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PS: Before you look in the wrong places and measure unpredictable setups: For testing purposes and to rule out any other influential factors, please use a single Omni source (its Width reduced to 0), with a Main Mic set to (dual) mono (... it can be found near the bottom of the "Classic Stereo" presets). Thx!
Thanks, Dietz, for the thorough reply. Very appreciated as always!
I don't want to use delay, it was just for comparison reasons. I think I indeed confused myself, because there are so many variables to deal with, especially the individual capsules you can edit. For example: I tested various setups with dry volume offsets on the center capsule (in my case a Blumlein with center).
I started to balance my template from the strings (dimension strings), and this was indeed the mistake. I already mentioned in another thread that the natural volume overview isn't right on certain instruments. For example, the dimension strings had -15, now -12, and I think they need -21. Maybe the numbers have been mixed up.
Of course, you are always saying that natural volume should not be used with other libraries, but that's not true. I tried with all other libraries I have (Synchron, Hollywood, Spitfire) and the volume balancing is really spot on, except some minor things which are not right in the overview (overview vs. the implementation in MIR Pro). The important thing is you always have to use a combination of main + spot when referencing.
Concerning the natural volume settings:
The natural volumes are right if all the instruments are at the same position. If distance dependent scaling is enabled (and yes it should be), the natural volumes should automatically be compensated. Do I move the instrument further back, the volume should be increased automatically. Of course, I'm talking only about the VI instruments with natural volume applied. This is a feature I want to set on the wishlist.
I compared with really all Synchron libraries and the Synchron Stage venue. The natural volumes are really spot on (with some exception mentioned earlier).
Please, read my previous message carefully: From the wet signal's POV there is absolutely no distance-dependent volume scaling. MIR's convolution engine is always fed with exactly the volume you set on the faders of the instruments.
OTOH: If you want constant volume for the dry signal (no matter where you place it on the stage of a MIR Venue), please turn off the corresponding option - either individually or globally.
... there is nothing else that would really make sense in this respect. If you think it through, you will see that there can be no in-between solution.
Kind regards,
Thanks and sorry for all the confusion. I still think that the natural volume are not correct. But the issue that I had were really the volume offset of the center microphones I was dealing with. :)
[ EDIT: Accidentally deleted this paragraph... :( ]
Yes, that's true. At the moment I hesitated to add new capsules or the ambisonics order, because I have absolutely no clues where to start. :)
Awesome...! Need new glasses. :P
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Dietz, I have another thing and didn't want to start a new thread:
I wanted to separate the dry and wet component in VE Pro. It works for one instrument, but if I add more there are cracks and other sounds. Is this normal? Actually I know how to do this and it worked in previous versions. At the moment it only works if I do it for each instrument separately, but I want this for strings, brass and woodwinds as a section.
Huh! 8-0 This should work flawlessly, of course. ... if this is a reproducable issue, please get in contact with support@vsl.co.at, including all necessary details (OS, audio drivers + versions, software versions, latency settings ... you know the drill).
