@DG said:

I'm afraid that I just don't "get" it. I have watched the video a number of times and I think that I understand what the goal of all this is. It's just that when I hear the Great Gate start up it doesn't do anything for me at all. I have gone back to the audio only version and I don't like this either. However, I don't know whether I just don't like the programming or whether I don't like MIR. It would help if I could hear some other demos using this technology, because as it stands I have no intention of even considering buying into it. Sorry to be so negative, but I'm sure that you would rather have honest feedback [:(]

DG

The "Gate" was done about a year ago. There is more recent stuff here:

-> http://vsl.co.at/en-us/65/71/175.vsl

... the whole "Pictures ..." were done using principles of the MIR (not the MIR itself, though), with increasing knowledge from our side and thus increased refinement.

So is MIR going to be one hall that is heavily convolted? It seems so since it's a tedious process but what about when you want a smaller sound or what not? There is no one hall end all [:P].

@Austin said:

So is MIR going to be one hall that is heavily convolted? It seems so since it's a tedious process but what about when you want a smaller sound or what not? There is no one hall end all [:P].

Austin,

I don't think that's the 'Hall' picture!

Sorry, couldn't help it..

[:)]

@Austin said:

So is MIR going to be one hall [...]

I think you've got that wrong. It has been stated several times that there will be a multitude of different venues available. The set delivered with the MIR covers all the halls of the famous Vienna Konzerthaus as well as a number of other rooms.Additional sets can be bought later and added to this assortment.

HTH,

I have only one question :
when is it going to be out?

I can't wait!

I really understand the true power of such reverb. Being very used to be in a symphony hall I can tell that the demos I've listened to are just amazing (I'm talking about the mix, not the programming).

Also I wonder, Will the MIR be the main mixing tool or will cubase (or any other softs) be still the main tool?

amazing sound, but i wonder why the impulse responses are recorded in an empty hall ... the acoustics are completely different with a full audience, will that be considered?

@Sangit said:

[...] i wonder why the impulse responses are recorded in an empty hall ... [...]

That was simply a pragmatic decision. Generally speaking, IR-sets from 1000+ halls _with_ audience are a rare thing, as far as I can say [:)]

[:P]

i suggest using dummies [;)] supply the seats with big sacks of crushed newspaper or whatever - but whenever you do so - videotape it!! [;)]))

i wonder if you will be able to do multi mic mixing in one pass. IE: close, stage far. I have to admit i am like this approach in another lib [[[;)]]] [[[;)]]]

You simply set a wet/dry ratio for each instrument or ensemble - directly on the instrument icon on the stage, if you want, or in the respective channel strip on the right.

This is what you would do while recording an orchestra with a main system, adding close-mics for better imaging. The main difference is that you won't have to bother about the individual delays [:)]

[Edited due to typos]

HTH,

It's nice that i'm no longer the only one bugging poor Dietz [:D]