Although i do like Mac as a program to use, and i don't miss the Blue screen suicide, i can see the practical sense in PC first, given the ease in today's world of coupling different os based computers together.
Justifying an extra whizz bang Mac with all the bells and whistles, and the associated cost, would be harder to do than buying a modestly priced PC to carry Mir and other effect programs alone, particularly with the uncertainty of how the new intel macs will perform.

Regards,

Alex.

Paul,
I find it offensive you think you're the only technically challenged chap here.
After all the simplistic posts i submitted showing my continual ignorance in program matters, still you grasp for the crown.

Move over. There's two of us!

Regards,

Alex. [[:|]]

@hermitage59 said:

Paul,
I find it offensive you think you're the only technically challenged chap here.
After all the simplistic posts i submitted showing my continual ignorance in program matters, still you grasp for the crown.

Move over. There's two of us!

Regards,

Alex. [[[:|]]]

No - I won't have that Alex. I'm Spartacus - there can be only one. And I have proved it on numerous occasions - through (apparent) deliberately loony technical questions and offering bribes.

Once, I rang up a really swanky computer company that dealt in massive systems for major FTSE 100 companies and asked to speak to the managing director as a matter of urgency.

When finally put through - I asked him what and where I needed to put a cable to enable me to print letters. My secretary was on holiday at the time.

Beat that!

He was very polite and understanding actually - after he realised he was dealing with not so much a human - more a genetic flaw.

I once had to ask Evan Evans what a sound card was - that's all true - but I don't care because that's the cards I was dealt with.

[[[:|]]] [:O]ops: [:D]

So what's a sound card?
Does it improve the volume on your mobile phone?



[[:|]]

Move over Spartacus.

@hermitage59 said:

So what's a sound card?

I've already forgotten.

See?

You can't win. I'm off to smash golf balls down the range now - before Dietz loses his patience.

Later.

I just want to say that I appreciate all the elucidating going on here and it sounds like MIR is going to be another great product from the VSL team. Very happy to hear it will be on it's own platform because this is a big drawback with convolution (such as Gigapulse) due to processing limitations when sharing resources. The fact that it is familiar or integrated with VSL's samples means a lot less work and a lot better sound for us technically challenged (a crown I should wear but who could ever wrestle the crown away from the British?)

Dave Connor

(a crown I should wear but who could ever wrestle the crown away from the British?)
Dpcon.

Well said old chap.

Good to see there's at least one fellow from the colonies who knows his place! [:O]

Regards,

Alex. [:D]

Oh come on, the US has certainly got it's share of queens [:D]

DG

Well... certainly interesting info here... so if there will not be an own OS for the thing - with which I was partly serious, maybe something like the Agnula Project would have fit and you could have go on from what they already developed or develop your own proprietary formats and interfaces, which could also help you on copyprotection issues due to minor availibility... well anyway if that's not the case, you should consider maybe, that it would be useful to have all-availible audio connections for that thing. Meaning it got something like ReWire capability or even better hostable through network without the need of analog or digital audio cables from sequencer machine to MIR machine, and that perhaps could also provide more confidence for the Mac users. Maybe you feed a "virtual" VST on the MIR machine with the final audio data and that "virtual" VST can be hosted on the users DAW. If not possible then write down recommendations for or the complete part list of your test gear so technologically challenged people can rebuild the setups completely. [:D]

All the best,
PolarBear

Dietz wrote:

@Another User said:

Think of the MIR as a new form of mixing console. It will _not_ be your next "reverb plugin", so the OS-discussion is futile. And yes, you will want to use a dedicated computer for this engine [;)] ... sorry, Thierry, but in your scenario you will need to use AltiVerb.

Wow, this MIR thing sounds like it's going to be a product for an elite few, with monster rigs. It sounds like it'll be a product that you put in between all your dedicated GS machines and your digital audio work station. Considering that not many people like to run that many computers, I would guess that not many MIR units or software packages will be sold. That would suggest that the price will be astronomical.

Seriously, I wonder if this going to be at all practical for the way people really work, especially in bigger shops where composing and tracking is done by one crew, and the mostly dry tracks are mixed by another crew. If a person who specialized in mixing is going to deal with the final mix, they're not going to want everything already slathered in verb. They might also already be fond of the various verb units they're currently using, and further, might not be interested in something that's so specifically tied to VSL nomenclature. Mixers are also very attached to their mixing environments of choice (with automation, a boat load of favorite plug-ins, expensive control surfaces, etc.).

I'm ready to be convinced, but I'm also not certain that placing many different instruments in different places in a convolution model is going to make that big of a difference compared to what one can already do with the current version of AltiVerb. When things get convolved to a certain extent, everything is pretty well blended together. These days, with AltiVerb 5, I don't find myself being at all disappointed with the quality of the reverb on my projects. To my ears, the AudioEase IRs are quite exquisitely done. It's still the fact that samples sound like samples, and not completely like real players that gives a piece that "sampled" quality.

At any rate, this is a really brave thing that VSL is doing. They're taking risks with a brand new concept, and I hope it works out for them.

Lee Blaske

As an armchair marketing expert, it sounds to me like none of that would be a problem if there were a way to teach MIR about things other than VSL. I have no idea how the product actually works, of course, but I suspect that the majority of even the most devout VSL users use other instruments too - sampled and live.

It would be interesting to know what percentage of VSL users are purists. I'd bet not many. My hunch is that even those who use VSL quite heavily have accumulated quite a bit of other content that gets used quite regularly. It's a whapatooli world out there.

Lee Blaske

@Lee Blaske said:

It would be interesting to know what percentage of VSL users are purists. I'd bet not many. [...]

Maybe _that's_ the mistake [;)]

No, but seriously (... I bet my marketing people will hate me for that): It was never said that the MIR will be for everybody. - It was just said that it will be the solution for every problem ;-D ... as far as the authentic virtual realisation of orchestral music is concerned.

****

Lee - what we have here is the typical ebb and tide between high expectations and conservative imagination, when it comes to a new way of approaching an old problem. There are the ones who expect you to square the circle, while at the same time you are urged to "keep everything as it has been before". I'd say we try to complete the MIR according to our initial plans, see how it works for you and everybody else, and then we think about additional features and/or solutions.

All the best,

does this tell you true user figures, or which platform need the tutorials more! Only joking...as it happens, i am on mac and I have several times perused your excellent tutorials. I am glad you are there!

Now, let me think.
Another Wish List.

Can we please have 'in front of' Mir, a good, easy to use, Sequencer, with reduced CPU use and up to 4000 tracks. (Just in case.)
Several options for plugins, including,

Chair noises for horns, when they roll their instrument over, and empty the spittle. (Perhaps a dribble sound hitting the brand new million pound stage would be an optional extra).

The sound of pages being turned e.g Last movement of Beethoven 9th when the strings are trying to saw their instruments in half with a tremolo only Ludwig could write.)

A percussion bottle sound, when the players are having a quiet drink during long periods of inactivity.

A slurping sound, spatially conducive to W/W, as the clarinet players try to dry their reeds, with the optional blowing noise unique to double reed players, as they spatter spittle over the music.

And before the sequencer?

A superb notation package, completely integrated, with instant no latency response to notes, instruments, and all articulations and markings.
PLEASE!

Regards to you all,

Alex!

[H]

don't forget empathetic exhalations from the conductor as he lays down a long deep down beat for unison celli to soar from... Bernstein style!

But ... YOU are the conductor! [[:|]] That's the basic idea behind all our efforts, actually.

Ok. Is there time for an appointment with everyone here to let them stop by and sample their breath? [:P]

Now all we need is smell.

The scent of resin for the strings, the aroma of shelac for the woodwinds, the whiff of oil from the brass, the fragrance of beer from the percussion, and ...............

the stench of Lavender from the first three rows of the audience!


Regards,


Alex.
[H]

Wow! Convoluted halitosis.

Always wanted to say that. Now I can go find a life.

Clark