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Paul : "The multi-miced Synchron products are great to use with immersive surround as well, and of course they also work in a 5.1 mix, with discrete channels. "
I am unable to configure this. Do you have an example or a procedure to follow? Let's say on Cubase.
Hi Claude Marc,
This is a bit different with all sequencers.
In Cubase, make sure that you have inserted the SURROUND plug-in version of the Synchron Player, then you can route the various available microphones accordingly.
When getting started with surround, there are no "hard rules", really, but there are some guidelines that will help. Here are a few tips around Immersive Surround (for Logic).
Here's a link to Steinberg's knowledge base about that setup.
Did you already set up your speakers and audio routing for surround?
Best,
Paul
Hi Paul, thanks for your help (as always).
Yes,
My 5.1 outputs are configured, one output per Focal monitor (5 + sub), outputs 1 to 6 of my Prismsound Atlas.
I work with 3 DAWs. Samplitude, Cubase, Pro Tools (not HD though, so no surround here). The configuration for one will make me understand those of the others, as I know them well (a little less in surround, I admit).
It's the VSL Synchon surround player that I understand less. If I right click on each microphone position, I don't have the option of the different channels for the different positions. Something must be missing. Or I'm making a mistake, which is very possible. Going to surround from stereo is easy. It's the surround configuration of the Synchron piano that is blocking me.
I'll go look at your documents, but I've already been there. It's not that. I need a Cubase template with a Synchron piano and a surround session. Maybe a user here can help me (but maybe I'm asking too much).
cm
P.S. Ok, I made it in Cubase! Thanks Paul.
Hi,
Thanks for the update.
Maybe it was just the question about the routing options with surround instruments in the Synchron Player?
I have attached a screenshot...
Best,
Paul
Yes, I see. But I don't understand the link with surround, which is not a choice of proximity mics, but of positioning in a room. You would have to have right and left lateral, back of the room, etc. I imagine that in the VSL system, it is MIR that does this?
Hi,
MIR is designed to work with dry signals, and yes, it can work in surround as well. MIR PRO 3D will be much more interesting there... stay tuned.
But wasn't your question about multi-mic'ed Synchron Series products? Here, you can decide how to feed microphones to your surround system.
Best,
Paul
Hello Paul,
Thanks again for your answer. My question, more specifically, was: what is the purpose of several proximity microphones in the surround. The surround creates a room. If there were microphones in the room, I understand. If not, it's to place the listener in the piano...
Again, it is by example that I could understand. If someone could explain to me in detail a 5.1 or 7.1 setup with a Synchron piano, that would help. Which mics for which channels. As I said, I know how to place the surround from a stereo instrument, but it's the logic of the Synchron piano surround version that I don't understand. That's why I'm asking you here. This is not a question about surround in general. For example, at another sample producer, the different microphones are positions in the room, side, balcony, back of the room, etc. I'm not saying it's better. I just want to understand the choice of VSL and the advantages you see in it.
P.S. I just used the new VSL celestial strings. They are simply amazing. It's a beautiful work. But they are not in surround sound, I think. Am I wrong?
Hello Claude Marc,
The key to the Surround Synchron Player is the Surround Panner IN THE PLAYERS.
Main L+R are panned L+R
Main C is panned in the middle
Main Ls+Rs is panned to the back LS+Rs.
Close Mics are shared to the front L+R.
Room Mics are panned to the front and back again.
Check out the panners in the channels of the built-in mixer and this should be pretty clear!
Best,
Paul
Thanks Paul, but can you give me the same thing for the Surround Synchron Piano? It doesn't match.
We have :
ROOM MIX
CONDENSER
RIBBON
TUBE
MID1
MID2
MAIN
MAIN-C
SURROUND
HIGH
HIGH-SUR
Hi,
With the Pianos it is quite the same:
ROOM MIX: It is a mix of all room mics. Best to use in stereo to save voices. You can try also to pan it between
all speakers. But this stream is not used in the surround presets.
Condenser: a condenser stereo close mic. In surround panned to the front
Ribbon: a ribbon stereo close mic. In surround panned to the front
Tube: a tube stereo close mic. In surround panned to the front
Mid1: It is a mid layer stereo mic. Not too close with more ambience on it. Most of the time also panned to the
front but you can also play around with that stereo stream an panned it anywhere in the surround field.
Mid2: It is an alternative mid layer stereo mic. Not too close with more ambience on it. Most of the time also
panned to the front but you can also play around with that stereo stream an panned it anywhere in the
surround field
Main: It's the L+R from the main mic system. It's the same as Main L+R in the other libraries.
Main-C: It's the Center mic from the main mic system.
Surround: These are the left surround mic and the right surround mic from the main mic system.
High: These are 2 microphones above the main mic system. You can use it for the height layer when mixing in
Dolby Atmos or Auro 3D. You can also use it if you want to get more ambience sound.
High-Sur: These are 2 microphones above the main surround micrphones. You can use it for the rear height
layer when mixing in Dolby Atmos or Auro 3D. You can also use it if you want to get more ambience
sound.
Hope that helps to make things clearer. You should just play around with the mics an place them in the 5.1 field.
Best
Bernd
