Interesting, because I thought I was the only one with this "issue". Maybe I'm doing something wrong, but in order have Synchron Strings match with other libraries I need a gain of +12 dB and even more to bring them to the same and then reduce the track volume back by -12 dB. Don't know maybe a compressor would be a better choice. Curious, because all other libraries I have only have minor volume differences. I just have to deal with the track volumes by some dB. With Synchron it's like the libraries not having enough power.

Nice interview! Always interesting to read something about MIR Pro.

Thanks for the hint, I will try and experiment with the M/S imager. Another thing which came to my mind: We don't have outriggers, but would it technically be possible to increase the distance of the individual capsules of the secondary microphone? Now we "only" have 1 metre, I think. Would this make sense to have, let's say, 10 metres? Just an idea... :) 

As we don't have outriggers in MIR Pro, I wonder what is the best way to "imitate" them, i.e. to get a wider stereo width. I'm very happy with the sound I get from my current microphone setup in MIR Pro and don't want to change the settings I have with the Synchron Stage. My current sound is something similar like a decca tree, but without outriggers.

I already experimented with the balance of the individual microphone capsules, but it doesn't result in the kind of width you get with outriggers.

So, I need something POST MIR Pro. I already tried Power Panner, but the sound gets some kind of narrower instead of wider.

Any ideas what to use?

Outriggers would have been really nice, I agree! But I'm totally fine with the sound as it is. :)

Concerning multiple / tabbed instances: I have another idea, but don't know if this an option. I would like to have an export feature which allows you to save your settings in an “IR” file (per instrument) and import it back into VI Pro, so something like MIRx. With this, you could have so many different settings.

Will there be an update for MIRx in the (near) future?

There are still some "problems" with some instruments. Also, the naming scheme of both the instrument positions and the character presets is a bit messy. Somewhere I already mentioned this, but can't find the thread.

Some examples:

• Strings (e.g. Dimension Strings) go to the position of the second violins by default.
• Flute I goes to the solo position by default.

Originally Posted by: Dietz

I'm not sure that I understand the question. Why should Synchron Stage introduce phasing ...? 8-/

Don't know. :) I thought that maybe phasing would occur, because you have the room twice. Somewhere I read about this issue, but can't remember where, and that the predelay compensates for this. But as MIRacle is an algo reverb, does it have Synchron impulses at all or why is it called this way?

Originally Posted by: Dietz

The answer to this question depends a lot on the context. I'm not able to tell from the distance what the effect will be without hearing an example.

I don't have an audio example, it's just a question I stumbled upon while experimenting in MIR Pro. I thought maybe there is some "science" behind this.

Question for Dietz:

I'm not sure when to use which reverb. I know there are two approaches for MIRacle: a) enhance and b) hybrid. Even some of the "enhance" presets should be used with reduced reverb lengths.

Example for MIRx Synchron Stage:

• Which MIRacle preset is best suited for the Synchron Stage? Does it make sense to take the Synchron Stage or will it introduce some phasing?
  
  
• Is there a difference in sound between
  1) 1.0s MIR reverb + 1.8s algo
  2) 1.8s MIR reverb
  
  For me, in the first scenario the sound is more direct. Is this correct? Maybe just my imagination...
  
  
• If I have a "good" sound at 1.2s MIR reverb, but increase the length to 1.6s. Should I reduce the wetness so that the sound would be as it is at 1.2s, but only with a longer tail? Or does a longer reverb automatically mean more wetness? Hope it's clear what I mean.

I don't have these patches called "processed" in VI Pro, and they weren't downloaded. I have the number 81. So I think that I have the dry versions. It's only curious that it's still mentioned in the manual. Sorry for all the confusion. :)

Thanks for clarifying and taking your time on a saturday. Have a nice weekend!

Originally Posted by: Dietz

Although pre-processed, these instruments still offer a considerable amount of artistic freedom: The relation between the direct ("dry") signal and the resulting reflections and reverb may be chosen with a turn of the modulation wheel. – However, you should be aware that "full wet" means the absence of any direct signal, something that is not very likely to happen in nature. Nevertheless, in this way you will be able to bring an instrument closer to the listener if your arrangement asks for it.

I can't change the reverb amount with the modulation wheel. Where? In VI Pro? Maybe I'm doing or understanding something wrong.

Thanks, Dietz! I'm not sure if I understand correctly...

Does this mean one has to use the "dry" (i.e. not pre-processed) with your MIRx settings?

I don't know if my instruments are pre-processed. I have no option in the download area (if this is the case anyhow), but the instruments sound "wet". How can I download the dry versions?

On the product page you can read that a selection of VI percussion instruments has already been processed with IRs from Vienna Konzerthaus. Are these IRs built-in or can you still choose between dry and processed? I couldn't find any information on this. 

I'm just wondering if the MIRx settings use the dry or the processed instruments. I think the latter doesn't makes sense, does it? Please enlighten me! ;)

Dietz, thanks for all the details! Very looking forward to this release, and also to the new venues. Hope there will be more scoring stages, even though I think you can't surpass the Synchron Stage. It's the best sounding room so far, in my opinion, especially with the MIRx settings. It seems poor Dietz has to do some more MIRx settings! :D

I have a question for MIR 3D:

Since one highlight is an easier preset management, I would like to know if it will be possible to have different output settings for the instruments, i.e. reverb length and volume of the secondary microphone. At the moment I have several MIR Pro instances each with different settings, but it would be nice to have all instruments in one instance.

Originally Posted by: Sandrew

What does not make sense to me is, that I seem to be able to offset all instruments in the direction of "dry" (event when an instrument is on 100% wet, I get a dry signal if I push the global offset to -100% (all dry). The other way round this does not work at all: I totally dry instrument stays fully dry, even with the global offset set to +100% (all wet).

Think of the global offset as a scaler. If you have 0% wetness you have nothing to scale.

I have another question on the "Natural Volume" feature:

Is the volume relation between the instruments to be seen as if they were heard side by side in the same acoustic environment, i.e. without any distance or positioning?

I mean, if I put an instrument into MIR Pro at the back of the hall, the volume is reduced (= distance dependent scaling). So "Natural Volume" is pre-Mir, and the positioning in MIR Pro is an additional volume difference afterwards. Is this correct?

Hope it's clear what I mean. ;)

Dietz, I know. But I wasn't talking about the "global" dry/wet offset. I meant the "dry offset" when you enter the microphone/capsule configuration of the main microphone.

What does this "dry offset" do?

I coincidentally stumbled upon the fact that the Synchron Stage MIR Pro venue is mirrored compared to the actual hall. Is there a reason why this is? Does it have any impact on the acoustics? I'm just interested... 

I attached a screenshot comparing them both side by side.

Thanks, again. I figured out another way, because either increasing the secondary microphone or increasing the overall wetness didn't achieve in the sound I was looking for.

I reduced the "dry offset" parameter of the main microphone for all three capsules (about 2 dB). Was this a good idea? What exactly does it do? Could this be compared to the real world scenario in which you reduce the amount of spot microphone?

Maybe this option wouldn't be appropriate for all instruments, but especially for instruments in the front (e.g. Dimension Strings) it really helps, in my opinion.

I haven't understood a single word, but I'm looking forward to it nevertheless, haha. XD

Originally Posted by: mh-7635

The sites nice but it doesn't want to remember me as logged in. FYI, I'm using Chrome Version 91.0.4472.114 (Official Build) (x86_64)....annoying but not the end of the world..

This is true. For me, it works randomly, sometimes I'm logged in, sometimes not. I have the latest Safari version on Mac OS Big Sur.

I don't know them, but I purchased an 8-Core iMac recently.

Did you compare both with the exact setup (ebay vs Apple)?

Apple's RAM option is ridiculous, so this is probably the main price difference here. Storage is unfortunately not upgradable. Always go with the basic 8 GB and upgrade on your own! I upgraded to 64 RAM and saved a lot.

64 RAM Apple: 1150 €
64 RAM eBay: 300 €

Thanks.

Originally Posted by: Dietz

- Use the Character Presets I created for the classical "portrait" setup for instruments in your "wide" project

How is this possible? Is there a secret trick? Didn't know that you can export or save the character presets and use it in another venue.

Originally Posted by: Dietz

- You could also try to export the whole RoomEQ Bank from the "Portrait" setup and import it in your "wide" project. The slots will match, but it's possible that the really specific EQs will do more harm than they will help

If I move an instrument in your "wide" setup to a different location, would it need a different RoomEQ setting for this new position? Or is the RoomEQ dependent on the venue no matter where the instrument is positioned?

Question for Dietz:

I like the wide orientation of the Synchron Stage in MIR Pro in general, but prefer the more classical sound of the narrow MIRx. What's best to adapt the settings without much moving the instruments?

1. Change the microphone settings. 
2. Just make it more wet and reduce the level of the secondary microphone, as in the narrow MIRx.
3. In addition to 2) also use the microphone setup of the narrow MIRx. I'm not sure if the narrow microphone setup would sound ideal for the wide orientation. 

I solved it!

A re-installation didn't help. After manually setting the plug-in back and starting the validation again, solved it.

Hi,

I recently bought a new iMac (Intel i7 8-Core, 64 GB RAM, macOS 11.4 Big Sur) and re-installed all my software from scratch. Software and macOS are both updated to the latest versions.

Problem: The current Synchron Pianos plugin (1.1.1529) can't be validated by Logic Pro X. The standalone application is working.

What am I doing wrong?

Thanks.

Originally Posted by: Gustar

Truth be told, I wonder if this is a great business decision to let VI die slowly. How is VSL going to sell Mir Pro and all the addons in the future? Is it deprecated as well?

You can deactivate the impulses of the SYNCHRON-ized libraries, but to be honest, why should one use libraries in the Synchron Player with MIR Pro... Yes, it's flexible, but in some way it contradicts the Synchron series approach. 

That they put the VI series under "more" is sad, like old "legacy" stuff. Why not let both series side by side? They only need some marketing overhaul. I really want more silent stage recordings. Who knows...