Has anyone tried to balance LASS (A+B+C x 5 sections) + BerlinWoodWinds (all instruments) + SampleModeling Brass (all instruments) with MIR pro? Could you share your settings, please?
My very Best.
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MIR pro: LASS+BWW+SM
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Hi XavierB,
I see that your question gets a high amout of views, but no answers ... this might be due to the fact that your requirements are quite specific.
In general, it should be very easy to work with any kind of audio source in MIR Pro, as long as you keep a few caveats in mind:
- Sounds which already include reverb and/or room-information of their own will need special attenention - in some cases, it might be wiser _not_ to use them with MIR Pro.
- You will need to use one of the General Purpose Instrument Profiles for any other signal source than sounds derived from Vienna Instruments (Cardioid is a good starting point for most signals). Of course you won't get tailor-made Character Presets, Natural Volume for these signals.
- Pre-positioned 3rd-party orchestral libraries may need some kind of "re-balancing" before they are put on a MIR Pro Venue's stage, to counter-act the "built-in" panning (Vienna Suite's Power-Pan might come handy).
Kind regards,
/Dietz - Vienna Symphonic Library -
I'm actually playing with the MIR pro trial right now with the libraries you mention as well as some VSL instruments.
My best results for SampleModelling Brass are by turning wet up to 100% for those instruments as the samples used in SM were recorded in an anechoic chamber. MIR really breathes life into my SM Brass in a way that I haven't yet experienced. That said other solutions come close but still feel a bit like a nice reverb veneer over a extremely dry recording.
For BWW I've loaded the close samples and so far I'm liking the results. BWW was recorded at Teldex for which a MIR roompack is available so theoretically if you had the room pack you could probably skip MIR for BWW(loading the mix or room samples) and but put the rest of your (relatively) dry instruments in MIR.
System resources are a limitation for me right now so I don't have a MIR instance for each SM instrument, LASS divisi section or individual BWW woodwinds. i'm basically using MIR on sections VLN1, Horns etc. and increasing the width of the instance to taste.
Also curious here about best practices for power panning to balance baked in positions in LASS. What I've done is essentially move the power panner for the dominant side (left for violins, for example) towards the center until the stereo output meters in VEPRO looks a centered as possible.
I'm pretty blown away by MIR right now. I can't believe I'd not tried it sooner.
-DJ
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Thanks for the friendly words and your input, -DJ!
Just keep in mind that in contrast to most other IR-based products, MIR Pro does _not_ include the remnants of the dry signal in its Impulse Responses. (This follows the idea of an idealized version of the typical Main Microphone / Close Spot Microphones setups used for modern orchestral recordings.)
Consequently, "full wet" is not necessarily what you would hear in the hall (only in very rare, quite extreme cases ). For best results, a small amount of the dry signal should be kept audible.
Kind regards,
/Dietz - Vienna Symphonic Library -
LASS and MIR PRO are quite magical together actually. Just be sure that you go into LASS/Kontakt and center pan all the instruments before putting them into MIR. This way you can have total domination, I mean control over it's stage position ;). And if you don't want to, and think it sounds better without center panning them, then that's right too!
Maestro2be
