Hello Dietz,

Thanks a lot, your help with this is very much appreciated!

Hello,

No matter how hard I tried, I was never able to enable MIR Pro multi-channel output in Logic Pro.

It is supposed to be automatically activated when you assign a MIR Pro instance to a multi-channel instrument in a Logic surround project, but that never worked.

Can anybody provide step-by-step instructions on how to properly activate MIR Pro multi-channel output in Logic Pro 10.7? Or, better yet, an already working template project file?

Thanks

Well, it didn't take too long for my prayers to be answered!

https://www.youtube.com/watch?v=JwC7az8s12I

Thanks Paul for the video and everybody else at VSL who have worked on its preparation.

Looking forward to all future videos on Atmos!

I started some experimentations with the new Dolby Atmos support in Logic Pro 10.7, following the excellent videos from Stephen Limbaugh.

But the implementation in Logic is slightly different from the one in the videos, and some aspects of Atmos related to "ambience" (basically reverb...) are still a bit confusing to me.

I'm sure the fine people at VSL are already working on tutorials on how to get the best from Atmos in Logic Pro 10.7 but, if they're not, I would suggest the following topics:

• Describe how to properly set the size and location of Synchron instruments using their near microphones as well as the central microphones, and also how to best use room-mixes and algorithm reverb for optimal results without affecting the Atmos surround effect
• Same as above, but hopefully enhancing results using the additional surround microphones included in the Synchron instrument extended libraries
• Describe how to get optimal and efficient results using Vienna Instruments and general purpose effects (reverbs) plugins
• Same as above, but specifically using MIR Pro, assuming its extremely sophisticated localization capabilities are compatible with Atmos

Those are my two cents on the subject. I hope it can help because, after only a short time experimenting with Atmos, I'm really convinced Atmos will be a complete game changer.

Hello Sam,

Thank you very much for your appreciation of my work!

To answer you questions the best I can:

- No compression was used at all

- Mic/Reverb was, as I mentioned, kept to a minimum:
  * Condenser at -3dB
  * Mid 2 at 0 dB
  * Main at -3dB to + 3dB (usually around -2dB/-3dB) depending of each piece, to control overall room reverb
  * Surround at -3dB (not at all necessary, used just for sweetening)
  * No Reverb (-inf on all channels)

- EQ is different for each piece and is used to try to match the performance that was used as a reference. Here are some examples:
  * K.27: (BP 300Hz at +4.5dB / Q ff 1.7) + (BP 590 Hz at +4dB / Q of 0.5)
  * K.162: No EQ
  * K.380: (LowShelf: 138Hz at +6dB) + (BP 292 Hz at +6dB / Q of 0.64) + (BP 1.5 KHz at +5dB/ Q of 1.4) + (LP 3.5KHz 6dB/oct / Q of 0.7)
  * K.431: (BP 540Hz at +4dB / Q of 0.71)

As you can see, it's all fairly straightforward.

Thanks

Hello FRG,

Thank you very much for the nice comment!

It's all done on a single track.

Surprisingly, the most critical part is really the tempo track. If not done properly the performance will never sound convincing. It's amazing how tempo can change dramatically from one measure to the next, even from one note to the next.

After that, velocity is obviously very important, as it defines the overall mood of the piece and must be carefully controlled to convey the subtle nuance of each and every note. Note length is not as critical, but nevertheless has to be controlled as well, and is mostly important for short and very short (staccato) notes. Random variations of velocity and note duration is an absolutely necessity for series of repeating notes, as it would occur with any regular performance.

Thanks again!

Hello all,

I recently worked on a series of Scarlatti piano sonatas that I did on the Bösendorfer Imperial.

They're all sequenced (very carefully) and nothing was actually played by hand. They're based on performances from different artists that I found represent best the spirit of each individual piece. I tried to provide an intimate "private concert" type of ambiance and used as little reverberation as possible.

The sonatas can be found here:

https://soundcloud.com/user-151519024/sets/scarlatti-sonatas-on-vsl-bosendorfer-imperial

Any comment would of course be greatly appreciated.

Enjoy!

Hello Julian,

Thanks for your input. I was starting to think a little bit in the same direction as what you are suggesting and I'm glad you explained your procedure in a simple and straighforward manner.

I tried what you suggested. I froze the VE track(s) and bypassed the plugin after that. I imported the frozen file (I had to convert it to a 16-bit "core audio" file with Soundtrack Pro as Logic would not import the 32-bit floating-point format of the frozen file) and used it as an audio track. It works as it should.

It's too bad that such a convoluted procedure had to be performed for such a simple requirement. Freezing a track should simply shut down the VE plugin until it is required again. That's the whole idea behind freezing a track. I hope this is resolved someday (soon).

Thanks for your help. I can at least continue to do some useful work now.

Louisc

Hello Maestro2be,

Thanks for your feedback. I was afraid I would get a reply like yours. Apparently, freezing a track is not a solution and I'm not sure at this point what would be. I'll try to think of something and keep you posted if I can think of anyhing.

Thanks again,

Louisc

Hello All,

This question may have been asked before, but I couldn't find a clear discussion concerning my problem in this forum.

I am using Logic 8.0.2 on my dual G5 CPU running under Mac OS X 10.5. I am running out of CPU and tried freezing tracks to minimize the problem (which is supposed to be the solution since plug-ins aren't supposed to use CPU when a track is frozen). That didn't help at all.

I was initially using separate VI but thought that might be a problem of overall resource usage. I tried to switch to VE to pack all VIs into a more compact environment, but that didn't change anything. It even seemed to make things worse. I looked at the CPU consumption using the "Activity Monitor" utility, and it looks like the amount of CPU used by the VE doesn't change at all even when a track is frozen. Pressing the "Stop Engine" button didn't change anything either.

Can anybody help explaining this or, even better, suggest a solution or a workaround?

Thanks

You did a extraordinary job Aliex. Truly incredible.

I personnaly think that one of the most impressive aspects of this piece is the realism of the ambience. I'm truly amazed at how convincing the acoustic enviroment sounds. It really is as if you were actually there.

Alex, would it be to much to ask to share with us the techniques used to achieve such amazing results? I suppose it would include such things as reverb(s) used, mixing, stereo positioning, EQ, other effects used, etc...

I know that a magician never reveals his secrets, but I'm absolutely convinced that everybody here will keep those secrets for themselves and take them to their graves.

Hoping to hear from you,

Louisc

Christian,

Thanks for the tip, I'd never have found it by myself. That really did solve the problem. I'm really looking forward to the Kontakt version of the solo strings so that I can go back to Digital Performer and forget about Logic.

Many thanks,

Louisc

Hello all,

I'm currently trying my "solo string skills" on a string quartet and this is the first time I ever used two violins at the same time.

Even though I'm using four different instances of ESX on four different tracks, there's seems to be an interaction between the two violins (I'm using the same Vl-perf-leg patch on both instruments). It seems like voices are chopped because voices are "stolen" from one track to the other.

Any thoughts ?

Thanks,

Louisc