Mr. Kersten is correct. But I'm glad you asked, because I want to clarify that I absolutely want all MIR-related elements to match as much as possible, notably the ones you mention: MIR's tail length and relative dry/wetness.
Two points: I am prone to falling into rabbit holes, the infinite tweak, the "I'm here to compose... but I want everything to match perfectly before I begin." That's a fool's errand. One may argue (perhaps ad absurdum) that even the same orchestra in the same room sounds different from hour to hour. Certainly intonation, humidity, general human energy, and other terrestrial factors constantly change.
But more specifically, I was fresh from the experimenting with "identical" instruments -- say, VI chamber cellos and Synchron-ized chamber cellos (where ostensibly they are the same original samples). One had a sheen, a more biting sound, and the other was smoother. Here we broach matters of EQ, the changes the developers may have made to the original material, plug-ins, etc., all compounding upon themselves. (Such things were not obvious, though, based on the mixing settings.)
Those differences, I decided, were to be celebrated as options. Many here have the chops to further homogenize them. It's not my skill set.
But yes, regarding the length of the tail, the general room sound, and certainly the average loudness of the instrument, I very much want VI and Synchron to be as identical as possible for a convincing, unified sound.