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  • Mixing the Synchron libraries in MIR

    PaoloTP
    PaoloTP

    Hi,

    I was hoping not to like the new Bösendorfer Imperial and send it back, but I had unfortunately to discover that it is the greatest piano, and I’m already in love with it.

    So, I’m trying to mix it with the VI libraries in MIR. This experiment will also be useful when mixing the BBOs with the VIs.

    The most obvious room choice would be Synchron Stage Wide, but I decided to go on with the room I’m currently preferring for classical orchestral pieces: the Teldex.

    In MIR, I placed the piano just in front of the main mics, and set the width and level to match its image with MIR bypassed. I turned the RoomMix off, and adjusted the Condenser, Mid 1 and Decca mics to make the unprocessed piano fit in the room.

    What I noticed is this: 

    - With MIR bypassed, the piano is incredibly realistic and natural sounding. I tend to prefer this sound.

    - With MIR activated, and a room different than the same recorded with the piano, the piano image is made a bit artificial. Still sounding great, but less open, more flattened. At the same time, it is much easier to make it fit with the other instruments. Reducing the wet signal for the piano greatly helps finding a good balance between natural and correctly positioned.

    Is there some hint, for cases like the above? I would like to keep the room mics in the mix, to improve the depth of the piano sound. But I would also like it to match any other rooms, without sounding artificial.

    Paolo
  • PaoloTP
    PaoloTP

    I've another question about mixing a piano with an orchestra: should I choose the Concert, or the Close preset as a starting point in the piano? I can't understand what corresponds to the mic arrangement simulated by MIR. I would suggest Concert, since in a room like the Teldex or the Grosser Saal the default main mics position is that of a listener in the hall.

    Paolo
  • DietzD
    VSL Team
    DietzD

    Personally I would try to mix and match the piano's different microphones according to the orchestral elements. After all they were recorded in the same hall, so this seems to be a much more straight-forward approach than using MIR for the task (in this very specific context, that is). Reducing the piano's stereo width a bit might be a good idea, too.

    HTH,

    /Dietz - Vienna Symphonic Library
  • PaoloTP
    PaoloTP
    last edited
    last edited

    Thank you for the hint, Dietz. The bare Synchron version really sounds more natural, and narrowing the stereo width seems to really place it better in the orchestra. Synchron Stage and Teldex are quite compatible, so the differences should be masked relatively well.

    Here is a first experiment with the two option, piano-only. One is the BI as is, minus the algo reverb replaced by the general MIRacle applied to the full orchestra. The second one are the Condenser and Mid 1 mics of the BI, plus MIR (generic profile modified) with the Teldex selected. I increased the volume of the secondary mics, to simulate the Decca tree, and chose the Air character for the room.

    Disclaimer: this is not a finished mockup, but just mostly raw notes and a few strokes of interpretation.

    Rach2-BI-Synchron

    Rach2-BI-MIR_Teldex

    Paolo
  • PaoloTP
    PaoloTP

    (By the way: am I wrong, or MIR is not exactly performing bad, in this comparison?)