Hi Dietz,
Can you have a look at the MIr files for this. They won't open for me and I would love to see how Guy set up MIR.
Thanks
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Great Stuff! My respect to Jay!
@Dietz said:
BTW - regarding the tempo of the "Adventures": As far as I know Jay referred to a version conducted by Williams himself, so it might be a matter of taste. But you could take the MIDI-tutorials and do the piece in a tempo of your liking, though. 😉Listen to some of J.W.'s filmscores and compare to concert versions conducted by himself: He often tends to be faster in the concert versions by a lot (lack of tempo awareness? - I don't think so 😊 ).
E.T is a special one: He couldn't match the cue points for some larger scenes so Spielberg let him conduct musically and matched the final cut to the music afterwards - what a great director for a film musician! All that information can be found in some interviews on YouTube, in case you are interested ...
Fritz.
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Herb/Jay,
Herb mentioned briefly a little of the workflow for this piece... Can Jay elaborate on the workflow, Computer specs etc?
How many instruments at once for example....
Richard
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Thanks Herb, Dietz, Florian and everyone at VSL for making such a revolutionary new way to mix samples.
For the strings I mostly used Appassionata strings mixed to varying degrees with solo strings. Occasionally, I also used the Orchestral strings to add some "blur" to fast runs or to fill in articulations that are missing from Appassionata strings.
The ensemble horns were Epic horns layered with the Triple horn. The solo horn was the Triple horn.
The trumpets were (again in varying amounts) solo trumpet in Bb, solo trumpet in C, fanfare trumpets and trumpet ensemble (x3).
One of my favorite MIR features is the character preset. Each VSL instrument now has around six very useful and different sound-shaping EQ-like presets from "Airy" to "Biting" to "Distant" to "Powerful." These are very helpful for an EQ-phobic person like myself. The Austin Powers movies have Mini-Me, the MIR software comes with your very own virtual mixing engineer -- Mini-Dietz!
Best wishes,
Jay
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Jay,
Thanks for taking the time to give some details about the piece. You are truly an asset to this community.
Richard
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@JBacal said:
One of my favorite MIR features is the character preset. Each VSL instrument now has around six very useful and different sound-shaping EQ-like presets from "Airy" to "Biting" to "Distant" to "Powerful." These are very helpful for an EQ-phobic person like myself. The Austin Powers movies have Mini-Me, the MIR software comes with your very own virtual mixing engineer -- Mini-Dietz!--
If you have MIR do you still benefit from Vienna Suite or do these presets in MIR that Jay describe "replace" them?
-Richard
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If you have MIR do you still benefit from Vienna Suite or do these presets in MIR that Jay describe "replace" them?
-Richard
Technically, they don't interfere with each other at all. The Vienna Suite consists of VST plugins which Vienna MIR will happily host.
Soundwise it might be adviseable to to decide to either use MIR "Character Presets"for a quick change of an Instrument's timbre _or_ to insert Vienna Suite EQ for more detailed processing, though - but nothing will hinder you from using both. MIR's "Character Presets" and Vienna Suite's EQ-Presets are not the same, I created completely new settings for MIR - for more or less each and every instrument VSL offers.
HTH,
/Dietz - Vienna Symphonic Library -
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Hi Magates,
Sounds like an interesting suggestion. You know that I've always been a big fan of AltiVerb, and I'm sure you could come up with a valid version. I doubt that you will be able to get the same blend between the instruments and the same sense of spaciousness, though. But yes - the music will be the same! ;-)
Apart from that, I would like to repeat that MIR is not just a reverb. It is the _way_ to a believable and good-sounding mix that is so much easier and intuitive than dealing with myriads of mixer channels, AUX-sends, indivdual plugins and so on. If you are a full-fledged technician, this may not be an issue for you. If you're a composer, arranger or any other type of "just a musician", you will be into music with MIR after a few moments, without leaving your very own domain.
PS: ... and if you're a technician, your results will surpass conventional virtual orchestral mixes with just a little practice, as the learing curve is very flat.
/Dietz - Vienna Symphonic Library -
Please guys, stop writing about MIR !! [H] I have it but I can't use it .. we're moving the studio so I'll wait for a mega computer .. it's like to have a Ferrari and waiting for the keys to try it !! [au]
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You should listen to the version conducted by Williams himself; then we talk about stereo-width! 8-)@magates said:
Honestly I thought there was a bit too much stereo seperation and not enough sense of varying distances. woodwinds seem too far, percussion in some cases too close (particularly piatti and other high metalic perc)
very subjective of course.
But nit-picking aside: Neither width nor distance is written into stone within MIR. If you would like to hear it differently - just go for it! This is "sampled reverb", not "reverb in a sample" (if you get my drift 😉 ...). I don't understand why you treat Jay's wonderful version of "Adventures" as it would be the only way to play it with MIR. - You said it yourself: It's all very subjective. The real beauty of MIR is that it is all about _your_ subjectivity.
Kind regards,
/Dietz - Vienna Symphonic Library -
[quote=Dietz]You should listen to the version conducted by Williams himself; then we talk about stereo-width! 8-)
Yes i remember that. I remember cause I've chosen this piece as a reference for my speaker positioning a while back. It was very confusing. hehe!
