Oh, I see! :-D ... you're welcome!

... and you're right, there's no snake-oil driven, built-in mojo in MIR's recording chain - just top-range 21st century recording equipment, carfully selected DSP algorithms (both commercial as well as in-house developments) in the hands (and ears) of VSL's Tonmeisters. ;-)

Kind regards,

Hi Betuel,

Like fellow forum member Bbelius I don't really understand your question. Of course the impulse responses we captured for MIR Pro are meant to have all the colour from the original venue - but we tried to get rid of any other unwanted influences, like all non-linearties of the recording signal chain and so on.

... does this answer your question ...? 

Kind regards,

The answer is "yes", I'm afraid ...

The most straigh-forward way would be to reduce the overall stereo width of the Jazz Drums' main bus, e.g. to something like 80%. All professional DAWs offer built-in tools to do so, either by means of the track panning device, or at least by means of a dedicated plug-in. 

If you don't want to do that for one reason or the other, there are many specialized plug-ins, like the Power Panner in Vienna Suite / Pro, or Waves' S-1.

HTH,

Changing the list's channel heighth is only available in VE Pro, that's true ...

Like I wrote above - I already informed VSL software engineers.

For now (as a workaround) you could minimize the left Instruments panel's channel heigth to one line. Once the faders are hidden, you can't inadvertently change their volume any more.

Kind regards,

Please click on the MIR Icon in the System Tray to quit MIR Pro plug-in server manually.

VEP can't differentiate between channel types by design (which is actually bad audio engineering, but easier for software design). "Shift-assign" will therefore put MIR Pro on all kind of channels, be it Master Bus, FX, submixes ... which is most likely not what you want.

... of course, MIR should reside in all relevant instrument- and/or audio channels. :-)

HTH,

In VE Pro, mark the channels and hold "Alt" while adding MIR Pro to one of the selected ones. Hold "Shift" for adding MIR to all channels (which is most likely not what you want). - Note: There is a Preference to make VE Pro always treat selected channels as a Group - if this option is activated, you don't need to hold "Alt".

The method to the MIR Pro plug-in version to multiple channels depends on the host, of course.

HTH,

I understand your request, but rest assured that it is common practice for many of us to change on-screen-faders and the like with the wheel. :-) It's a question of habits, mainly.

Nevertheless I'll ask VSL software engineers to add the missing option to the preferences of MIR Pro's plug-in version, too.

Thanks for your input,

Ok, I see. So we are _not_ talking about the MIR Icon on a stage, are we?

Hm. Here, the mouse-wheel zooms in and out in the Venue Map. Parameter changes by means of the wheel (i.e. whithout clicking) are only possible in the Instrument Channel and Output Panel on the right. Is this what you mean?

Which host are you using when you encounter this issue? 

Always glad to help! ... especially when it's so easy. ;-D

Does it help to de-activate this Preference in our not-so-great GUI? ;-) (see screenshot)

Hi Richard,

thanks for buying MIRx! I hope you like it. :-)

ad 1.: The Panning in VI (or VI Pro) actually determines the way the instrument's signal _enters_ MIR. That way you can build quite elaborate customized ensemble-setups using the so-called General Purpose presets, in case you need them. But you're right, for individual instruments the mixer's panning should be centered.

ad 2.: MIRx is meant to be used "one instance for one instrument", so there is always just _one_ position you can achieve by means of MIRx in one instance of VI (Pro). The virtual position of the instrument on the MIR Venue's stage is shown in the small floor-map at the bottem left corner in VI's "Advanced" view. - Hint: When you click on this panel you'll see a picture of the chosesn venue. :-)

ad 3.: I don't quite understand the issue ... You have made an arrangement before you got MIRx, and there was no Dry/Wet slider? Very strange. Please get in contact with if the problem persists. 

ad 4.: Yes, like any other plug-in or virtual instrument, settings are saved in the host. But of course you can always create presets in VI and recall _those_ later.

HTH,

Originally Posted by: Glaikt

Many thanks Dietz for the reply and suggestions.

 I’ve had a quick play with that and, indeed it works. I’ll experiment further!

Glad to hear! :-)

MIR is all about placing signal sources from different recordings into the same virtual hall, so it will open the next instance with the same basic settings (a.k.a. "MIR Engine Settings") anyway. :-)

Like I wrote above: This is _exactly_ what MIR Pro has been made for. If you aim for different reverbs for different sources ("pop-music mixing"), you'd be better off with conventional reverb plug-ins.

VE Pro as a host is the better choice for Vienna Instruments due to quite nifty features which allow for some data-interaction between instrument and Venue. As long as you use 3rd party instruments or real recordings, the plug-in version of MIR Pro will do fine.

Yes - see above. :-)

Just keep in mind that MIR is about positioning a sound source in a hall, not about adding an arbitrary reverb tail to an otherwise unchanged signal. IOW: MIR will always change the stereo width and/or the panning. It's the fundamental part of the underlying idea. 

Kind regards,

It's no secret that "Synchronized VIs" are top priority for VSL right now. These settings will eventually find their way into MIR Pro, too, I assume. That's not the same as MIRx (due to the very different orchestral seating scheme), but at least something. 8-)

Welcome Glaikt,

I think the best way to achieve this is by using MIR Pro as some kind of "glorified AUX-send reverb". :-) I'll give you the step-by-step instructions, but they make things looking more complicated than they actually are, so don't despair:

1. Instantiate MIR Pro in an FX channel, much like you would do in case of a conventional reverb plug-in.

2. Select the MIR Venue of your choice, with a microphone setup that fits your needs (most likely Stereo M/S, maybe a Blumlein-array of crossed Fig-8).

3. Move the MIR Icon to the center-axis of the stage. (... you can do this by typing-in the coordinates, too!)

4. Select a General Purpose Instrument Profile, with Omni or Wide Cardioid characteristics.

5. Increase the stereo width of the MIR Icon until the left/right handles form an equilateral triangle with the Main Mic's position (... you don't have to be too finicky about that, it's just a rule-of-thumb).

6. IMPORTANT: Set MIR Pro to "Wet Solo" in its Output section!

7. ... now route your mix to this FX channel and add the resulting reverb according your to taste and needs. The original stereo width of your mix will stay unchanged.

HINT: Keep in mind that changing the Icon's stereo width and/or its position on MIR's stage will give you almost countless options to sculpt your sound. Don't forget that you can shorten the overall revereb length! And finally, there's always the RoomEQ to get rid of boom, disturbing resonances and so on.

HTH,

I see - this can be misleading. :-)

In my defence: I didn't make up this labelling. "Room Tone" is indeed a commonly used trade jargon term for the natural noise floor in a room (and a recording thereof).

-> https://en.wikipedia.org/wiki/Presence_(sound_recording)

-> https://www.mediacollege.com/audio/ambient/room-tone.html

HTH,

Welcome iPiano,

Default levels between -65 and -70 dBfs are indeed something you should expect to see and hear.

The natural levels of RoomTones differ, of course. In reality, a high-end studio location like the Synchron Stage Vienna will exhibit much less noise-floor than an exposed, hardly isolated building like a church. RoomTone levels also depend on the chosen Main and Secondary Mic position to some extent, and on the number of (virtual) microphone capsules. 

... but as MIR has no idea what the levels of your instruments and other signal sources will be in relation, it's completely up to you how much of this "natural dithering" you bring in into your mix. A good rule-of-thumb is: MIR's RoomTone should be just loud enough to cover the end of a single reverb tail behind a soft "pillow" of uncorrelated noise. :-)

HTH,

Great suggestion, Talino. Right now there is little man-power available for adding new features to MIR Pro's code, but I'll put it on the (ever-growing) list of requests.

Thanks & kind regards,

Hi Talino,

Re: Size: I understand your request, but please keep in mind that the size of the MIR Icons is not just an abstract thing, but it actually mimics real distances. When you change the stereo width of a source by means of the Icon, you in fact define the distance between left and right signal on the virtual stage. 

Re: Groups: Yes, it's a real PITA that Groups are not available in MIR Pro (only in VE Pro). Please send an official  request to , too, because I'm constantly told by VSL software engineers that "nobody needs this, because nobody asks for it". :-P

TIA and kind regards,

Originally Posted by: Pierre Alain

So when I change something in the room EQ I basically create a new room?

Strikly spoken: Yes. But - do you create a new flute, for example, just by adding a bit of treble and rolling off some LF-rumble? I wouldn't say so.

It's "best practice" to use MIR Pro's RoomEQ to make up for any messy resonances, or lack of hi-end, or whatever. You can do this in very detailed form by using different settings for different kind of sources (by means of RoomEQ Banks). As long as you don't go into extremes*), you should still hear _lots_ of signature sound of the plain, unaltered IRs captured from a Venue.

*) ... well ... +18dB might be "extreme" for many, though. ;-)