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Yes, MIR PRO is a fantastic software.
I have a question :
If you have multiple track of an instrument what is the best solution :
1) send all the tracks to a bus in Logic and send the bus to MIR PRO
2) send individually each tracks to MIR PRO
Thanks in advance for your answer
@Cyril-Blanc said:
Yes, MIR PRO is a fantastic software.
I have a question :
If you have multiple track of an instrument what is the best solution :
1) send all the tracks to a bus in Logic and send the bus to MIR PRO
2) send individually each tracks to MIR PRO
- a) pile each tracks at the same position
- b) put each track side by side
Thanks in advance for your answer
It really depends on your preference as to how much control you want.
In my case with VSL's libraries, I sometimes have up to seven MIDI tracks to be able to handle the masses of articulations, including self-created ones by combining them, without having too big expression maps. Since I also use VEPro7, I organise it so that I only have two outputs per instrument in Cubase: one for long and one for short articulations, because these sometimes have to be levelled differently. I then send these outputs separately through MIR Pro 3D, which I use in Cubase and not in VEPro7, at least in most cases. Of course, I place both signals in the same spot.
As I said, everyone has to know this for themselves and experimentation is recommended here to find out what suits one best. One also has to find out for oneself whether one prefers to use MIR Pro 3D in VEPro7, if one uses this software at all, or in the DAW. There is no general answer or solution that applies to everyone, as there are many factors that play a role: workflow, computing power of your machines (if you use multiple computers [master, slave]), how many screens you have and the resulting clarity, etc.
My solution described at the end of the second paragraph is mainly based on the fact that my master PC has the higher CPU performance or GPU performance (I bought the function to have the reverb calculated by my graphics card), which is why I mainly use MIR Pro 3D directly in the DAW. Of course, in my case it's also more practical that I don't have to constantly switch the input of one of my screens in order to access the user interface of my slave and thus be able to operate MIR Pro 3D. Remote Desktop in Windows is also a little too cumbersome for me when I'm in the workflow.
These are the reasons why I use MIR Pro 3D the way I do. However, as already mentioned, this does not mean that this applies to everyone.
By the way, I realise that I also gave you an answer to a question that you didn't even ask, but I thought it might be interesting in context.
Hi Cyril,
we created a new thread from your questions, for better readability of the forum.
@Cyril-Blanc said:
If you have multiple track of an instrument what is the best solution :
1) send all the tracks to a bus in Logic and send the bus to MIR PRO
2) send individually each tracks to MIR PRO
Definitely 1). I can't see a use-case where 2) makes sense.
Thank you very much for your answer
If you take the example of the 4 x horns, do you consider this is in MIR one Instrument, or do you place them side-by-side?
I have all the VSL VI Instruments in my DAW, the new Apple M3 can handle a full 100 instruments orchestra only using 25 % CPU in stereo. I was thinking to go to Dolby Atmos but it is a big investment
@Cyril-Blanc said:
Thank you very much for your answer
If you take the example of the 4 x horns, do you consider this is in MIR one Instrument, or do you place them side-by-side?
I have all the VSL VI Instruments in my DAW, the new Apple M3 can handle a full 100 instruments orchestra only using 25 % CPU in stereo. I was thinking to go to Dolby Atmos but it is a big investment
I use the horns individually side by side to have more control. I'm probably just too German to do without even a little of it. On top of that, I'm just a control freak when it comes to music production; I don't like to leave anything to chance.
What do you mean by wanting "to go to Dolby Atmos"? Do you mean to produce binaural, three-dimensional immersion for headphones, or true 7.4.1 Dolby Atmos? The latter would indeed be an expensive investment; the former not so much, except that you need to buy a plug-in that enables binaural, immersive downmixes. DearVR is one such plug-in and is also featured by VSL. I personally use a different one because I already had it before I bought MIR Pro 3D, but that doesn't matter because the main thing is that the plugin of your choice is certified by Dolby. You can recognise this by the fact that it is officially advertised.
Hello
I received two more Adam A7V 😀 so I will be able to go for Dolby Atmos 7.1.2 for the moment (10 speakers)
The problem is the upper speakers.
I cannot fix them on my ceiling because it is mounted on cylinder blocks and my wife will kill me if I make holes in my beautiful shinny ceiling
I cannot fix them on my walls because on one side I have no walls and on the other side I have 2 x sound proof window (on the picture you can see I have heavy curtains that I can close when needed)
I thought of 1,80m stands, but it is out of Dolby specification
As my studio is not a professional studio that I rent, where should I place them?
Thanks in advance for your help
Cyril
There are companies that specialise in mobile trade fair equipment, such as SYMA from Switzerland. With a little help from them and a bit of ingenuity, you can design a self-supporting, unobtrusive "frame" around your listening area that can support any speaker array you aim for, including the incoming cables.
-> https://syma.com/fr/produkt/syma-system-30/
HTH!
Hello @Dietz
Thanks for your answer.
Where should I place the upper speakers ?
Best
Cyril
@Dietz said:
There are companies that specialise in mobile trade fair equipment, such as SYMA from Switzerland. With a little help from them and a bit of ingenuity, you can design a self-supporting, unobtrusive "frame" around your listening area that can support any speaker array you aim for, including the incoming cables.
-> https://syma.com/fr/produkt/syma-system-30/
HTH!
@Cyril-Blanc said:
Hello @Dietz
Thanks for your answer.
Where should I place the upper speakers ?
Best
Cyril
@Dietz said:
There are companies that specialise in mobile trade fair equipment, such as SYMA from Switzerland. With a little help from them and a bit of ingenuity, you can design a self-supporting, unobtrusive "frame" around your listening area that can support any speaker array you aim for, including the incoming cables.
-> https://syma.com/fr/produkt/syma-system-30/
HTH!
This article covers most of it:
-> https://www.soundonsound.com/techniques/setting-atmos-mixing-room
Hi @Dietz
Many thanks, very interesting article.
@Dietz said:
@Cyril-Blanc said:
Hello @Dietz
Thanks for your answer.
Where should I place the upper speakers ?
Best
Cyril
@Dietz said:
There are companies that specialise in mobile trade fair equipment, such as SYMA from Switzerland. With a little help from them and a bit of ingenuity, you can design a self-supporting, unobtrusive "frame" around your listening area that can support any speaker array you aim for, including the incoming cables.
-> https://syma.com/fr/produkt/syma-system-30/
HTH!
This article covers most of it:
-> https://www.soundonsound.com/techniques/setting-atmos-mixing-room
