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  1. Home
  2. Software
  3. Vienna MIR & Vienna Suite
  4. MIR pro: LASS+BWW+SM
  • D
    D
    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
  • DietzD
    VSL Team
    DietzD

    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
  • D
    D
    Ahh, I did not know that. I'm so used to going "full wet" with SM Brass on other reverbs I did it as well with MIR without trying an alternative. But you're right, I can back of the wet and it still sounds great. Thanks!
  • C
    C

    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
  • D
    D
    Maestro2be, I'm curious. Can you elaborate on how you are center panning LASS? Are you collapsing the stereo to a very narrow center position? Or are you pushing the dominant side of the section (eg: left for violins) just a bit to the center to balance the signal?
  • C
    C

    Do you have Vienna Suite?
  • D
    D
    Nope, just VEPro.
  • C
    C

    Tomorrow, I will make a video to show you how I do it with Vienna Suite and then you can try to imitate it with whatever you have.

    Maestro2be
  • D
    D
    Wow, thats very kind of you!
  • C
    C

    Here you go.  Hope this helps.

    Maestro2be

    http://www.mediafire.com/?psu9qfcsm9j1ib9
  • D
    D
    Thanks so much for taking the time to do that, very helpful. Liking the Teldex stage? :)
  • C
    C

    I love the Studios the most.  I prefer a mostly dry sound that I mix with my Bricasti.

    **edit - and as in "studios" I mean Teldex and the studios.  Basically, roompack 2.****

    Maestro2be