thanks Dietz. That information does help in feeling free to do whatever sounds best without conflicting with the effect of the reverb.  I notice that is different from Altiverb which had the "direct" signal that was redundant and caused phasing if you mixed in dry. I like how this is done in MIR better because I never ended up using that "direct" signal in altiverb and always turned it off in order to use the dry mixed in.     

You're welcome!

More in-depth information and practical hints are available in MIR's manual, e.g. in the "Complete User Guide" (esp. from p. 44 ff), or in Section D "Integration". The keyword "dry" will bring up most of the interesting parts when using a PDF-reader's search function.

Kind regards,

 Thanks again Dietz, I will check that section. The manual is very good.

Agostino,

like pointed out in the manual, _all_ signals within MIR are handled as Ambisonics stream. This means that the dry signal can be put in _exactly_ the same place as the original direct component in the impulse responses. You can easily test this yourself: Select the Direct Only-mode in the Output Channel and move an Icon on a Venue`s stage. You will be able to follow its position almost pixel-by-pixel ;-). This is even more exciting in surround, BTW.

In other words: Yes, you can forget about anything panning-related when working with MIR (with the one exception of panning inherent to any true stereo-components in an original signal, like the bass-treble spreading of a close-miked Grand Piano).

HTH,

@Dietz said:

 You will be able to follow its position almost pixel-by-pixel 😉. This is even more exciting in surround, BTW.

 It's a pity, that we can't do this by using of a auto-move-positioning (without any crunch and crackers, self-evident.)

 The foibles of today's computer. What a shame. I love orchestra movings so much... [:'(]

 In black dispair

Frank

Moving the dry signal alone works glitch-free! :-)

[:S] .... but that was the good part!!

;-)

When mixing if an instrument is too present, I have used several remedies. 1. Decrease the volume. 2. Decrease the key velocity. The Dry-wet ratio seems to present another solution. Moving the slider to the left seems to cause a too prominent instrument to "lay back down into the mix" this seems to be a much subtler way to control voume instead of using the "meat axe volume" control. Of course check and make sure the instrument is not in a group with the wet/dry control enabled or you will defeat your purpose. In addition, moving the slider to the left seems to control the ringing artifacts that you get with high pitched intruments Vln, Fl etc.

Am I really hearing this effect or am I hearing cuckoos.

Regrads,

Stephen W. Beatty

http://www.youtube.com/user/Bachbeatty 

@Stephen W. Beatty said:

[...] In addition, moving the slider to the left seems to control the ringing artifacts that you get with high pitched intruments Vln, Fl etc.

Am I really hearing this effect or am I hearing cuckoos.

Interesting. Would you mind posting an obvious example?

*****

If an instrument is too present, MIR offers quite a few options:

1. Move the instrument to another position on the stage (further to the back, most of the time, but just a few meters to the left or the right might do wonders in certain Venues, too)

2. Turn the instrument away from the main microphone.

3. To increase the effect of 2., enable the option "Use Directivity Profile for Dry Signal" in the Add/Edit instrument Window.

4. Use the "Distant" Character Preset.

5. Increase the Wet signal component.

6. Use an inserted EQ to further reduce the high mids and the treble of the sound.

7. Like pointed out by Stephen, try lower MIDI velocities.

HTH,

PS: There are more hints like that available in the MIR manual, Section D 5 "Collected Hints for Your Daily Work with Vienna MIR", p. 87 ff. :-)

 Thanks for those hints - that is great to get those. 

On closer examination I discovered that I had inadvertently changed the DRY-WET ratios of some of the instruments.I reloaded the Venue and

1. Did not change the individual volume or wet-dry ratios of the individual instruments. 2. Increased the volume using the Faders in the output window. 3. Checked the Directivity Profile for Dry Signal for each instrument. Improvised a compositon using the instruments. The out of the box sound is much better and the high note of flutes and violins do not exhibit any artifacts. Using this base I will try some of your suggestions. I think I was fooling around with the individual volumes and wet-dry ratios and and ended up distorting some of the instruments. Once you are in this loop, it is hard to recover the "native MIR mix" from the mess you have created.

Regards,

Stephen W. Beatty  

http://www.youtube.com/user/Bachbeatty