Vienna MIR couple of questions

[paoling]

Hi Dietz!

I'm trying Vienna MIR SE, and I find it's stunning. It's a natural solution to bring your instruments in the same space; actually I use it without any VSL product, but it's a remarkable software with every third party VST.

A couple of questions:

1) Every concert hall is about 1.60-2 GB of memory, because of all the impulses loaded. But, can't you add a kind of purge samples feature, to unload the unused impulses once that every position is decided? I suppose that there are engine problems, but I don't believe that all of the thousands of IR loaded are used by MIR. I know that it's funny to drag instruments and listen to them going into the hall, but I think that one you've decided where to put it you can get rid of the other hundreds of IRs :-) So it could be more light.

2) I'd like to have a space for plugins in the master, and the ability to drag and drop the insert plugins in order to sort them as I like (like VE Pro).

3) I'd like to know some tips and tricks (I know I can try), with wet sample libraries, or semi wet, like the majority where you can chose between Close, Full and Surround mics (EWQLSO for example..I know this is not the best place to ask something about that :-). It's better to use the close mics with MIR reverb? Better a combination between them? Only the standar reverb in dry? Maybe just a combination of panning features?

4) I have some problems with WIVI, from Wallander Instruments. The first time the interface it's perfect, but when I load MIR project with some WIVI instances I see the interface garbled, and sometimes it chrashes MIR. I know that probably it's not your fault, but there was a similar problem in VE PRO and it should be gone now, after a quick talk between you and Arne Wallander.

[Dietz]

Welcome Paoling,

thanks for your interest in Vienna MIR and your feedback.

ad 1) You are right, all IRs of a chosen MIR Venue have to reside in RAM. We have some ideas to minimize the memory consumption, but I can't tell you when and how they will be implemented.

ad 2) So do I! ;-) ... there are a few conceptual hurdles that hindered our developers from implementing these features in Vienna MIR, otherwise we would have them already.

as 3) Fellow MIR users will certainly offer their ideas, too, but if you ask me, I avoid pre-reverberated samples if I aim for realistic results with (but not only with) MIR. OTOH - "if it sounds right, it is right"! Just trust your ears. .... I don't understand the part of your question where you wrote "Maybe just a combination of panning features?"

ad 4) Somebody else will have to answer this, I don't have access to WIVI.

BTW - please activate the "Enhanced Content Editor" in the "Communication"-tab of your Forum Profile; otherwise your messages will loose all formatting (... I hope you don't mind that I reformatted your message for better readability).

Kind regards,

[paoling]

Thank you Dietz I appreciate a lot your answers.
Actually, I just bought Vienna MIR SE!
:-)

I think that if I would use a prereverberated library, I could just use the direct signal and take the advantage by the positioning system of MIR, just widen or shorten the stereo spectrum, I need to experiment. I have some choir libraries and I'm curious to try them in MIR.
Anyway a part of VSL products the majority of sample libraries are developed with the 3 microphones (and the close mics are never really dry). My only complain about that is that I don't want to mix a choir recorded in a cathedral, with a brass recorded in a thater and the strings in a music hall. I'm just maniacally trying to get the feeling of depth, in order to write music in a more organic and organized way.

Do you plan to make a kind of upgrade path to Vienna Mir Pro when it'll be out?
Thank you for your kindness,
Paolo

[Dietz]

@Another User said:

[...] I think that if I would use a prereverberated library, I could just use the direct signal and take the advantage by the positioning system of MIR, just widen or shorten the stereo spectrum, I need to experiment.[...] I don't want to mix a choir recorded in a cathedral, with a brass recorded in a thater and the strings in a music hall.[ ...]

Well - the latter is pretty much what you will get: Some kind of Frankenstein-Hall 😉. It's like having a harp-sample used for the Boesendorfer Imperial, I assume.

But OTOH - in pop music we mix like that all the time! We have super dry drums combined with floating backing vocals and a guitar with some slap back delay. As I said before: Personally I wouldn't go this route when I was after a convincing "realistic" result, but it's _your_ artistic decision! If you like what you hear, it's perfect. 😊

All the best,