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Could someone explain to me when one should activate the Dry Directivity in MIR PRO? I've noticed that in Herb's Teldex setup, non of the instruments have it activated. What is the advantage or possible rule - of - thumb when to use it? I would appreciate any insight......
Thanks in advance.......
Don't quote me on this, but personally I tend to see "Dry Directivity" as some kind of "Wow!"-feature. :-) It makes the effect of those painstakingly assembled Instrument Profiles more obvious, but in general there are not so many scenarios where you will really need it.
I've explained the idea behind MIR's Dry/Wet handling in another forum message recently: -> http://community.vsl.co.at/forums/p/30894/197289.aspx#197289
In short, the "wet" component derived from MIR's multi impulse responses can be seen as the signal coming from the main microphone array, like it is used for most (if not all) orchestral recordings. The "dry" signal component represents spot microphones close to individual instruments or ensembles.
As long as "Dry Directivity" is off, these spot microphones will stay in their ideal position, even when you rotate an instrument on a stage. (An example: Imagine a spot-microphone in front of a trumpet player. This microphone is still in front of the player, even when you decided to have him play with his back turned towards the audience and the Main Microphone array. Miles Davis-style. ;-) ...)
As soon as "Dry Directivity" is activated, the spot microphone will behave like it has been virtually "nailed to the floor". The instrument can now turn away from it. The trumpet player from the example given above will have a spot microphone right behind his head when you rotate the Icon to 180°.
I think it is quite obvious that the spot-microphone will sound best in its ideal position in the majority of cases. :-)
Of course, "Dry Directivity" doesn't change the behaviour of an instrument in respect of the wet signal component created by the MIR engine.
HTH,
Thanks for the explaination Dietz..... Your example was very clear, concise and easy to understand. Appreciate it ! ! !
If I may add a few words to what Dietz has already said, out of my personal experience:
Dry Directivity has become indispensible for me when adjusting the spatial impression of an instrument, especially when a satisfying spatial setup of a string section (which is in my experience the most difficult thing to achieve convincingly) is what I am looking for. I would have never been able to achieve the sense of space and depth carried by the strings sections in the Bach Air or Berlioz productions without this feature, and I highly recommend using it to this purpose.
Thanks for sharing your experiences, Goran!
A perfect example that there's nothing like one single "proper" solution when it comes to art, and especially to music. I take this as the confirmation that at the surface MIR Pro is made for the maximum ease of use, while in the background there's all the depth required for realizing a very personal and unique aesthetic vision.
Kind regards,
@Dietz said:
I take this as the confirmation that at the surface MIR Pro is made for the maximum ease of use, while in the background there's all the depth required for realizing a very personal and unique aesthetic vision.
Kind regards,
This assessment is very much on the mark. The legacy MIR was already and (in my opinion) still is able to produce some pretty stupefying sonic results, Mir Pro (I've just started my first production with Pro) is optimized even further sonically and takes the user friendliness on a completely new level. At the moment I find it kind of relaxing to work with this software.
Best,
Goran
