Room Tone Across Multiple MIR Instances

[Pyre]

Hi all,

My computer can handle about nine VI tracks in one instance of MIR before digital artifacts and glitches are heard from the CPU usage hitting 100%. I therefore orchestrate using one or two instances of MIR per orchestral section, setting each up one at a time and then freezing it.

This means that each instance of MIR has its own Room Tone, which when combined across six or eight instances adds up to quite a loud background noise. In this situation would you say it is better to have six or eight quiet Room Tone tracks (one for each instance, so that no instrument decays into digital silence) or one loud Room Tone track on just one instance? I think just a single one would be better and sound more like the whole orchestra is playing together all at once, but will the note decay still sound 'real' with the note decaying on one instance into the Room Tone of another?

When mixing a real orchestra, would it be normal practise to use a noise gate/expander/filter/automation to remove the natural room tone during periods of silence? Would doing so here be in line with real orchestral production? Or would it break the image of realism and defy the point of using MIR's Room Tone in the first place?

Many thanks,

Pyre

[Dietz]

Use just one instance of RoomTone for the whole mix and adjust its volume accordingly (... which means: just loud enough to have a nice "cushion" for the very last bits of the fading impulse responses).

Back in the days, room tone recordings have been used to link separate parts of a composition acoustically (e.g. a symphony). But then, the noise floor of the recording media at that time was at least 40 dB higher than our 24-bit-spoiled ears are used to, nowadays. ;-D Each time you cut that, the difference was clearly noticeable.

Kind regards,