- the single "virtual" MICwhat exactly do you mean with "virtual Mic"? There is no real recording of the library in the Synchron stage from different real mics like in the Synchron series, but just a MIR impulse response, simulating a virtual MIcrophone, in a stage position similar to the Synchron libraries. Then the âmicâ in the mixer is a virtual one, and not a real one, thatâs the way synchronized libraries are mixed with synchron libraries in synchron player.
Sorry to talk about Microphone Positions makes sens, when you want to describe the acoustic difference of recordings made freom different positions. To talk about "Virtual" Mirccrophone would make in my humble opinion therefor only sens if you simulate the effect of differen acoustic perspectivs with different simiulated acoustics. As long there is only one recording at all, however processed than this is all we have there is nothing mixable as you would expect when you talk about Microphone positions. The Synchronized Patches might include the Synchron Ambniance simulated in MIR dfor the position where they would be expected, but Mir does not simulate different Microphone-Posaitions but only the position of a certain source in the room. This makes in my humble opinion of course a virtual Position and its certain ambiance. But this has scarcly anything to do with any difference of any Microphonepositions. Thats why I still think this term is not very appropriate applied to the synchrtonized Libraries. Please correct me I am wrong in anmy of my assumptions. But currently I would not use it like you do.
Did you ever notice you can move the mics as well in MIR, not only the instruments ? đ
It's pretty clear (no offense) you don't have the background to understand how MIR works. You should start reading something about Ambisonics.
From the "Think MIR" PDF that you may have already read:
"Ambisonics relies on a meta-audio-format which is not meant to be listened to directly. It allows for decoding of an almost limitless number of actual audio formats, be it broad or narrow stereo, different surround formats, or any other multi-channel format. By defining "virtual" microphones, a dedicated sonic behaviour can be assigned to each channel: The polar patterns as well as the angles of those microphones with regard to the input signal can be controlled after the actual recording.
To achieve this, an Ambisonics signal has to be based on four channels (W, X, Y, Z)4. The W channel is the signalâs non-directional mono component, corresponding to the output of an omni-directional microphone. The X, Y and Z channels are the directional components in three dimensions. If you have an audio-engineering background, you might think of it as "three-dimensional M/S", or even better a âthree-dimensional Blumleinâ microphone array.
Ambisonics is a 360-degree, full-sphere sound recording, synthesis, and playback system. It is capable of accurately recording, processing, and playing back sounds from left/right, front/back, and up/down. Incorporating the vertical dimension makes Ambisonics a true periphonic, or surrounding, sound reproduction system instead of an artificial 2D representation spread out over multiple loudspeakers. Ambisonics creates the aural or sonic impression of a physical, three-dimensional space.5
To use the power of this format to its fullest extent, MIR Pro not only uses impulse responses recorded by means of dedicated four-capsule microphones: Any audio signal within MIR Pro is handled in Ambisonics! Every instrumentâs signal is ENcoded to format B to guarantee the perfect match between an IRâs original position on a stage and the instrument assigned to it. Of course, the same is true for any audio input, too.
To top it all, when using Vienna MIR Pro we are not limited to those spots that were used for impulse recording in the first place. Ambisonics allows for the seamless interpolation of each and every point within the covered area of a stage. Only the so-called off-stage âHotSpotsâ are limited to a single position."
