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Do you have the possibility in Cubase to "mute"/disable MIR ?
Does it improve ?
As you have a lot of free memory, you can increase Preload in Directory Manager ! [8-)]
If you had the possibility to convert your project in Logic format I could test it on my configuration
On a well-built, but not spectacular machine from 2012 I can use up to 150 instances and more of MIR Pro (in stereo, 44.1kHz, depending on latency settings and other applications running at the same time).
-> Intel Core i7-3930K, 32 GB RAM, Windows 7 Prof. 64bit, Nuendo 5.5.6 64bit, RME HDSP
You're using either very low latencies, or something else is peculiar on your system.
W7 x64 Ultimate, i7-3770K (3.9 mhz), 32 GB RAM, Cubase 7.5.3 x64, RME AIO (6 ms latency)
Clean C7 project, 24 (for MIR PRO 24 :)) audio-tracks (guitar groove), 24 channels (pos. on stage) in MIR (Standalone) = 60% loading CPU. (ups..)
In this case I have only 40% CPU max for everything else.
The 3770k processor is 342 $ the 3930k is 594 $
What are the differences !
One is 4 core, 8 thread and 8 MB cache the other is 6 core, 12 threads and 12 MB cache, you cannot expect the same number of tracks
Also Dietz and Paul are only using VSL instruments, they dont use CPU killing plug-ins like Play and company
Dietz or Paul : I will very interested to have a benchmark of the same project using MIR as an AU and MIR in VE, do you have the overhead ?
Wosk : I am going to be curious about the Layering film :
Why dont you use only VSL libs ?
Why are you layering all those libs ?
Why dont you take the best of each lib ?
Cyril is right about that, especially Play as it has many issues.
oddly enough I have a similar setup in hardware, though with three slaves and a master. I have brass, percussion, organ on one, all strings on a second and woodwinds, harp on a third. It is very easy to set up MIR separately on each slave, using the same settings. Since they are all viewable in real time it is simple to adjust instrument positions/EQ/dry-wet, etc. The power on these fairly modest i7 slaves each with 32 gb ram is unbelievably awesome! Such that they are only around 10 % CPU on huge orchestral playbacks. So my suggestion is since you have multiple slaves to simplify the setup in a similar manner, having each with its own MIR.
@William said:
So my suggestion is since you have multiple slaves to simplify the setup in a similar manner, having each with its own MIR.
Hello William
If you have multiple slave with it's own MIR, do you get back in your DAW 2 x tracks or 2 x tracks per slave ?
@William said:
Cyril is right about that, especially Play as it has many issues.
oddly enough I have a similar setup in hardware, though with three slaves and a master. I have brass, percussion, organ on one, all strings on a second and woodwinds, harp on a third. It is very easy to set up MIR separately on each slave, using the same settings. Since they are all viewable in real time it is simple to adjust instrument positions/EQ/dry-wet, etc. The power on these fairly modest i7 slaves each with 32 gb ram is unbelievably awesome! Such that they are only around 10 % CPU on huge orchestral playbacks. So my suggestion is since you have multiple slaves to simplify the setup in a similar manner, having each with its own MIR.
I already understood it only way in this situation. Unfortunately it has three negative components:
1. If you change microphone settings or something else in one MIR, you'll need to change these settings and in 2nd MIR (slave A comp.) and in 3rd MIR (slave B comp.). First, you can not to change this parameters for all 3 MIRs exactly (equally) using only the mouse and your eyes, you will have to create preset, copy it to slaves computers and open this preset in MIR 2 and MIR 3. This is a triple work.. In addition, you can simply forget to change this parameters in another MIR. 😊
*
2.On a Slave computer I have a graphical glitch if move any in MIR. This occurs because I connect with my slaves comp. via "Remote Desktop" program. If I want operate a slave computers directly, I must have 3 keyboards and 3 mouse. But it is not convenient. :)
- MIR graphic on master comp. :*
3. MIR24 PRO + two roompack = about 750€
MIR24 PRO x3 + additional two roompack x3 = about 1600€
We have additional 850€ only for work with one MIR on 3 computer! You have free 850 euros? 😊 No problem. But I'll buy ice cream for my wife. :)
It seems to do the work with MIR in standalone mode on another computer is much easier than to solve these problems.:)
While this can only be played by Hollywood Strings
DG
DG, I agree! VSL is a Best Library in the World! (so good? :)) But I mean MIR in this topic, not libraries.
That's simply not true. And apart from the fact that this is wrong: Instruments are not like cars or computers. The first Mini-Moog has been built 1970 and is still _the_ unsurpassed monophonic synthesizer (despite all its constraint); an Amati-violin from the 17th century in the right hands will make people cry for joy, despite its age. ... I think you get my drift.
[quote=vosk]2nd Violins even not in presets for MIR (in MIRx mode)
You seem to miss the good stuff from time to time. 😉 Of course there are Vi-2 presets in MIRx for all Vienna Instruments violins. See the screenshots in MIRx' Manual p. 15, 19 and 23 to get the idea.
HTH,
That's simply not true. And apart from the fact that this is wrong: Instruments are not like cars or computers. The first Mini-Moog has been built 1970 and is still _the_ unsurpassed monophonic synthesizer (despite all its constraint); an Amati-violin from the 17th century in the right hands will make people cry for joy, despite its age. ... I think you get my drift.
I absolutely agree! But it refers to instruments. Libraries develop as machines or computers. Same Amati-violin from the 17th century, but in new modern library! 😊 (with RR, detache-legato (bow change) ect.) We need it and we will buy it anyway. 😊
Thank Dietz! But you offer me place same the first violins but right on the stage. 😊 I begin to suspect the Vienna Philharmonic Orchestra has no second violins, only the first.😊 Its has - 16 first and 14 second. Why do you ignore the second violins for last 15 years?? :)
@vosk said:
I already understood it only way in this situation. Unfortunately it has three negative components:
1. If you change microphone settings or something else in one MIR, you'll need to change these settings and in 2nd MIR (slave A comp.) and in 3rd MIR (slave B comp.). First, you can not to change this parameters for all 3 MIRs exactly (equally) using only the mouse and your eyes, you will have to create preset, copy it to slaves computers and open this preset in MIR 2 and MIR 3. This is a triple work.. In addition, you can simply forget to change this parameters in another MIR. 😊
*
2.On a Slave computer I have a graphical glitch if move any in MIR. This occurs because I connect with my slaves comp. via "Remote Desktop" program. If I want operate a slave computers directly, I must have 3 keyboards and 3 mouse. But it is not convenient. :)
- MIR graphic on master comp. :
MIR graphic on slave (Remote Control window) comp. : http://www.youtube.com/watch?v=vu8Yh4uVCKo*
3. MIR24 PRO + two roompack = about 750€
MIR24 PRO x3 + additional two roompack x3 = about 1600€
We have additional 850€ only for work with one MIR on 3 computer! You have free 850 euros? 😊 No problem. But I'll buy ice cream for my wife. :)
It seems to do the work with MIR in standalone mode on another computer is much easier than to solve these problems.:)
You do not already understand. It is almost instantaneous to use three separate computers each with MIR, and there are no problems with making the three adjustments for parameters for any changes. You don't have to make copies of settings - that would be absurd. Any changes take literally about twenty extra seconds since you can see everything right in front of you. Also - what is wrong with having three keyboards if you have three computers? If you want everything on one computer, then fine, go ahead and do it, but if you use multiple computers the actual use is much easier with separate keyboards and mouse.
The other statements in your posts - like VSL is old, no second violins, are flatly wrong. First of all it is not old, it is constantly recording new samples and new sub-libraries. Also, one of the best things about the library in my opinion is how the older recordings ARE STILL GOOD because they were done so well. One of the oldest recordings is the trombone a3 ensemble which is still the best sounding general trombones yet recorded. Also, you missed the fact there are second violins for all the string libraries. And yet you criticize VSL for not having them. Even though they are not necessary anyway, since a second violin group can be simply obtained by transposing and pitch shifting. While Hollywood Strings was busy recording a second group of identical violin samples, VSL was recording MORE NEW INSTRUMENTS. So, you can take your pick of which one you want to use.
