@Christian Marcussen said:

Then I need a badass convolution verb. I'm looking at AltiVerb which should be released any time now for XP. Problem is its a one computer license, and I would really want to use the new instrument placement featre on all my instrument sections. I would need an install on each computer - thats A LOT of money. If I go down that route, there is no MIR for me. I think I would prefere MIR though. I could also just get some cheapo verb while I wait for MIR, but i'm not a 'half-solution' kind of guy... and I need to offer my clients the best [:)]

So if I knew the approximate release of MIR I would be able to make a qualified decision on what course to take now. I dont want to throw money out the window, but I dont want some half assed solution either.

Don't know if these comments are of much use but I use Altiverb on 1 mac and have my different instruments output to about 10 busses in Logic. Each Bus has an Altiverb with a particular Orchestral Position and just the early reflections. This saves on CPU usage. The busses then feed to a main output with another Altiverb supplying the tail.

This works well.

But I am planning a PC farm and one idea is to feed sets of instruments from PCs into Logic where the Reverb will be applied.

The sets of Instruments and thus the Busses are:

1 Oboes Flutes Harp
2 Clarinets Bassoons
3 Horns
4 Trumpets Trombones Tuba
5 Vln 1 Vl 2
6 Viola
7 Celli Basses
8 Timpani
9 Percussion L
10 Percussion R

i have just seen the movie about MIR

Many think look like great but one think disturb me: you have many winds dispatched on the stage but there is just 4 position . One for each : v1 ,v2 alti & vc

Is it not realistic for me.

14 v1 on the same place ? we are speaking about musicians, not equilibrist [[;)]]

So, is it possible to dispatches the v1 (and the other) every where we want ?
and if we can, is it possible to divise or multiplicate the position for the same sound or the only way is to open many time the same sound and put it on many position but like this , what about the ram ?

Thank you

Regards,

Thierry [:D]

Don't worry, Thierry, this is not how you think it is.

As you may know, all our samples are recorded in stereo, so they won't sit all "on the same place". There is a simple mathematical relation between the original width of a recorded signal in the SilentStage, and the witdh that the same signal has to have on a given stage with a give microphone-distcance. This is one of the already mentioned "less self explaining parameters" the MIR takes care for in the background.

So the left and right channel of an ensemble will be sent to the appropriate IR-position on any given stage (... actually it is more than just L/R, as any signal inside the MIR is processed in a threedimensional multichannel format, be it the dry instrument or an IR).

Of course it would be more obvious to have 14 small manikins sitting around on the virtual stage, but my idea was to keep the place as tidy as possible, visually [;)]

[[:|]] Its terrible - the more I hear the more I want

Can you speak a few sentances about bouncing etc. Offline/RealTime yadayada...

In a nutshell - no. [H] ... sorry, don't take it personal. This is one of our final construction sites, so to say.

hehe - of course not [:)]

Just dont take it personal thet I ask [:D]

I'm afraid that I just don't "get" it. I have watched the video a number of times and I think that I understand what the goal of all this is. It's just that when I hear the Great Gate start up it doesn't do anything for me at all. I have gone back to the audio only version and I don't like this either. However, I don't know whether I just don't like the programming or whether I don't like MIR. It would help if I could hear some other demos using this technology, because as it stands I have no intention of even considering buying into it. Sorry to be so negative, but I'm sure that you would rather have honest feedback [:(]

DG

Dietz:

Ok, i see you have understood what i mean.Thank you

So i wait to see and hear more.

Why not put some démo with more reverb to show the full potential of Mir
your demo are so "dry" , this is natural but i am sure many people would like to have démo like "movies music" and not "classical music"

[:D]

@DG said:

I'm afraid that I just don't "get" it. I have watched the video a number of times and I think that I understand what the goal of all this is. It's just that when I hear the Great Gate start up it doesn't do anything for me at all. I have gone back to the audio only version and I don't like this either. However, I don't know whether I just don't like the programming or whether I don't like MIR. It would help if I could hear some other demos using this technology, because as it stands I have no intention of even considering buying into it. Sorry to be so negative, but I'm sure that you would rather have honest feedback [:(]

DG

The "Gate" was done about a year ago. There is more recent stuff here:

-> http://vsl.co.at/en-us/65/71/175.vsl

... the whole "Pictures ..." were done using principles of the MIR (not the MIR itself, though), with increasing knowledge from our side and thus increased refinement.

So is MIR going to be one hall that is heavily convolted? It seems so since it's a tedious process but what about when you want a smaller sound or what not? There is no one hall end all [:P].

@Austin said:

So is MIR going to be one hall that is heavily convolted? It seems so since it's a tedious process but what about when you want a smaller sound or what not? There is no one hall end all [:P].

Austin,

I don't think that's the 'Hall' picture!

Sorry, couldn't help it..

[:)]

@Austin said:

So is MIR going to be one hall [...]

I think you've got that wrong. It has been stated several times that there will be a multitude of different venues available. The set delivered with the MIR covers all the halls of the famous Vienna Konzerthaus as well as a number of other rooms.Additional sets can be bought later and added to this assortment.

HTH,

I have only one question :
when is it going to be out?

I can't wait!

I really understand the true power of such reverb. Being very used to be in a symphony hall I can tell that the demos I've listened to are just amazing (I'm talking about the mix, not the programming).

Also I wonder, Will the MIR be the main mixing tool or will cubase (or any other softs) be still the main tool?

amazing sound, but i wonder why the impulse responses are recorded in an empty hall ... the acoustics are completely different with a full audience, will that be considered?

@Sangit said:

[...] i wonder why the impulse responses are recorded in an empty hall ... [...]

That was simply a pragmatic decision. Generally speaking, IR-sets from 1000+ halls _with_ audience are a rare thing, as far as I can say [:)]

[:P]

i suggest using dummies [;)] supply the seats with big sacks of crushed newspaper or whatever - but whenever you do so - videotape it!! [;)]))

i wonder if you will be able to do multi mic mixing in one pass. IE: close, stage far. I have to admit i am like this approach in another lib [[[;)]]] [[[;)]]]

You simply set a wet/dry ratio for each instrument or ensemble - directly on the instrument icon on the stage, if you want, or in the respective channel strip on the right.

This is what you would do while recording an orchestra with a main system, adding close-mics for better imaging. The main difference is that you won't have to bother about the individual delays [:)]

[Edited due to typos]

HTH,

It's nice that i'm no longer the only one bugging poor Dietz [:D]