So why provide the link?.

64 bit audio engines were cutting edge too (on paper) though they had zero audible benefit.

Sorry but what does 'raising' mean? Is this an improvement to an algorithm or a signal path or...???

I just ask because before I spend another 1000 euros on a program I would like to know a bit more about it.

Otherwise I will download the trial and be like 'oh yeah, that sounds way better' even though the human ear might not be capable of discerning the difference between 1st and 7th order let alone 1st and 3rd order.

I assume there are audio examples of results from experiments by IEM. Any chance of we could hear such results?. I searched the link you provided but came up with nought. 

Hi,

How is the decorrelation of the original signals actually improved by the new engine?.

P.S. Great news about not needing to set up 480 instruments again. Few!

Will we be able to load an existing MIR Pro project with MIR 3D, like what we can do in VE Pro when moving from Vienna Instruments Player to VI Pro? If not, that is a shame as I have spent many hours setting up templates for all the MIR Pro Room Packs. I am not sure I am looking forward to setting up 60 + instruments again for 8+ Room Packs.

1) If I choose to use the iLok cloud service for my VSL licences, will I need to first deactivate all licences on my eLicencer dongle. If not, what is to stop someone using both at the same time?.

2) Is there a quick way to transfer multiple licences from dongle to cloud and vice versa in the iLok licence manager?. AFAIK I must drag each licence to my account one by one. For someone with over 20 VSL licences this seems very tedious.

If I choose to use the iLok dongle and it becomes damaged, will I be able to immediately transfer my licences from my damaged dongle to cloud via the iLok licence manager and continue using my VSL products?.

Does this all mean that I can have my VSL licences stored on an iLok dongle and the iLok server so if anything happens to my iLok dongle I can use the cloud instead?.

This is why machine activation would be great for the users of VSL products. Then we can just deactivate the licences on the machine that was damaged/stolen and reactivate the licences on our new machine. Done.

Very safe for VSL and users. 

Why not?

Every other website remembers me.

Every time I come to this website, I need to login even though I have checked the 'Remember' button probably 50 times this year.

So I just tried to install and check out Gullfoss (Dynamic EQ Plugin) that requires an iLok account. I forgot my ilok password and user name as I haven't used it for years (since hollywood orchestra days). I requested to reset and recover the password and user name. They sent me an email with a link to click as per the usual procedure. 

First, no matter what password I typed in, I would get a strange 'Capture Invalid' come up. I triple checked I had followed all their requirements for a safe password.

Second, I tried to create a support ticket which led me to a page where, you guessed it, I had to sign in to my iLok account, which is going to be hard considering I don't know my user name or password.

Third, I thought I would return via the email link to the original page to have another shot at resetting and recovering my password. The link was now dead. It would just give me a blank screen.

Moral of the story:  If VSL are going to migrate over to this company and expect thousands of users to deal with iLok, I would suggest someone at VSL tell them to get their iLok'n act together.

Hi,

Thanks for the clarification. 

So it was created for SSV 'Long'?.

And you saying that if I am using SSV 'Wide' in MIR, to reduce the 'LR Adjust' in MIRacle to allow for MIRs natural width?.

Hi,

I would like to know if the 'Synchron Stage Vienna Enhance' preset is for Synchron Stage or Teldex as in the description it says that it was designed for Teldex.

And if it is designed for the Synchron Stage, is it for Synchron Stage A Wide or Synchron Stage A (Long)?.

I am still not stoked that I have to buy another dongle $$$. Not stoked at all. VSL should be selling these at a reduced price. They are not cheap. We the users are not benefitting from this move in the slightest. 46 euros is an expense that VSL should cover as it was not mentioned in any fine print anywhere that VSL reserves the right to change the entire licencing system at the expense and inconvenience of the customer with no actual benefit to the customer at all. Not stoked!.

Why no machine licencing. Why change at all? One dongle to another dongle is hardly progressing. I know I will get a reply saying "everything is going to be alright, don't worry we have it sorted". But do VSL have 46 euros they are willing to part with on my behalf and the rest of the VSL customers?. iLok are going to make an enormous amount of money out of this deal and we the users get shafted for 46 euros.

I'm thinking maybe VSL should outline this whole thing and associated costs to the customer in a detailed email and send it to everyone who is currently a VSL customer. It's giving me the willies.

What happens if I leave the eLicencer plugged in as it also contains my Cubase licence?

Do I delete all the VSL licences in the eLicencer before or after the iLok is inserted?

So what, we have to buy another 20+Euro dongle, wait 2 Covid weeks (4 weeks) for it to arrive, request from VSL all our licences, wait for them to be delivered, copy paste the activation codes into the iLok manager all this while thousands of people are simultaneously doing the same. I hope you guys are hiring a 100 more staff and servers to deal with the immense amount of traffic. Not stoked.

Hi,

When populating slots with samples in the Synchron Player, I would like to see an option that enables the user to:

a) Highlight the slot - bright pink line

b) Double click the sample

This would be much faster and easier than dragging the samples across the screen. 

Cheers.

I am pretty sure that the reason I haven't bought Synchron Brass is because of my RSI + Carpel tunnel from setting up 55 Expression Maps, 14 different VE Pro/MIR Pro templates with corresponding Cubase templates with 3 Bome MT Pro templates.. 

I think they should do a little work on the UX. NOT FUN!

I'm not sure you would gain much from disabling all you routing. Enable/Disable is more about not loading samples in order to preserve RAM. AFAIK leaving all your routing channels activated wouldn't make much/any difference to your RAM, CPU usage or load times. Though I must say it would be impressive.

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.