As long as you keep the relative volumes intact, there's nothing hindering you from raising all instrument's volume without losing "Natural Volume" relations. (... they are meant to be seen as starting points anyway, not as the Only Truth. ;-) ...).

As long as you stay in the digital domain with 32bit floating point processing you could also simply bring up the volume of your final, if that's easier to achieve.

HTH,

For questions like these it's the best idea to get in contact with . I'm sure VSL's sales team can sort them out swiftly. :-)

Kind regards,

... or just re-balance the signal to the center, if you want to keep some of its stereo information intact. :-)

Always glad to help out! :-) Please don't hesitate to ask any further questions, and don't miss the manuals and its add-ons which are available from your "MyVSL" user area.

Kind regards,

Welcome Thonex,

I assume you're talking about MIR Pro, aren't you? :-)

As a matter of fact there would be a faint possibility to achieve 1:1 stereo width for an audio source on a MIR Venue's stage, but it would totally depend on the microphone-setup. MIR relies on Ambisonics throughout it's signal path - even the dry signal components are encoded (!) to Ambisonics to allow for a perfect match between the IR's and the source signal's position. The virtual Microphones of MIR are the decodoing part, thus their importance for the perceived stereo imaging.

In other words: There is not the one, single solution for your question. The "official" answer would be that MIR wasn't meant to be used with pre-panned signals anyway. - As a pragmatical workaround I would rather suggest to misuse MIR as more or less conventional reverb engine by switching its Output to "Wet Solo" and using an AUX send from your signal source. 

HTH,

Try to switch-off ProTools' "Keyboard Focus" (that's the small "a/z"-sign in the upper right corner of each window).

HTH,

Welcome Dor,

1. The Tutorials on this website should get you started:

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

-> https://www.vsl.co.at/en/Synchron_Series/Synchron_Package#!Videos

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

2. Usually, the Directory Manager should know the path the newly installed instruments, but you can also manually drag'n'drop folders to its list from the Explorer/Finder.

3. You can add pictures to forum messages by using the "Attach files to this post?"-option right below the text entry field. Follow the dialogue from there.

... if you need more specific help, please include some basic information about the product you're facing issues with, and computer related details like OS and so on. ;-) For in-depth support please write an eMail to , as the VSL forum is mainly meant to be seen as a user-driven community, not as an support channel:

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

HTH,

Hi Oliver,

in case you're still following this thread: Did Ben's suggestion solve the issue?

Thx!

The transposition trick will work without any additional tools as long as you can live with the inherent timbre shift. Phase alignment tools are neither needed nor helpful anyway, as you want to _avoid_ samples with almost identical content when you're aiming for an ensemble effect. 

Kind regards,

 Hi Christian,

interesting question. :-) 

Right now, we already do stuff like that to a certain extent with several "second" solo instruments in MIRx (Mode), mostly woodwinds and brass. Here we try to outwit physics by using different Characters (aka. PreEQ), VI's Humanisation features and of course different positions on a stage. Still you will run into phasing issues from time to time. This would happen more often when you try to build an actual ensemble from a single instrument. - The only technique that is able to make this work is VSL's "Dimension" approach, but that's not what you're asking for.

Personally I would try to use the actual ensemble sets of an instrument for unisono work and switch to solo instruments for individual voices / Divisi. In case you're just missing certain articulations for unisono ensemble lines, the "Appassionata + Solo String"-trick might be worth a try: You take the ensemble samples for "size" and "flavour", while you add all the missing agility and articulations by mixing in an additional solo instrument with much more detailed articulation work. 

Other than that, we have no plans to invent an "artificial ensemble" feature right now, but thanks for sharing the idea!

Kind regards,

Exactly, that's what I meant to say. If you switch the audio system's clock to 96 kHz, the latency will go down.

Kind regards,

Welcome Oliver,

Thanks for testing MIR Pro!

Please update the eLicenser Control Center software nonetheless, especially its license database, that should do the trick.

Kind regards,

Yes, it does! :-) 

-> https://www.vsl.co.at/en/Vienna_Software_Package/Vienna_MIR_PRO

In short: No, sorry to say so.

... but MIR Pro will be able to give you all the functionality in MIRx Mode (and then some). :-)

Thanks for your friendly message. What do your MIR Preferences look like?

Originally Posted by: dmidi

[...] By roughly doubling the frequency from 44 to 96 Khz, the latency of the VSL library is cut in half, and that allows for a more consistent and authentic playing experience. And by doubling again from 96 Khz to 192 Khz the latency is halved again and we have more 'latency headroom' to stay under the audibility threshold. [...]

Sorry to ask the obvious: Why don't you change your audio system's driver to those preferred sample rates if you want to bring down the latency? 

Hi there,

as the guy who created most of those presets I think I'm allowed to say that you should use them as much as necessary, but only as little as possible. ;-)

Compression is a very capable and a very dangerous tool at the same time. It can bring coherence and excitement to single tracks, or the feeling of "energy" to complete mixes, but it can also utterly destroy all good and important dynamics (or simply do nothing) when used without care, some basic understanding and a bit of experience in actually perceiving its effects.

In short: Use those compressor presets as soon as you get the feeling that an instrument misses some kind of conclusiveness, or exhibits the occasional rogue note. But DON'T feel obliged to use Vienna Suite's Compressor just because I made a preset with a seductive name for it. ;-)

... processing the dynamics of an audio signal is a vast topic, much too substantial to be covered exhaustively in a little forum message. Luckily, there should be lots of information available on the 'net, nowadays, e.g. this primer.

All the best,

Hi Kamil,

sorry that you're facing problems. Please send your system's technical details and some screenshots of MIR Pro's Main GUI, its Preferences (and ideally its routing within your DAW / VE Pro (?), too) to . VSL Support team will look into it ASAP.

Thanks for your patience!

The original thread was about Vienna Suite's Convolution Reverb, your questions refers to MIR Pro, if I'm not mistaken.

Just to make sure that there's no misunderstanding: In MIR Pro's Preferences, the latency (a.k.a. "Buffer") is set to a value higher than zero? Some users look at their audio system's driver settings only, that's why I dare to ask. :-)

You're welcome, Robin!

It was actually Ben who could help, not me. It seems as I should read our "front page" more closely. ;-D

Enjoy BBO,

Welcome Robin,

"NKS" like for Native Instrument's "Kontakt"? That won't work - all Synchron Instruments rely on their dedicated player software called "Synchron Player".

Here you'll find the FAQ: -> https://www.vsl.co.at/en/Starter_Editions/BBO#!FAQ

HTH,

Oh, I see. :-)

The EQ in Synchron Player serves the same purpose as Character EQ of MIR / the Pre EQ of MIRx. The RoomEQ is "burnt-in" into the IRs used for "Synchronisation" of Vienna Instruments. A "combined" EQ wouldn't work.

Regarding your second question: You could use Synchronized VIs in MIR Pro with "Pure" Character and apply any RoomEQ you want to choose.

HTH,

Exactly. This comes from the idea that MIR is actually meant to be used as mixing front end for virtual orchestral music, so there would be just one instance to serve all inputs anyway.

... BUT! :-) Of course we understand that there are a few scenarios where you would like to spread the load amongst several machines, that's why I suggest to get in contact with when you need additional licenses. VSL's friendly sales people will try to supply you with a meaningful solution, I assume. ;-)

Kind regards,

Originally Posted by: Pixelpoet1985

Many, many thanks, Dietz! I'm very happy with these. Made my day. ;)

You're welcome!

I totally understand your feelings on an emotional level, but it's not like we took away something or the like. ;-) Trust me: In the end, all will be good - it just takes more time than we expected.

Errrrr ... the RoomEQ affects only the "wet" part of MIR Pro's Output signal (i.e. the impulse responses themselves), while the Character- (i.e. "Pre-")EQs are used for the instruments' dry/direct signals. MIRx and Synchronized VI's rely on both, therefore. The MIR Engine Setting I uploaded in my previous message contains only the RoomEQ, as individual sources signals aren't part of them. - While I've been in the lucky position to differentiate between these RoomEQ settings even further when working on (say) Synchronized Appassionata Violins and Dimension Violns, this is of course not the case in MIRx (Mode), where there are more global settings for _all_ violins, _all_ violas, etc.

... does this answer your question?

Nothing esoteric: Export functions and a handful of similar development-specific features which allows for the creation of thousands of settings without getting mad! ;-D ... I would share these settings in a blink, but there's no way to load them into anything else than the built-in CharacterEQ of MIR Pro (or the Pre-EQ of MIRx, respectively). 

Kind regards,