Reverb Mixing Extension
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MIRx is a convolution reverb extension for our proprietary sample player Vienna Instruments Pro, based on our revolutionary MIR (Multi Impulse Response) technology. It is a convenient and affordable way to integrate the exceptional acoustics of Synchron Stage Vienna’s large Stage A directly into these sample players.
Using pre-configured Multi Impulse Responses from Vienna MIR Pro 3D, each instrument or ensemble in your Vienna Instruments arsenal will find its perfect position on stage at the touch of a button. Simply turn on the MIRx option in your player’s reverb window, select one of the presets for your loaded instrument and it will be placed and aligned at the appropriate spot on stage. Creating a perfectly balanced orchestral sound has never been easier.
The MIRx Synchron Stage Vienna reverb expansion allows you to seamlessly mix your Vienna Instruments Collections from the VI Series with exactly the same ambience found in our Synchron Series Collections, bringing all of our instruments together under one roof.
MIRx Synchron Stage Vienna offers two orchestral seatings: The “Portrait” presets place your instruments longitudinally on stage, with the first violins and violas on the left, second violins on the right, cellos further back on the right and basses in the middle. The sound of this traditional setup offers ample room character and leans toward a more “classical” approach. The “Wide” (landscape) presets place the instruments transversely on stage, with the second violins next to the first violins on the left, violas and cellos on the right and the basses further back on the right. The sound of this setup delivers a slightly dryer “scoring stage” character with a shorter reverb time that matches the sound of our Synchron Libraries that were actually recorded on this very stage, such as Synchron Strings Pro and the Big Bang Orchestra Series.
Synchron Stage Vienna’s Stage A is our own scoring stage in the heart of Vienna. It features a reverb time of 1.6 to 1.8 seconds, and in contrast to other scoring stages, there is no masking effect on the low frequencies. It is characterized by a lush and warm sound, while at the same time providing excellent localization, both in depth and in the stereo panorama. Since its opening in 2015, clients from Hollywood and all over the world have recorded music for films, games, documentaries, commercials and classical recordings here. The hall’s extraordinary acoustics have been praised by composers Hans Zimmer, Harry Gregson-Williams, and Steven Price, to name a few, and can be heard on projects such as The Meg, Ad Astra, The Crown, Blue Planet II, and commercial projects for Apple, Rolex, Mercedes, and many others.