Hi, 

Ooops, I actually also answered, like Dietz did, but I was too slow (and sent those demo licenses...). 

Enjoy!

Paul

So, thank you Paul for this opportunity. I've already downloaded and read the soundpack manuals, and I must say that they are very informative&evocative. I can't wait to try them, as soon as the downloads are completed.

Paolo

How does the licensing of Room Packs work with MIR 24? For example if I had MIR 24 running on 3 computers simultaneously, would I have to buy 3 licenses of a room pack (one for each computer), or does the the purchase of 1 room pack let me run it on multiple computers running MIR 24?

Thanks,

Michael

Hi Michael, 

Each RoomPack comes with one license, like MIR PRO and MIR PRO 24. 

MIR PRO 24 is designed to be a great option for an installment on additional computers, where you might not need so many icons, and for additional RoomPack licenses for your own use, you can contact us directly at support@vsl.co.at, we can offer 50% off for those, and the order will be handled in the back-office. 

Best, 
Paul

Hi,

I'm installing the MIR Demo in my main Mac, and I see that the installer prompts the internal drive's Application Support folder as the suggested target. Can I choose the same external drive in which I keep all the sample libraries, instead? I would like to keep everything of VSL in a single place, easy to move from one computer to the other, when I need.

Thanx!

Paolo

You can install the RoomPack data (i.e. the IRs) anywhere you like, but I wouldn't change the actual application's file paths unless you have a good reason to do so.

The path pointing to the installed RoomPacks can be set in MIR Pro's Preferences.

HTH,

PS: Don't move MIR Pro's settings file ("default.vmi") either. This is an important component for all future updates.

After a few tests with MIR Pro 24, I have to say that my first reaction was one of disconcert. Coming from traditional reverbs, you have to rethink the way you mix. At first, you get something very different than what you expect, with a messed up image and too much reverb.

But after re-reading the manuals, one can quickly go after the very intuitive user interface. And some further researches in the forum posts result in enough information about how to use the dry/wet mix to increase the spot mics presence, and how to play with natural volume to adjust the instrument's level, or with the secondary mics to make the reverb less intense.

As a result, you start to no longer think in terms of adding fake space through pan, delay and reverb, but in terms of positioning mics, strenghtening spot mics to highlight individual instruments or sections, moving absorbers in the room to modify the reverb's length. It's a very natual way of working on your mix.

The resulting sound is very different to the one I'm accustomed to when at the mixing desk. I've been working with an ideal sound and an ideal space, that was not the real thing, but has became my personal idea of the real thing. Creating space and adding reverb was a matter of taste, of coloring my sound, more than of making it true.

MIR moves you into the real space. If you go listening to some real recordings, you understand that the sonic image you have worked with, before, was that of the world of androids: everything was perfectly polished, clear, not interacting with the surrounding instruments. It works, as soon as you suspend reality.

I compared a rough mix I'm working on between Logic's Sound Designer (Old Concert Hall), MIR (Teldex with reduced tail and wet signal), an old (and great) recording of the original piece. I would say that MIR, with its imperfect sonic world, is the nearest to the real thing. 

Paolo

Dear Dietz and Paul,

If I may ask, may I ask what is the level setting you can recall, in the Instrument list, when Alt-double clicking the volume slider? I would guess it is a second (louder) preset for the Natural Volume, but I'm still not sure.

Paolo

Double-clicking the instrument's volume fader will simply reset it to 0 dB. Alt-double clicking will keep the relative volumes of several selected instruments intact when resetting the active instrument's volume to 0 dB. 

Note: "Alt"-clicking for selection-group editing is only necessary as long as you didn't activate the Preference for "Automatically edit selected channels as Group". Some people (including me) don't like this semi-automatic grouping feature as it can wreak havoc on your project when you're not careful. Be warned.

@Paul said:

Each RoomPack comes with one license, like MIR PRO and MIR PRO 24. 

MIR PRO 24 is designed to be a great option for an installment on additional computers, where you might not need so many icons, and for additional RoomPack licenses for your own use, you can contact us directly at support@vsl.co.at, we can offer 50% off for those, and the order will be handled in the back-office.

Thanks Paul, that's good to know. I know lots of people (including myself) prefer to have a few mid priced computers dedicated to running virtual instruments as opposed to just one mega PC running a DAW, effects, and virtual instruments.

Michael

Thank you very much, Dietz. I like how you can mass-edit more channels in the way one prefers.

Paolo

@Dietz said:

Panning devices might be needed pre-MIR, so to speak, to get rid of the imbalances of so-called "pre-panned" sound sources.

I'm thinking that the opposite may also be true: if you are sending more instruments (say, two flutes, two divisi violins parts) to a single MIR icon to process them as a single section, you can use panning pre-MIR to separate them. It seems to me that this places them in different seats inside the same section.

Paolo

Definitely. I was talking about the panning devices of the channel hosting MIR, but I didn't mean to neglect the necessity for panning the source-tracks in case of sub-mixes sent into MIR. 

Thanks for pointing out that possible source of misunderstandings.