[I just wrote a lengthy answer which my computer decided to destroy before I could post it, so I'll make it short now.]
Beat, of course you're entitled to dislike MIR, and you can even call it “cheesy” on this forum (run by audio professionals who devoted over a decade to its development, BTW) – but please stop presenting opinions as a matter of fact, and don't spread misleading information.
I always use the EQ within your Convolution Reverbs for correcting (suppress) the main colours of a certain used venue. Maybe you could do this as well a bit for the venues of MIR (by default). Then the "common user" will get even better results with MIR without doing anything and in any case - even he use a 100% wet ratio.
It has been said and written over and over again, both in the manuals as well as in these forums: MIR isn't meant to be used ”100% wet”. Never ever.
The “common user” is an artist, hopefully, who is able to sculpt his/her music in every aspect. While MIR Pro has a nice, intuitive GUI, it was never meant to be just an easy solution for the heedless, but a deep, rewarding new approach to orchestral mixing. Neverthelss we did “a bit” 🤔 of preset work for MIR Pro, too - we created several thousand of them, strictly speaking, for individual instruments as well as for all available MIR Venues:
RoomPack 2 – Herb's Teldex Presets for MIR PRO and VI, and RoomPack 2 – Herb's Teldex Presets for MIR PRO and VI PRO 2
MIRx Mode – Instrument and Venue Presets for Vienna MIR Pro
… apart from that I'm working on MIRx presets for two additional MIR Venues, one of them brand new (and again very different sounding). That's another 700 tailor-made presets.
Looking at the countless mixes and productions done all around the globe with MIR and MIR Pro during the years, it's quite daring to call all of them “cheesy” and “potty” (? … did you mean to say “boxy”?). While I know that your taste differs from mine considerably, I think even you could hardly call the sound of this piece anything else than amazing (at least that's what Alan Meyerson said when he heard it):
Dimension Strings Complete - Trailer
… and I'm sure that you would hear dozens of other great examples, too, either on VSL's homepage or elsewhere - if you would just allow yourself to find them.
Regards,
/Dietz - Vienna Symphonic Library