Originally Posted by: asaad

Thanks Pixelpoet1985! appreciated.

I do really like the MIR pro concept and demos, but also like to have dimension strings, and more articulations in the woodwind (full libraries). So yes tough decision!

I am waiting for a new computer as my old one not working, so I can't demo MIR pro now, I was just thinking to get it now to benefit from the promotion. I probably will just wait for the computer and demo MIR pro.

As for the MIRx Synchron stage, I was asking for MIRx Synchron stage extension for VI pro. It is not in the MIRx page.

Thanks again.

You're welcome!

If you want to benefit from the MIR Pro promotion, take it if you have the budget. Otherwise, I think this promotion will come again this year, don't worry. Although there are different promotions every month, some always return, like e.g. the christmas vouchers or MIR Pro.

But be warned: MIR Pro is a bit overwhelming at first. It took me a long time to understand the settings. I'm also a beginner; I started with Vienna Suite and Hybrid Reverb before I bought MIR Pro, and I was never happy. It's very tedious if you don't know how to apply EQ and all this stuff, although Vienna Suite has very good presets for all VSL instruments. MIR Pro is definitely easier (in my opinion) and a different approach/experience compared to convolution reverbs. With those tools you have to do everything on your own (which is good, if you want to learn the things behind it), MIR Pro does many of this in the background for you. And you can actually see the instruments on these gorgeous venues. Some praise for the graphic designers here! ;)

Do you already have the cube? If you have the budget, maybe you could get the standard library first, it has a lot to offer. And then wait for a promotion to upgrade. In the last two years the cube has been massively reduced around Black Friday. Maybe there is another discount this year. Fingers crossed! 

Ah, got it! You meant MIRx vor VI (Pro). I think it's in the making right now, but don't know for sure. It's a bit "misleading" (in lack of an appropriate term)... because there are two separate MIRx products: 1) the MIRx in MIR Pro which is free-of-charge for owners of the venue, and 2) the MIRx module for VI (Pro).

Thanks, Dietz! Much appreciated. You're so fast. :)

Concering Appassionata Strings: You're right, of course I can change the wetness. I only wondered, because the SYNCHRON-ized library is drier and many of the other MIRx venues have drier settings, too.

Dietz, I have some more questions/remarks on/for the MIRx settings:

• Some lower instruments (e.g. dimension horns, dimension cellos) sound a bit boomy. I understand that's because of the close miking at the Silent Stage. Was there already some EQ applied to the dry samples to overcome the proximity effect? Would a high-pass filter in the MIR Pro Room EQ be a good option or are there better options? I think you already made the best you can do with the Room EQ, but it's still boomy.*
• For my taste the Appassionata strings are too wet, they are around 40, and more than Orchestral or Dimension Strings which are at approx. 30. Shouldn't they be drier? Maybe there is a mistake?
• When activating MIRx, some instruments (e.g. trumpet, flute) are switched to solo position by default. No problem, but couldn't this be changed? Also some positions are not clearly named/assigned, e.g. there is Flute 1 and Flute 3 (1B). Where is Flute 2?
• Some character EQs are "messed up". In general, the MIRx character EQs are at the bottom of the character EQ drop-down list. Now we have some at the top of the list (e.g. Dimension Violins). Again, not a problem, but maybe it's a bug.

---

* I read about the Abbey Road Reverb Trick where you high-pass at 600 and low-pass at 10000. Would this make sense in the Room EQ in general for all instruments, or is this trick only helpful with reverb tails? I think that the wet part in MIR Pro is ER + tail, isn't it? 

Originally Posted by: asaad

1- What would you prefer, more samples or MIR pro?

Tough decision! I would go with MIR Pro first, it gives you an instant sound out-of-the-box with the MIRx extensions. The newest MIRx for the Synchron Stage is really good, in my opinion. Of course, you could go with only MIRx for VI (Pro) if you have a limited budget. But the features are also limited: You can't move instruments and make drastic reverb changes. Why not demo MIR Pro for 30 days?

Originally Posted by: asaad

2- Can I achieve using MIRx and Vienna suite pro similar result to MIR pro? Using EQ presets for instrument character, and the algorithmic reverb in Hybrid reverb instead of Miracle? (I should be fine with the fixwd positions in MIRx.

Absolutely! And you don't even need Vienna Suite (Pro). The MIRx settings have all the EQ and reverb settings built in.

Originally Posted by: asaad

3- I also have a smaller project I want to do with Synchron sound as I am using smart sphere. Is the sound of VI instruments in MIR pro Synchron stage Identical to the Synchronizd libraries?

Although the SYNCHRON-ized libraries use IRs from MIR Pro, there are some technical differences between the two. Don't know the details. Dietz made the MIRx settings with reference tracks, it's as close you can get to the real thing, and it sounds "better" than the SYNCHRON-ized libraries, in my opinion. Some SYNCHRON-ized libraries sound different, because there were other mixing engineers involved.

Originally Posted by: asaad

4- Is there MIRx Synchron stage coming soon?

It's already there. :)

Originally Posted by: asaad

5- I know starter editions are sampled in whole tone, Is Symphonic cube standard library sampled in semitone as well or whole tone?

As far as I know it's semitone sampling.

Thanks for answering, Dietz! 

Originally Posted by: Dietz

Thanks for our friendly words! Highly appreciated.

Originally Posted by: Pixelpoet1985

[...] But somehow I would be very interested how an Alan Meyerson "Hollywood" MIRx would sound like. I guess not that much of a difference, but who knows. Different engineer, different taste, different ears. And Alan said he works longer at his home studio, trying out things and that he don't need to be paid ... so when can we expect his MIRx settings? ;P Or maybe a tutorial?

:-D ... yesyesyes, brilliant idea! We'll ask Alan to do six weeks of mining work for free! Sounds like a plan.

Haha... but, wait, I forgot that "he actually has no technical skills" and "knows nothing". :D

Originally Posted by: littlewierdo

Bagpipes (both Irish and Scottish variety please)

Panflute

Didgeridoo

Absolutely! Or Uillean pipes. As I said, there are many instruments which haven't been recorded (at the Silent Stage) yet. Would be nice if VSL expands the catalogue.

And a technical question for MIR Pro:

• Is there a way to deactivate all of the MIRx character EQs with one click? It's very tedious to revert all instruments back to the "pure" setting. Maybe I missed something. The other way round it's very easy, because you can select several instruments at once, select what should be changed (position, EQ etc.) and with one click the MIRx settings are apllied to all selected instruments.

Originally Posted by: Dietz

Originally Posted by: Pixelpoet1985

Awesome! Thanks, Dietz and team!

:-D ... You're welcome! 

(... in a first impetus I was tempted to answer "My pleasure!" - but than I realised that I should stay honest. I'm _very_ happy that this highly exhausting task is finally done, really. 8-) ...)

I fully understand. I mean I quit my "journey" of creating my own MIRx settings, because I couldn't stand it anymore. I think I have good ears, but the ony day the setting was good, the next day is wasn't, the position wasn't right, the wetness wasn't right ... Oh, my, really happy now! A good christmas gift.

Very well done, Dietz! I only change the center capsule of the primary microphone to a more omni pattern (sounds more of a "decca tree" to me) and reduce the reverb length, it's a bit too long for my taste. That's the good thing about MIR Pro; in the Synchron Player you can't alter the length, just the wetness. And I already disliked this when using MIRx in VI (Pro).

And I have some other questions:

• To what can the MIRx presets be compared? 1) The sound of the instruments as if you would hear them from a typical "decca-tree"-ish setup without further mixing enhancements, or 2) does the wetness and the reverb length of 1.42 already resemble an enhanced/mixed scenario?
• Should "Air Absoption" be disabled when using your settings? Does it do any harm to your settings? I think you work with this feature disabled.
• "Distance Scaling" and "Microphone Offset" both have to be enabled, right?
• The SYNCHRON-ized instruments in the Synchron Player use a combination of the MIR IRs and a longer algo reverb. How can one achieve this with the MIRx settings? By reducing the overall dry/wet ratio as well as the reverb length? The SYNCHRON-ized instruments have 30% wetness in the "classic" preset and 20% wetness in the "close" preset. What does this mean? 30% in the Synchron Player means what in MIR Pro?

The video was very good and informative. Thank you! And we could see and hear Dietz in person. I only "knew" him from the MIR venue photos. :)

Actually, I don't understand that "role" feature, but I'm really looking forward to an updated MIR Pro and that we would be able to make our own MIRx settings.

I really like the MIRx Synchron settings. Very well done, Dietz! But somehow I would be very interested how an Alan Meyerson "Hollywood" MIRx would sound like. I guess not that much of a difference, but who knows. Different engineer, different taste, different ears. And Alan said he works longer at his home studio, trying out things and that he don't need to be paid ... so when can we expect his MIRx settings? ;P Or maybe a tutorial?

That some of the Room EQs has the term "Synchron-ized" in it doesn't mean that they should be used with the Synchron Player. It's just a profile name. Isn't it?

When using the Synchron Player (i.e. in this case the SYNCHRON-ized instruments) it only makes sense to deactivate all IR and EQ processing.

The goal of the MIRx settings is to have the same settings as in the SYNCHRON-ized instruments. Is this right, Dietz? Or are there other sound aesthetics involved? This could explain why the Room EQ of the Dimension Strings are called "Synchron-ized". Otherwise, it wouldn't make any sense to only make some of the MIRx settings similar to the SYNCHRON-ized ones. Hope it's clear what I mean. :)

Awesome! Thanks, Dietz and team!

I know, I know. Any news for the MIRx download? Would be a nice Christmas gift. :)

It's integrated in the legatos (and sustains?) as highest dynamic layer.

If you want to use it separately, it's a bit tricky, but realizable. I set Vel-XF to the highest level, but deactived any controller for it. Use Expression instead. 

I also voted for Children Choir.

But actually, to be honest, I wished it would be recorded on the Silent Stage. I need more VI libraries!  There are so many instruments which haven't been recorded yet.

I don't know LMMS, but I strongly recommend the Vienna Instruments videos. There is one video dedicated to velocity x-fade. In order to crossfade, the function has to be enabled. 

https://www.vsl.co.at/Software/Vienna_Instruments#!Video_Demos

Hope this helps!

I'm not sure if I understand correctly.

Do you mean "Synchronize Control Map" in the general settings?

https://www.vsl.info/en/manuals/vienna-instruments-pro/advanced-view

I know you can't have a decca tree setup in MIR Pro, but I'm experimenting with the omni options you have available, and I quite like the sound. I read a lot about microphones (especially about those used on Hollywood scoring stages like the M50) and stumpled upon their polar patterns. I think the polar patterns in MIR Pro are consistent across the frequencies?

I'm wondering if it would be an interesting option/feature to be able to change the polar pattern based on the frequency and thus "imitate" a specific microphone, like e.g. the M50 which is omni and starts getting more cardioid on the higher frequencies.

Or isn't this possible with the underlying concept of MIR Pro?

Sounds very good and again proves what can be achieved with VSL libraries in the right hands.

Are these the VI or the SYNCHRON-ized versions? What reverb did you use? 

By the way, I don't know for sure, but I think you have to declare that your music was done with samples by VSL. It's mentioned in their terms somewhere.

I really wished that one could create and save one's own MIRx settings, especially individual positionings and dry/wet ratios. Maybe a nice addition for a future update of MIR Pro. 

By the way, is there a way to lock instruments? Very often I move instruments or change the wet/dry ratios unintentionally.

Finally the MIRx settings .... :)

Very good news! Thanks, Dietz!

Originally Posted by: Paul

Hi, 

We might add demo licenses later on in the introduction period for our super-sceptical users .  

There are some demos, tutorials, reviews and walkthroughs still in the works, which will provide more information. 

Best, 
Paul

Sounds good! I'm not sceptical at all, but it's always better to be able to play the instruments instead of listening to demos. ;)

I have so many VSL libraries and I don't know if I really need these, although they do sound gorgeous (the same for the brass!).

P.S. I read somewhere that you have to pay for the demo downloads (traffic). Maybe you could make demo licenses for a very low price, e.g. 5 Euros. I would rather prefer paying this small amount instead of paying the introduction price. Just an idea...

Do you plan to release demo versions, too? 

Hi everyone,

what happens when you combine different reverb lengths? Are they summed up?

For example, you have:

• VI instrument, Silent Stage: approx. 0.7
• MIR Pro Teldex: max. 1.7

If I use the full MIR Pro reverb length, will I get 2.4 or a result closer to 1.7?

Good catch! I want to know, too.

I can see updates for Vienna Choir, Vibraphone and Harmonium.