The "gun-to-my-head" choice is the Konzerthaus.  The foyer is amazingly wonderful for long verb, and the small halls are great for chamber.

But in addition to the hall choices, MIRpro offers you the ability to reduce the reverb length... so getting the right sound is pretty easy to achieve between the Konzerthaus rooms.

If you're going to get a second one, the Pernegg Monastery is a secret weapon.  Fantastic sound for lots of different genres.

Originally Posted by: Louisc

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

More videos coming soon, this time working specifically in Logic 10.7 instead of the Dolby ATMOS Renderer!

Recently changed up my system (new OS on master comp, which is networked together with a Windows slave machine).

The qwerty keyboard on my slave now is controlling the master/Logic session through VEP7.  Previously it did not.

Is there a way to turn this off so that the slave qwerty keyboard only affects the slave machine?

Thanks!

Definitely.  Timbre Adjust is sort of a smart filter that cuts/boosts certain frequencies based on the notes being played, whereas the CC24 Filter is just a standard HP or LP.

MMKA, oh don't worry.  I'm making no claim that these changes are "good" or better... just that they are little jokes.

Maybe just consider it my best Cameron Carpenter impersonation. ;)

I was wondering when someone was going to catch my changes in the various demos. ;)

It's the same kind of things I did in the Beethoven piano sonata or Chopin demos... random modulations, or in this case swapping voices here and there.  Just little jokes for me.  But of course I make sure that the spirit of the library comes across.

Originally Posted by: badibeat

I was listening to the Big Fugue in G Minor demo, and it made me sad that it sounds so static.

Well, like the other guy said, there are ways to manipulate the organ based on lengths of notes.  Take another listen, and aside from the different combinations, you will hear different approaches to the fugue subject depending on where they take place in the piece.  

Mutes would be great!  I have wanted to do Tchaikovsky 6, 1st movement for a while and need those mutes. 

Great!  Thank you!

Originally Posted by: Dietz

- EDIT: Don't use Instrument Profiles that were created for Vienna Instruments, but General Purpose Profiles, The former are much too specific for 3rd-party signal sources.

So, I have seen you post this advice before.  However, there was a single instance where I had two live flutes and a live english horn in MIR Synchron Stage.  After fiddling around for a while, I decided to try the VI-crafted presets and they sounded really good. 

Dietz,

For small ensemble (quartets, duos, trios) recordings on a budget, do you have any specific advice for capturing audio that will be later mixed in MIR Pro?  Is the goal generally, since everything is going into MIR, to get as dry a recording as possible and let MIR take care of the rest?

Any other tips or things you have learned on translating "bed room" recordings in this manner?

Try the 274 with this preset:

"But when I select the pizz slot all I see under edit is Release Voice Limit and Performance Release."

Ahh, make sure that you have selected the individual final articulation at the end of the tree structure.  If you selected a cell that splits off into other cells, then the global velocity crossfade will not show, as that is not the last cell in the chain... does that make sense?

Thanks guys — let me know if you have any questions!

This would be great!

I'm confused: are you trying to get the individual patches to switch using a Dim. Controller set to speed?  Speed can't be set to a specific BPM.  Speed is based on how fast you play the notes.

Speaking for myself, I am sort of a dumbdumb with recording software.  Things like the "R" key engaging the record button make a lot of sense to me... whereas the zoom function in Protools is the bracket key.  Logic was just really easy to learn.

Terrible, terrible, news.  Thoughts and prayers to the VSL team and all those in Wien.

You mean for the keys on the keyboard and the cells?

Right click the title of the tree you want to change and "Change Color" should be there.

I actually never did... and still contend that there is some realtime processing issues with the Apollo.

Also, my master machine is a Mac not a PC. :) 

Thanks guys! 

Part 2 just dropped as well: https://youtu.be/r8fL6t71k-E

https://www.youtube.com/watch?v=W_Lf9leExEs

This is the first part of a series of using the Synchron libraries with Dolby ATMOS.  The renderer, which is hosted locally, isn't too expensive either, and works with all major DAWs.  Check it out!

It is the wideness of the bell curve boost... how far is spans over the frequency spectrum.

https://www.youtube.com/watch?v=ZCD4GHW6Wmw

For those looking at taking advantage of the Synchronized Special Edition promotion right now, I did a version of the score using volume 1.

There are times I would have liked to use the additional articulations offered in Synchronized Special Edition 1 Plus, but I think it turned out really well!  It's a testament to what can be done even with VSLs inexpensive libraries.

So let me ask you this...

Are the flute vibrato oscillations in pianissimo the same as fortissimo?

With the full Synchronized woodwinds, you get more velocity layers, which adds flexibility in manipulating the vibrato.

EDIT: Rereading your post, are you are seeking a drastic oscillation, like a synthetic LFO effect?