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  • MIR

    J
    J
    How and when is MIR applied? Is it software or hardware? When working with the samples (sequencing) do you also get to audition the MIR "effect" at the same time, or is it only added to the final compositional product? It would be hard for a composer to work with dry-only samples. Why does VSL say it has to be added "offline"? Does it come as part of the library, or is it a separate product purchase?
  • T
    T
    Hi JCL2

    MIR is software, although I'd love to see a Powercore version (hint hint VSL)

    I guess it will be some kind of send/insert effect (i.e. a VST) or perhaps standalone product that you somehow route your audio to.

    As people on the forums are saying it may need its own dedicated PC I wouldn't hold my breath on a "live" usage product - you will probably have to use a low-end reverb during composition before mixing into MIR.

    And finally, yes it is a seperate product you need to purchase (although there may be a discount for Symphonic Cube / Pro Edition users.

    Best

    Tim
  • J
    J
    Thanks, timkiel. Any estimate on pricing for MIR? I'm trying to get an idea what the total cost would be to put together a complete and functional system - startin with nothing. Thanks again for your responce.
  • J
    J
    hmm... since there's been a lot of talk about meta-data, I'm wondering what the interface to a standalone machine would actually be?... I mean, umpteen-million channels of ADAT will transmit lots of audio, but not the meta-data...
    Maybe gigabit ethernet? Maybe firewire?
    hmm... would be nice to only have to build a "headless" machine, and not worry about all the extras (like another expensive audio card)...

    J.
  • DietzD
    VSL Team
    DietzD
    Here is what I can tell for sure at the moment:

    MIR will be a software product that will need a dedicated (fast and recent) PC to work properly - especially for the real-time part. No audio-hardware required, but it can be used for outputs - so it is possible to use this machine as monitoring-source, too, if this is how you want to work.

    There is a kind of preview-mode, where all the (acoustic) positioning on the "sampled" stages is avaiiable, with some clever reductions of the amount of computed data. The output will be already pretty similar to the high-resolution results. Combining much more than 300 individual convolutions for each stage, they will have to be rendered off-line, until computers are fast enough for our needs.

    The data-transfer between the VI will rely on standard-hardware using specially developed drivers (details t.b.a. soon).

    If you happen to visit the NAMM these days, there will be a short video-presentation I made some time ago. - Maybe we will make this available online during the next few weeks, although I hesitate to do so because the GUI has changed a bit since then.

    We have decided to wait with pricing details until the product is ready for the market, sorry to say so.

    HTH,

    _____________

    /Dietz - Vienna Symphonic Library - MIR Project
    /Dietz - Vienna Symphonic Library
  • J
    J
    Thank you Dietz! The willingness of yourself and other "serious" responders to be up-front and forthcoming with information on VI, et al, is not only appreciated, but refreshing. Too many libraries seem to be too insecure to even thoroughly describe the product(s) they are trying to sell. VSL on the other hand, and all the people who represent it, are A CLASS ACT! Again, thank you.