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  • Difference between MIR PRO Roompacks and Vienna Instruments PRO addons?

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    Sorry if this question has been asked before, but I was wondering what is the difference between the reverb extensions available for Vienna Instruments PRO:

    and the Roompacks for MIR PRO:

    Do they have essentially the same functionality and workflow, or are there advantages / disadvantages to using one type over the other? For example, if you had BOTH products, which is better / easier to use, or more advanced? - The MIR PRO ones, or the VI PRO ones.

    Secondly, are the VI PRO reverbs compatible with, or usable in MIR PRO (and visa-versa)?

    (Excuse my ignorance if I'm asking silly questions.)

    Thanks in advance


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    MIRx and MIR Pro are based on the same underlying technical principle (Multi Impulse Responses), but they are different products with a very different workflow and different possibilities.

    MIRx is a massive collection of presets derived directly from three MIR Pro Venues. They were created specifically for VSL libraries and will work solely as an extension of Vienna Instruments Pro 2. The MIRx presets' parameters can't be changed.

    -> MIRx Product Info

    -> MIRx Introduction Video

    MIR Pro is a holistic mixing- and reverbation engine for Vienna Instruments, but also for any other kind of instrument or audio signal. You can easily access the presets I created for MIRx by using the so-called MIRx-Mode in MIR Pro, but you can change any related parameter according to your taste and needs. There are much more Venues available for MIR Pro than just the three MIRx packages.

    -> MIR Pro Videos

    -> MIR Pro Product Info (... use the navigation on this page to learn more about the MIR Instrument Icon and other product details).

    In a nutshell: MIRx is the ideal solution for anybody who uses mostly Vienna Instruments for composing and arranging, and who doesn't have to deliver fine-tuned final mixes. MIR Pro is a versatile high-end engine for interactive musical work within virtual orchestral halls, with a unique, inviting user interface.

    Sidenote: Upgrade paths are available from the three MIRx packages to the MIR Pro Venues they were originally derived from.

    HTH,


    /Dietz - Vienna Symphonic Library
  • Thanks Dietz for the very fast reply.

    As my primary focus at this time is composing and arranging (on a limited budget) then it seems that Vienna Instruments PRO (without any MIRx extensions) would be the best starting point (and would be more useful for this task than the MIR PRO software).

    Then, when I need to produce with reverb at a later date, I would have the choice of:

    (a) upgrading VI PRO with one of more MIRx extensions (cheaper option),

    or alternatively (if I'm really serious about reverb:

    (b) getting the full blown MIR PRO + Roompack(s) instead (expensive option).

    Does that sound like a good strategy?

    Thanks

    PB


  • Well - MIR (and thus MIRx too) is not so much about "reverb" than about "spatialisation and mixing". The "reverb"-part just happens - as it would in a good hall of your choice. The task of composing might not ask for these features; the task of arranging certainly will.


    /Dietz - Vienna Symphonic Library
  • Gotcha,

    But perhaps I should have made the distinction between "orchestrating" for a real orchestra versus "arranging" for a virtual orchestra.

    If the target is a virtual orchestra, then the "spatialisation and mixing" will be an important final part of the process, however if the target is a "real" orchestra, then my task would traditionally end with orchestration which is more about the design of "timbre, volume, and frequency".

    I submit that when the target is a real orchestra, then the "spatialisation and mixing" can only occur during actual rehearsal and performance in the hall of choice, and is the job of the conductor or concertmaster (and the players of course).

    In this scenario, that aspect of the performance is to a large extent out of the composers control.

    That's not to say that arranging with a virtual orchestra using these tools wouldn't provide a very useful indicator of real outcomes in advance. [:)]

    The composer's job used to end at orchestration, whereas with these tools we can become the conductor and the performer(s) as well.

    (  perhaps "whether we want to, or not!" [;)] )

    Thanks for your clarifications regarding the MIR tools.


  • Phil, I think the best thing to do would be to download the demos.  VSL is good about offering demos of their software.  This will show you the practical use of MIR and MIRx in a way that explanations really can't.


  • Cheers Casiquire,

    I already have downloaded the demos in fact, and I think that Dietz has done a fine job of explaining the differences between MIR and MIR PRO. The rest is merely a philosophical discussion about where does the process of composition end, and performance begin in this era of virtual orchestras, and which VSL tools fulfill which part of the process.

    As VSl says at the beginning of their "03_VSL_MIR_PRO_Instrument_Section_800x450" video:

    "MIR PRO turns you into a powerful entiry of Musician, Conductor, and Sound Engineer, in great Recording Venues"


  • I don't mean to imply that he hasn't done a great job of it, but having it in your hands is always the best test.