Hi Dietz

Thank you very much for your resoponse. I recognized MIR's potetial immediately and hope there's more than new venues to come, as you suggested.

Accessing the ambisonic domain would actually be the most universal solution. I am also waiting for a Nuendo update that is finally able to handle Higer Order Ambisonic tracks. 

I have the impression that the gaming industry still has the lead in this field, and from my experiences a lot of VSL products are used to produce game soundtracks.

I think the majority of people just never experienced true binaural recordings. In comparison rigging up stuff like xx+y speakers is just a compromise. Many people nowadays listen a lot through earphones, to stuff which was sadly produced for speakers.

By the way, it's perfectly viable to use headphones together with a subwoofer to experience the full physical impact of sound ;)

What I most miss in MIR Pro is the ability to place a Binaural microphone, E.G. a Neumann Kunstkopf KU 100 for audiences and in keeping with current development maybe a way to import personalized HRTFs from AES69 files.

I was actually wondering right when I got the first version of MIR that something like this is not included out of the box. To me it seems to fit naturaly with the concept of MIR. I'd gladly invest the amount you pay for two packs to just get these features.

Benefits as I see them:

- Most realistic Monitoring of the sound at a given position using earphones.

- With the KU 100 you get good results for a Binaural Mix for a large audience including front of head localisation.

- With personalized HRTFs (Head Related Transfer Functions) you could stick your very specific virtual head into the stage.

A more complex but also more futureproof path there would be to include Higher Order Ambisonic Microphones. 

badibeat

Maybe it's about time VSL and Steinberg discontinue eLicenser and switch to iLok instead.

The scary issue of lost or stolen dongles is solved if you purchase zero downtime for iLoks and activate Theft and Loss coverage aka TLC. The licenses are replaced with 90 day temporary licenses which get refreshed whenever the iLok "sees" the server. This covers all licenses from all manufacturers on that dongle. The yearly fee of some 30 EUR/USD per covered dongle is not much higher than the price of a new eLicenser I buy every year just to renew the hardware guarantee and get some small protection against a defect but not loss or theft.

With iLok I would need only a single dongle per computer, plus license protection was provided by third parties.

I understand the need of protection against piracy, and a dongle provides also some flexibility to use your licenses on a guest computer. However, I believe VSL and Steinberg should put their focus on keeping their products up-to-date and provide us customers with the new stuff we are willing to pay the price for.

Badibeat

Hi Andi and Vyv!

That's too sad - dear VSL people, please, pretty pretty please reconsider.


So true!

Just to enable velocity for Konzerthaus Organ presets in Vienna Instruments Pro ended in a click-orgy.

Much like Vyv! I too am looking for a unified way to operate my instruments that suits me. In my case its both for live strumming/blaring, preferably over the whole keyboard range and for some form of automation in a DAW. With the addition of the super package standard libraries the variety has become overwhelming.
I am very reluctant to yield a single of my 88 Keys or the modulation wheel to such mundane tasks as patch switching.
Preferably I'd use other controllers and live controllers like velocity, polyphonic aftertouch, playing style for doing this. More so now that buttons on controllers become ever cheaper, more colorful and numerous.

And last but not least I utterly fail at remembering where AB switches, matrix X switches, matrix control switches, matrix key switches and my precious playable keys begin and end.

So I want the whole matrix switching thing to go to a different MIDI channel or preferably (to keep all associated MIDI data in a single channel) different controller types which I could map to buttons on a physical controller. One Button per matrix element, except maybe A/B.

A file format which can be parsed by a program or script would be of great help for all of this.

Still - sound's great. And the Applications are improved constantly.

Cheers badibeat

Bach was a sticker for new technology and might have wanted an organ featuring velocity if it was possible (of course it would have to be well tempered, too). This is the one thing I really miss about Konzerthaus Organ: The dynamic range (DYN.R.) parameter of the patches can not be altered from 0 to something else, preventing me from adding MIDI note-on velocity to the sound. That's what I want much more than a GUI.

Hi Colin
Thanks for the reply and sorry for the bother.
In the meantime I re-installed Vienna Instruments - and the problem is now gone.
I had Licence Control Center open during the original Install - this may have prevented the latter from completing properly.

Hi
I installed Vienna Instruments v2.0 buld 3238 on my MacBook Pro running the latest ac OS X 10.5.6.
As soon as the Vienna Instruments Standalone is started or the Vienna Instruments plugin is loaded into any host application the vlsdaemon process gets launched (my guess it'ts a registration / licencing / copy protection thingy). however in Activity Monitor the process shows up red as "Not Responding", causing the spindump proocess to run which takes about 8% CPU. Whichever of the three (Standalone or PlugIn / vsldaemon (Not Responding) / spindump) is responsible I don't want to figure myself, but the result is a nasty audio stutter, making playing unbearable even at very high latency times (500ms overall).
I set a new custom directory and reastarted my machine. I did not re-install Vienna Instruments, though.

Does anyone now how to fix this?

PS: I didn't figure how to properly search this forum. It's a pain.