Right, so all we really need now is to be able to batch save/load Channel Sets and we are away. This would be ideal if it were done by VE Pro Instance. We would still need to be able to batch save/load MIRCHAN files in our DAW though, as I'm sure people are using MIR Pro in their DAW without VE Pro.

Thanks.

Originally Posted by: Dietz

All instrument-specific parameters are handled by the single instances of the MIR track plug-in, i.e. the "Icon" on a MIR Pro's stage. In VE Pro you can save and manage these settings by means of the so-called "Channel Sets". The respective commands are available from the context-sensitive right-click menu.

So at this point it is not possible to convert my 80 instrument orchestra from my e.g. Konzerthaus preset to my  Sage Gateshead preset without closing Cubase, closing VE Pro and loading up my Sage Gateshead template in both programs or, as you say, go through and load the Channel Set or the individual MIRCHAN file for all 80 instruments?.

Thanks.

Hey,

It has come to my attention that when saving MIR Pro via the VE Pro File tab, it does not save any instrument data. It only seems to save the mic data. Is this normal behaviour or a bug?. And if it is normal, I am requesting that in the future there be a way to save the instrument data. This would allow the user to place the instruments on stage, configure the angle and wet dry ratios, save and then do a comparison with different settings. Or load this data intro different VE Pro projects.

Cheers.

JBuck

When I import an instance from another VEPro project, the current project's name becomes that of the project from which I imported the instance from. Now, if I hit save, I overwrite that project. I have to make a mental note 'DO NOT SAVE!' but 'DO SAVE AS!'. 

The current project should retain it's name after I have imported an instance from another project.

Cheers,

Originally Posted by: Dietz

: Don't expect "different sound" (frequency- and reflections-wise, that is), just "different perspective" and "different geometry".

Right, so MIR is simulating the listener perspective without actually simulating how the listener would hear the source - early reflections, left ear, right ear. If I was sitting hard up against the right wall of the venue in the 15th row, I would definitely be receiving more direct sound waves from the left side of the orchestra than the right. But you are saying that MIR does not simulate this. OK, great. Thanks again for the info. 

Cheers.

Thanks again for the help.

All I am trying to achieve, at this point, is an understanding of how we can simply place the mic array (flower) anywhere in the venue, when these mic positions are not actually part of the program. You mentioned decoding, that must be it I suppose. I will not dare to ask you about the ins and outs of Ambisonics decoding. I might hit the Ambisonics site for that.

Cheers.

Thanks for your reply.

I understand how the instrument position can be simulated by adding the convolved signals. But I don't understand how the listener (virtual mic array) position is simulated.

Thanks for the reply.

From the article:

"room" is all about three dimensions. Any signal source will sound different from any possible position within one and the same room; and it will sound different again from any of the possible listener's positions.

I now understand that the impulses are combined mathematically through the convolution concept to provide omni source locations . But what system combines the responses that provide omni response locations?

Cheers, 

If anyone (Dietz) could confirm that I am on the right track regarding MIR Pro, I would be grateful.

An impulse is, in affect, simulating the frequency range of any particular instrument, and those impulses were fired from thousands of positions around a venue, and the program calculates the signal received at mic capsule (a) and mic capsule (b) and sums the two together thus giving the perception of a virtual mic capsule position.