Dietz, thank you for your comments on this. I have three questions for you.
1) When you say you "tried to deliver MIR with settings as meaningful as possible", did you do these on an individual basis or did you have a reference mix in which you used for adjustments and comparison? And if the later, is it possible for us to hear this reference mix?
2) What are your thoughts regarding the pitch fluctuations that Miracle adds to a MIR mix? How do you approach this process in your mixing (sprinkling on some spice?). Clearly, in a real acoustic space, pitch fluctuations due to the air will affect everything, yet in a musical mix, it would serve particular instruments better than others (choir & strings vs piano for example).
3) Where it possible (I know this is hypothetical), if the pitch effects of Miracle could be applied to the early reflections in MIR as well, do you think it would have a meaningful audible impact? Or are these ER spatial cues just too short to have any musical impact were they to include pitch fluctuations (you're probably too young to remember the Lexicon Prime Time? If not, rememb twidling that mod knob?). Clearly, the pitch fluctuation effects on the later reverb tail have a huge impact, but what about the earlier ER cues? Do you know if anyone (possibly Griesinger?) studied this or has it been determined more empirically?
Somewhat related but possibly of interest. Particularly the recording hall ex. at 14min.
https://www.youtube.com/watch?v=84epTR2fyTY&t=14m
Thanks for your contributions and time,
Greg