... hope this helps! :-)

Wow, thank you so much! It sure does. I love MIR so much and how different settings can really change the sound. Thanks again for taking the time.

Warm regards

Betuel

@Dietz said:

... hope this helps! 😊

Thanks, Dietz. This is awesome! :)

When does the offical MIRx extension come? It's such a long time... I don't understand. 

Hi Dietz,

these settings are for the narrow view. Did you make presets for the wide view, too?

Which microphones should be used in the wide view? What's your recommendations? I think the Room EQs are the same for both narrow and wide view, right?

Thanks.

Yes, I made settings for the "wide" orientation, too. I can't look them up at the moment, though, because I'm in a studio in another city right now. Thanks for your understanding!

Sounds good. Looking forward to these.

No problem! Have a nice time.

Hi Dietz,

just a nice little reminder. Do you have something for me? :) But, no stress.

Hi all (and especially Pixelpoet, of course 😉 ...),

here comes a ZIP with the MIR Pro Engine Settings for Synchron Stage Wide, quite similar to the setup I use for the "synchronisation" of Vienna Instruments. All you have to do is to un-zip the data and load the settings from File > Vienna MIR Pro > Open (in case of VE Pro), or just File > Open from the main window of MIR Pro's plug-in version.

You'll see my Main and Secondary Mic setup (including Volume Offset, Reverberation Time settings and Global Dry/Wet Offset) as well as about 30 RoomEQ settings, organized similar to MIRx settings. I added the RoomEQ I specifically used for Dimension Strings, too.

Just keep in mind that much of an instrument's sound in MIR come from its position and Character EQ (a.k.a. "PreEQ"). I can't supply the settings for the latter as it relies on an EQ with several special features that has been built for in-house use only.

HTH,

^^^^^^ ⭐⭐⭐

Thanks Dietz

@Dietz said:

Just keep in mind that much of an instrument's sound in MIR come from its position and Character EQ (a.k.a. "PreEQ"). I can't supply the settings for the latter as it relies on an EQ with several special features that has been built for in-house use only.

Just out of curiosity, what is the special in-house feature you have, if you are allowed to disclose that information?

Nothing esoteric: Export functions and a handful of similar development-specific features which allows for the creation of thousands of settings without getting mad! ;-D ... I would share these settings in a blink, but there's no way to load them into anything else than the built-in CharacterEQ of MIR Pro (or the Pre-EQ of MIRx, respectively). 

Kind regards,

Many, many thanks, Dietz! I'm very happy with these. Made my day. ;)

Pity that there's no way to implement the individual EQ settings. Still hoping for an official MIRx release... I know I'm repeating myself, but, as a VI (and not SYNCHRON-ized) user I feel a bit neglected and disappointed.

But is there a way to export the settings into a text format or something? So that one could look them up and manually add an EQ plugin with these values?

But no problem, at this point one can look up the individual EQs of the SYNCHRON-ized special editions, that's they way I'm doing it, but most of the time I take the “pure” setting in MIR Pro.

But I'm wondering if the SYNCHRON-ized settings are to be compared to the character EQ (Pre-EQ) or the Room EQ? Or both?

@Another User said:

[...] I'm wondering if the SYNCHRON-ized settings are to be compared to the character EQ (Pre-EQ) or the Room EQ? Or both?

Errrrr ... the RoomEQ affects only the "wet" part of MIR Pro's Output signal (i.e. the impulse responses themselves), while the Character- (i.e. "Pre-")EQs are used for the instruments' dry/direct signals. MIRx and Synchronized VI's rely on both, therefore. The MIR Engine Setting I uploaded in my previous message contains only the RoomEQ, as individual sources signals aren't part of them. - While I've been in the lucky position to differentiate between these RoomEQ settings even further when working on (say) Synchronized Appassionata Violins and Dimension Violns, this is of course not the case in MIRx (Mode), where there are more global settings for _all_ violins, _all_ violas, etc.

... does this answer your question?

Thanks, Dietz. 

I know about the aspects of Room EQ and Character EQ in MIR Pro, maybe it was a language thing. I try again.

At the moment, I look up the EQ settings of the SYNCHON-ized special editions in the Synchron Player and try to apply these for my instruments in MIR Pro with Vienna Suite EQ.

In the Synchron Player you have (only) one EQ, so is this comparable to the Character EQ or a combination of both Room EQ and Character EQ? I'm asking, because I don't know if there will be problems when combining the SYNCHRON-ized EQ settings with your Room EQ settings.

Hope it's clear what I mean. 😛

Oh, I see. :-)

The EQ in Synchron Player serves the same purpose as Character EQ of MIR / the Pre EQ of MIRx. The RoomEQ is "burnt-in" into the IRs used for "Synchronisation" of Vienna Instruments. A "combined" EQ wouldn't work.

Regarding your second question: You could use Synchronized VIs in MIR Pro with "Pure" Character and apply any RoomEQ you want to choose.

HTH,

Thanks, all questions answered!

I'm trying to make my own MIRx version with the "templates" Dietz provided here in this thread. Thanks again for giving us these! It's a good starting point and I stumbled upon some more questions. Maybe Dietz can chime in...

I'm talking about the SYNCHRON-ized Special Editions here.

1. In the Synchron Player nearly all instruments (with only some exceptions) have the same dry/wet setting, e.g. 30% with the classic preset. I'm wondering why, because if I take the Teldex MIRx settings I can see very different settings between the instruments (e.g. violins at 42% and cellos at 28%). Is this dependent on the room itself? Or do the instruments indeed have individual settings "in the background"?
2. In the "template" the reverb length is 1.38. Do all instruments have this value? I'm asking, because in the Synchron Player the instruments have individual values when you open the IR module (e.g. the solo violin has 1.1 and the clarinet has 0.9). 
3. Do all instruments share the same microphone settings? Maybe some have the secondary one deactivated?

Many thanks in advance.

Hi Pixelpoet,

I can't answer all your questions with authority, because although I'm the guy who comes up with the MIR Pro settings for the VSL's "Synchronized" series, I'm not the one who actually implements them into Synchron Player.

ad 1: The settings you see in Synchron Player are derived from the individual wet/dry ratios exported from MIR Pro which is treated as "new zero" there. 

ad 2: All IR exports are made with the same reverb length in MIR Pro, which is again treated as "new zero" in Synchron Player (AFAIK).

ad 3: All exports are made with exactly the same mic setup chosen in MIR Pro (which differs vastly from the multi-mic array used for the actual Synchron Series due to the Ambisonics format used troughout MIR Pro - but that's a different story altogether. :-) ...)

HTH,

Thanks for your answers! :)

So this means that e.g. the cellos with 30% dry/wet in the Synchron Player are actually only 24% for example? This is the same behaviour with MIRx in VI Pro, isn't it? The standard value of 63 ("new zero") represents an individual value in the background.

Oh my ... I though it would be much easier to mimic the Synchron settings. I thought all instruments are set to 30% dry/wet ratio, and I'm fine with it.

As I don't think there will be a Synchron MIRx release, it's really frustrating to make all these settings on my own. Can the Teldex MIRx settings be a good starting point, because it's also a scoring stage? Or are the dry/wet ratios really that different with each room (more or less)?

@Pixelpoet1985 said:

[...] I don't think there will be a Synchron MIRx release [...]

Quite contrary - I work on it as we speak. Just don't expect an release too soon, please; there's still an awful lot to be done.