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  4. Exploring the Use of MIRacle and MIR 3D in Orchestral Templates: Suggestions and Feedback

  • Exploring the Use of MIRacle and MIR 3D in Orchestral Templates: Suggestions and Feedback

    • mir pro 3d
    T
    T

    I wanted to better understand the purpose of MIRacle. Is it a good reverb to use on its own for an orchestral template, or is it more of an enhancement for MIR 3D? One-third of the presets, as the name suggests, are meant to enhance the rooms in MIR 3D, but what is the purpose of the Hybrid presets?

    If possible, I would like to get some feedback on my idea. I'm thinking about how to set up my orchestral template in the best way possible, focusing on the Cinematic Studios Series that I have and mixing in instruments from other companies. Right now, my idea is to keep the microphone positioning from the CSS but without reverb, because I really like the sound of the room, especially with the brass. This way, the positioning of the instruments is already set, so I need a reverb that doesn’t interfere with that. I thought about using MIRacle Teldex Hybrid as the reverb and using MIR 3D to add other solo instrument libraries that I have from Sample Modeling, and maybe blend everything together at the end with a third reverb. Do you think this idea will yield good results?
  • rACR
    rACR

    Sounds like a good use to me.

    Just a beginner
  • DietzD
    VSL Team
    DietzD

    MIRacle is indeed an add-on for Vienna MIR Pro/3D. It was meant as a straight-forward option for MIR users in times when good algorithmic plug-in reverbs weren't available as easy (and as cheap) as they are nowadays. If you already own other algorithmic reverbs you like that allow for switching off their early reflections (ER) you can use them for these tasks as well.

    The use-cases "hybrid" or "enhancement" are mostly verbal concepts to illustrate the possible approaches.

    • In an hybrid setup I would expect the algorithmic engine doing the heavy lifting for the diffuse reverb tail where it can add modulation, diffusion and other acoustic aspects that might be harder to achieve with a purely convolution-based reverb. The IRs would still do what they can do best: Perfect positioning and spatialisation. It's also quite typical to reduce the length of the sampled reverb tail in this scenario.
    • In cases where you actually like the results you get from your MIR settings, but miss a bit of additional envelopment, or simply want to hear a longer reverb tail than offered by the natural decay of the IRs, a bit of unobtrusive enhancement might be all it needs.
    • ... of course, the boundaries between these approaches are fluid.

    That said it might be worth mentioning that it is no "rule" by any means to mix algorithmic and convolution-based reverb. I've done literally hundreds of commercial mixes with MIR used just on its own.

    Enjoy MIR 3D! 😊

    /Dietz - Vienna Symphonic Library