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Wow, I just realized that I'm making this way harder than it has to be. Rather than having separate instances for all the different sections, I can just assign each section to a group in one instance. Then, when I want to render stems of the sections (or even instruments), I just mute the other sections in VEP7, render in the DAW, rinse and repeat for the other sections. 😳
Thank you, William, for inadvertently triggering this epiphany.
Wow, I just realized that I'm making this way harder than it has to be. Rather than having separate instances for all the different sections, I can just assign each section to a group in one instance. Then, when I want to render stems of the sections (or even instruments), I just mute the other sections in VEP7, render in the DAW, rinse and repeat for the other sections. 😳
Thank you, William, for inadvertently triggering this epiphany.
Many DAWs offer simultaneous channel bouncing. If you use several outputs from VEP and route your stems through them, you can actually drop the "rinse and repeat"-part, too. 😉
Wow, I just realized that I'm making this way harder than it has to be. Rather than having separate instances for all the different sections, I can just assign each section to a group in one instance. Then, when I want to render stems of the sections (or even instruments), I just mute the other sections in VEP7, render in the DAW, rinse and repeat for the other sections. 😳
Thank you, William, for inadvertently triggering this epiphany.
Many DAWs offer simultaneous channel bouncing. If you use several outputs from VEP and route your stems through them, you can actually drop the "rinse and repeat"-part, too. 😉
Time to break out the manual!
All I meant is that this thread got me thinking about how to do things more efficiently. I'm glad it it did!
All instrument-specific parameters are handled by the single instances of the MIR track plug-in, i.e. the "Icon" on a MIR Pro's stage. In VE Pro you can save and manage these settings by means of the so-called "Channel Sets". The respective commands are available from the context-sensitive right-click menu.
So at this point it is not possible to convert my 80 instrument orchestra from my e.g. Konzerthaus preset to my Sage Gateshead preset without closing Cubase, closing VE Pro and loading up my Sage Gateshead template in both programs or, as you say, go through and load the Channel Set or the individual MIRCHAN file for all 80 instruments?.
Thanks.
The answer is not as simple as a "yes" or "no". :-)
As long as you really want to switch between Vienna Konzerthaus - Großer Saal (or Mozartsaal) and The Sage Gateshead - Hall One, there would be the option of using the MIRx Mode presets provided for these Venues. In that scenario, all players would "magically" find their proper places all by themselves.
If you just want to bring over your 80 players to another Venue (one that doesn't offer MIRx Mode presets), but without expecting them to find themselves a "ready to roll" setting, then changing Venue is as simple as selecting one from MIR Pro' Venue Selection. Depending on the shape and size of the Venue, you will have to re-adjust position(s), maybe Main and Secondary Microphone setup, and most of all: The RoomEQ settings. The good news is that MIR can manage the latter by itself: All Output-related parameters are saved and recalled as "MIR Engine Projects" from the File ...-dialog in MIR Pro's main window.
... and as long as you have all your players instantiated within VE Pro rather than your DAW, you can rely on VE Pro's so-called Channel Sets to manage Venue-specific player settings - individual ones or groups.
HTH,
Right, so all we really need now is to be able to batch save/load Channel Sets and we are away. This would be ideal if it were done by VE Pro Instance. We would still need to be able to batch save/load MIRCHAN files in our DAW though, as I'm sure people are using MIR Pro in their DAW without VE Pro.
Thanks.
