchron-stage-vienna

The collection I created for the "Wide" orientation of Synchron Stage was made as an equivalent to my favourite Synchron Instruments setup "Surround to Stereo Downmix Wide".

HTH,

:-D ... Dear Paolo, I think your insider jokes are giving others a headache. ;-)

Hi Louisc,

Marnix Veenenbos fromVSL support just called me and asked for a little more time - they are just swamped with work over there. Thanks for your patience!

Short answer: No.

A bit more detailed answer: There are tried-and-tested ways to make good use of Synchron Instruments in MIR Pro, but there's no doubt that this is not their main application.

HTH,