Thanks for the kind words, William! 

@William said:

the great VSL team [...]

MIR is a team effort from start to finish - I just contribute crazy ideas every now and then. 😉

William, have you tried MIR 3D with which libraries? Especially curious about the strings...

Oh, sure, Dietz!

I am using MIR Pro 3D so far with a large orchestra of VI woodwinds, brass, Dimension brass, percussion, Appassionata strings, Chamber strings, Orchestral strings.  I think there may be a demo soon of the piece I'm working on (somewhat secretly - it's all very hush-hush at this point...)

William,

would you mind comparing your results between vi (orchestral strings, chamber strings, or appassionata strings) + MIR 3d PRO with the Synchron string libraries? If you also have the Synchron libraries of course!

MIR Pro 3D is not designed for Synchron at all. It is for the "dry" sound of VI, other libraries or any audio input you want to use.  

You could use it with Synchron but the whole concept is that Synchron has its own built-in ambience of the Synchron stage, and using MIR Pro with that would be like washing additional reverb over the natural sound.   

@William said:

Synchron has its own built-in ambience of the Synchron stage, 

I understood him to be asking you to compare Synchron, with the built-in ambience of the Synchron stage (no MIR), with the VI or other libraries played through MIR, using the Synchron A wide impulse respones (roompack 6).  (This is the same thing I am trying to do in my other thread.)

@William said:

I just did my first mix with MIR Pro 3D and it is like earplugs were removed and total realism of sound is right there. 

Are you doing any surround/3d/binaural, or just the classic stereo mics and output from MIR Pro 3D?

I'm curious how much stereo has improved with MIR Pro 3D now that the roompacks have been upsampled to 3D.

And Dietz and others say how great 3D is.  So I am also trying to wrap my head around how much it might be worth it to explore various amounts of 3D and how much each of these adds, even for people stuck with targeting stereo speakers and/or headphones:

• 3D to stereo downmix within MIR Pro
• 3D to 7.(1).4 or 5.0.4 to stereo downmix using some other approach
• Raw 3rd order ambisonics (16-ch) to binaural (I'm trying this using Cubase's HRTF but it sounds like a mess so I don't think I have it set up properly yet.  Or maybe Cubase is inferior/limited compared to dear VR.)
• (If Binaural sounds really good on headphones, how bad would it sound on speakers?)

(I still have a lot of experimenting to do to try to answer these questions for myself, but I'm always glad to get the insights of people with experienced ears.)

@William said:

Synchron has its own built-in ambience of the Synchron stage, 

I understood him to be asking you to compare Synchron, with the built-in ambience of the Synchron stage (no MIR), with the VI or other libraries played through MIR, using the Synchron A wide impulse respones (roompack 6).  (This is the same thing I am trying to do in my other thread.)