@McArnes said:

11. If run in VEP and I have 40 instances, will all instruments still be seen in ththe stage map, or only if used in a daw as a plugin?

With MIR Pro you can run as many instances as your system is able to handle; their Icons will all be visible on the Venue Map. MIR Pro 24 is always restricted to 24 instances, as the name implies.

... this is true for both the Vienna Ensemble-based "full" version and the plug-in version.

Kind regards,

Thank you, again!

One last question: I'm trying to figure out how to use MIRacle as a master reverb while still having Mir Pro on a slave. Is there a way? Can I send the master output in Logic to VEP6 and back to Logic again, or will it drive the system crazy? I'm mostly worried about my RAM limits on the master computer.

I figure MIRacle is good if you want to blend VSL instruments with instruments in other halls? 

Thanks for the explanation.

I did not know that MIR PRO could be used in your DAW ;)

@Another User said:

I figure MIRacle is good if you want to blend VSL instruments with instruments in other halls?

Actually, MIRacle is meant to add some artificial (and typically modulated) reverb tail, on top of the otherwise unaltered room information derived from MIR Pro. After decades of audio engineering our ears got used to that kind of nice, but completely unnatural aural sensation ... the combination of MIR Pro and MIRacle could be seen as some kind of glorified hybrid reverb. 😉

Kind regards,

@Dietz said:

As a post scriptum to this question, please see the attached screenshot. 😉

Dietz!  What's the scoop with this Sychron setup???  Different from the default when this pack is opened.  I'm seeing the "wide" stage option, but the orchestra set up in the "long" format.

A new question, if I may: How does automation of instrument positions work? Let's say I want to have an instrument closer for a solo section?

@Dietz said:

As a post scriptum to this question, please see the attached screenshot. 😉

Dietz!  What's the scoop with this Sychron setup???  Different from the default when this pack is opened.  I'm seeing the "wide" stage option, but the orchestra set up in the "long" format.

That's the "classical" MIRx setup for Synchron Stage I'm working on since quite a while now. We plan to do a second, "non-classical" setup to supplement the Synchron Instruments series later. 

... and what you see is just the visually rotated Venue Map of SSV "long", for better visibility. You can achieve this by Alt-Ctrl-clicking anywhere in the map. 😊 

@McArnes said:

A new question, if I may: How does automation of instrument positions work? Let's say I want to have an instrument closer for a solo section?

You can't automate movements of MIR Icons, because this leads to small, but audible interruptions and clicks in the audio signal. This is due to the pre-rendering of the case-dependent IRs which takes places as soon as you put an Icon into a chosen spot.

For a solo part I would create a seperate instance (much like the MIRx presets are organized).

HTH,

@Another User said:

3. When using instruments from other companies, would you recommend using just their close mics before MIr?

This is highly recommendable, yes. In case of ensembles I would also try to get rid of any "burnt-in" panning information (by means of an stereo imaging processing device like Vienna Suite's PowerPan or Waves' S1) before feeding the signal into MIR.

Kind regards,

@McArnes said:

[...] a great feature would be to turn close mics on and off on each instrument with CC.

Another nice solution will be to add individual mics for the solos 

@McArnes said:

[...] a great feature would be to turn close mics on and off on each instrument with CC.

Another nice solution will be to add individual mics for the solos 

Yes, that was kind of what I meant but you wrote it better 😊

@McArnes said:

[...] a great feature would be to turn close mics on and off on each instrument with CC.

Another nice solution will be to add individual mics for the solos 

Yes, that was kind of what I meant but you wrote it better 😊

That's not what MIR is about. 😊

MIR "thinks" like an audio engineer in a recording venue: There's a main microphone array, maybe a secondary one for additional spatiousness and eveloping, and there are perfectly aligned spot mics (i.e. the positioned "dry" signal component). All instruments are meant to sit in different positions, but in the same acoustic space. You can easily bring up the volume of one of them, reduce its dry/wet ratio, or (in case you want to achieve a solo-concert like impression) use a dedicated Icon in front of the Main Microphone. - For a pop-mix like, completely seperated solo instrument, simply don't put it into MIR. 😉

@Dietz said:

in case you want to achieve a solo-concert like impression) use a dedicated Icon in front of the Main Microphone. - For a pop-mix like, completely seperated solo instrument, simply don't put it into MIR. 😉

These are good idea.

Thanks

Cyril

I think I'm starting to get a good knowledge of what Mir can do now, thanks to you and the manual, of course, Dietz. Not saying I know how to use it in detail though.

I have a limit with Logic, as I can only have 255 separate instrument tracks. But as my 500+ multi-timbral template consists of a lot of Spitfire instruments, I think I'm able to create enough tracks to have each one in Mir Pro. 

Your screen shot of the 400 Instrument configuration loooks amazing., I am curious as to what kind of mega computer can run this setup without encountering cpu issues? 

I'm using a MacPro 2013 2.7GHZ 12 core Xeon E5 w/ 128GB memory and in process of building my template. I am using Mir Pro as a plug in on each Vienna Instrument channel and am at about 36 instruments in my orchestra and already having major clicks and pops. Even with a larger buffer size I can see the lots of core spikes. How can I optimize my system to handle a bigger orchestra template? Suggestions would be very welcome, Rich 

:-D ... this template includes _all_ Vienna Instruments for MIRx preset creation. It was never meant to be used with all instruments playing at the same time. But as long as Vienna Instruments are set to open without any samples loaded, this setup won't make any recent machine sweat (... provided there's enough RAM for all the pre-rendered IRs, of course).

By today's measures, my MIR development DAW is a below-average i7 based machine from late 2012 with 32 GB RAM. I did stress-tests with about 190 instruments playing inside MIR Pro in stereo setups without drop-outs, and about 90 in a 5.1 setup (using Windows 7 64-bit as OS). Latency was set to very high values for both the RME audio system as well as MIR itself. Modern machine will outplay these results easily, I assume.

Hi Dietz! I'm messing around with a similar setup, images like this are always helpful. Would you be willing to share your prefered microphone settings for the setup seen in the screenshot. And perhaps more screenshots of instrument placements if you are feeling generous😉

Kind regards

Betuel

@Another User said:

11. If run in VEP and I have 40 instances, will all instruments still be seen in ththe stage map, or only if used in a daw as a plugin?

@Betuel said:

Hi Dietz! I'm messing around with a similar setup, images like this are always helpful. Would you be willing to share your prefered microphone settings for the setup seen in the screenshot. And perhaps more screenshots of instrument placements if you are feeling generous😉

Kind regards

Betuel

Hi Betuel,

sorry for the slightly delayed reply, but I didn't find the time to gather the data you're asking for during the week. Here comes the MIR Pro Engine Settings file of the unfinished (i.e. broken) MIRx setup of Synchron Stage Vienna. The more detailed screenshots will follow!

Kind regards,