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!

Thanks for sharing your enthusiasm! :-)

As you might know, mixing music is my main profession. It's safe to say that I use Vienna Suite and VS Pro in each and every of my projects. Orchestral music, hybrid scoring, electronic or acoustic pop songs, hard-hitting alternative rock, eclectic jazz ... you name it. There's surpisingly little competition, especially in multi-channel environments.

My all-time favorite is most likely the "Master EQ" from legacy Vienna Suite. For me it's the most convincing combination of sound, ease-of-use, versatility, CPU-efficiency - and a nice-looking GUI. :-)

Dear MIR Pro users,

the most recent update of VE Pro - which includes the bugfix mentioned above - is available now. Just log into your "MyVSL" user area for downloading.

Sidenote: There are no changes in the code of the plug-in version of MIR Pro.

Thanks for your patience and ongoing support!

Hi again,

VSL's software wizards just informed me that the bug is fixed already. A new build (VEP7 7.0.944 and up) will be available for downloading soon.

Thanks again for your report!

Hi Jhonny,

Thanks for your report!

I can confirm that you ran into a bug which obviously crept in during one of the more recent updates of the built-in version of MIR Pro (i.e. the one that's integrated into VE Pro 7). The plug-in version of MIR Pro isn't concerned, AFAICS. 

I just tested it myself, and it seems as the Preference settings for this feature simply overwrite whatever has been saved with the VI-Frame. For now there's no easy workaround for that issue other than sticking to one mode and to adjust the Dry/Wet-Ratio manually in case of more distant signal sources, sorry to say so ... :-/

I'll get in contact with VSL's software engineers immediately. I assume that there will be an update that fixes the problem soon.

Thanks again for the hint!

Hi Ian,

thanks for your reply. I take this as a "Yes, I'm up and running!", then. :-)

All the best,

Hi Ian,

the forum's message utility tells me that you have edited your posting from last year. I can't say for sure whether you're asking for help again or if this happend by accident, though.

Please let me know!

Kind regards,

Hi Stephen,

sorry for the delayed reply, but actually I don't have meaningful things to add.

Of course you could try to achieve the impression of moving instruments on a MIR Venue's stage by cross-fading the signal beween multiple static instances (... I did this myself on several occasions), but you still won't get IRs from sources flying through the hall near the ceiling ... we simply didn't have speakers hanging above our heads in 15 meters heigth. 8-)

The MIR 3D update is planned for 2020, that's for sure, but I don't dare to make any more precise predictions about the actual release date. - One thing is for sure, though: Even with this update you won't be able to _move_ sources while playing, sorry to say so.

Kind regards & thanks for your ongoing interest in MIR Pro,

Hi Sam,

that's a very valid request, and as a matter of fact I have it on my personal wish-list, too. Don't hold your breath,  please, but chances are that we will see (and hear!) SSV Stage B for MIR Pro sooner rather than later. :-)

Thanks for your input!

Originally Posted by: SonicSonar

It is unclear what I am looking at.  From top to bottom, I see is a SENDS (+) with a Vienna MIR( in red )  and an "inline" with an orange level/lever below.

The screenshot has been created using an older version of VE Pro which looked slightly different.  With VE Pro 7 the same setup would look like this (... it's just the headlines for "SENDS" and "EFFECTS" which were removed from the channel view):

Screenshot 1

The horizontal faders have been replaced by blue-ish potentiometer-style knobs in newer versions of VE Pro (and its built-in version of MIR Pro). In VE Pro 7 it only gets visible as soon as you seperate the direct from the wet signals derived from MIR. - In a typical workflow your don't have to do this, direct and wet signal are kept in the same channel (a routing-concept which is called "inline" on large studio consoles).

To achieve split routing for direct and wet signal you have to click on the little arrows on the right side of the panel that says "Inline" and choose dedicated routing target for the wet signal. - This is what it will look like then: 

Screenshot 2

These examples show the possibilities of processing the signal before or after it has been spatialized by MIR Pro, which can make a difference especially in case of dynamic processing.

This is what channels in VE Pro 7 look like when applying "pre-MIR" and "post-MIR" processing. To achieve the latter you simply drag the plug-in in the space below the MIR plug-in (... the slot gets added automatically once you drop the plug-in there):

Screenshot 3

The GUI behaves identically under Windows and OS-X, at least as far as the general handling of VE Pro and the integrated version of MIR Pro are concerned. Signal flow is always simply from top to bottom, following "sidewards connections" in a conventional AUX-send/return and submix/group approach. MIR Pro used in split-mode (i.e.: not "inline") follows the same principles.

HTH,

That's an interesting question which I can't answer easily.

"Width" in MIR Pro relates solely to the perceived stereo information coming from the readily postioned signal source on a MIR Venue's stage, without the IRs - they get mixed in at a later stage. In that sense (and in quite a few others, too) the way MIR "thinks" is quite different from Dolby ATMOS. The latter allows for movable individual sources which isn't possible in MIR due to the static nature of the impulse responses the engine relies on. I would refrain from seperating the dry direct signal from the "wet" output, as any positional information you would achieve from MIR Pro would be lost instantly. It doesn't make much sense to move the reverberated signal either - all spatial relation between this signal and the other "MIRed" instruments of the mix would be destroyed.

Personally I mixed a quite a few movie scores that ended up in an ATMOS mix, though. In one them I ran two passes of the orchestra through MIR, using Main Microphone setups from different heights (Pernegg Monastry). These two passes ended up in two ATMOS "beds", one for the bottom layer, one (wet only) for the top layer. Worked out beautifully! :-) But mind you, I didn't create any "movable" items for ATMOS objects like that, just static beds, so this might not be the answer you were looking for.

 ... I already mentioned the news in another thread: VSL is working on a next-generation version of MIR Pro at the moment which will introduce full 3D audio implementation (amongst other goodies). :-) That said I have to point out that this _won't_ bring us signal sources which can move accross the stage while playing, sorry to say so. 

****

Off-topic side note: There seems to be some strange pronounciation rule that makes US-Americans misspell my nick-name "Deitz" instead of "Dietz" regularily. ;-D .... I'll have to explore the reason why, one day.

The "10" got lost, somehow, but in fact you're the first who took notice. :-) Thanks for the hint! Here it is:

Hi Jimmy,

FYI: I already asked Martin Saleteg, the guy behind Vienna Suite Pro, to chime in with first-hand information.

Thanks for your patience!

I see. :-) Appassionata Strings were recorded with multiple mics, for example, and a few others too, IIRC - mostly ensembles, of course. It's just that these mics were already blended carefully for stereo delivery.

BTW: I'll move this thread over to the Vienna Instruments sub-forum as it's more related to them than to MIR.

Kind regards,

Hi Betuel,

I don't quite follow. :-) Are you talking about MIR and its mic positions or about samples from instruments?

Kind regards,

PS: I've marked this forum-thread as "Solved" to make it clear for the occasional reader that there's some clarification available in this thread. I know that we couldn't actually "solve" the Cubase-related issues. ;-) 

You're welcome! :-)

(Moderator's note: Moved to "Vienne Ensemble" sub-forum for better visibility.)

Welcome GlobMeister,

just to be sure that you didn't miss them: There are quite a few video tutorials available on this site which explain the process. I hope that they will get you up and running. :-)

-> https://www.vsl.co.at/en/Product_Overview/Software#!Video_Demos

If you still need help, please get in contact with , as this forum is meant to be seen as a user-driven community.

-> https://www.vsl.co.at/community/posts/t38539-WELCOME-NEW-FORUM-MEMBERS#post233244

Kind regards,

OK, I think I understood what you're after. Thanks for the elaborate explanation.

Originally Posted by: matthieu.lechowski

[...]

• but now the stereo output of the instrument is duplicated on the 3 pairs of channels of my 6 channels output (I see 3 stereo pairs side by side). I think can't send this directly in MIR. So I have to filter it, with Vienna Matrix Mixer for example, in order to be in stereo again

No need to do that. MIR will ignore all input channels except L and R.

Don't bother, really. Working with MIR in surround I see other, more serious bottlenecks kicking in much earlier than several Matrix Mixers which hardly need any CPU cycles anyway. ;-)

In Cubase/Nuendo, the solution is to route your stereo instruments to surround groups (one for each source) and insert MIR Pro there. And like I mentioned before, stereo audio files will happily play on surround tracks in Cubase/Nuendo.

I know that this could be solved in a more elegant way, but this peculiarity of Cubase applies to all surround plug-ins, not just MIR (... which is at least clever enough to ignore inputs it doesn't use). 

HTH,

Originally Posted by: matthieu.lechowski

[...] And I will not be able to use MIR for the stereo-only instruments [...]

I think I don't really understand the issue - sorry to say so. Why would you want to have a mixture of MIR in surround and in stereo? Isn't it either one or the other? 

Mind you: MIR will happily process mono- and stereo inputs in surround setups. It's all about Cubase's way to "think" (in an admittedly counter-intuitive way, but not "wrong" by definition).

Maybe you could tell us what you actually want to achieve ...? I suspect that the solution is simple, but somehow lost in translation (assuming that English isn't our mother tongue ;-) ...).

Kind regards,

Hi Matthieu,

That's the problem:

As I wrote before: In Cubase, you can't use a surround plug-in on a stereo track. It simply doesn't work that way. You will have to use MIR Pro in a following surround group-channel if you can't (or don't want to) change the source signal's track to surround. (For audio tracks that's not really necessary as you can put a stereo file on a surround track.)

Nothing that MIR can do about it ... The error message you see is triggered by the fact that the first MIR instance is 5.1, but the channel format is stereo.

Kind regards,

Sorry to hear you'r facing problems, but I'm sure that they will get sorted out swiftly. :-)

It's always a good idea to make sure that your eLicenser software is up-to-date and that all its householding tasks are finished after updating. Trying another USB slot for the dongle is helpful, too, to rule out any hardware-related issues.

But in any case you should get in contact with - VSL's support team will get you up and running again quickly.

All the best,

Open the _first_ MIR plug-in in your session by chosing its surround-version, insert it in a 5.1-track of Cubase*), and all will be good. Just keep in mind that the first instance defines the format of the whole project. After this, all you have to do is to select a proper MIR Main Microphone configuration in 5.0 or 5.1 format.

*) Cubase doesn't change a track's output channel number by inserting a plug-in, like Logic or ProTools would do.

Sidenote: MIR Pro in VE Pro can be converted to different output formats by means of the "File > Convert Project Channel Configuration" command.

My usual work-around is to solo the MIDI-track, not the tracks in VEP.

... but then, I only rarely see the need to split the wet from the dry signals anyway. :-)

Kind regards,