Any MIR Pro Mixing Tips?

[nektarios]

So I finished this string piece using Chamber Strings and used MIR Pro with Grosser Saal as my venue. I am not 100% happy with the mix. I feel it is missing something. My strings start soft initially, and I hear a "hush" sound as it starts. I honestly can't pin point what is wrong with the mix. Can anyone give me any hints when it comes to mixing with MIR Pro? I also used MIR Pro in MIRx mode and loaded the appropriate preset. Any hints would greatly be appreciated!

[Dietz]

I hardly  dare to ask: Have you seen the "Getting 'that' sound"-chapter in MIR Pro's manual? It starts on p. 55, right after the tutorial section. Maybe you can get some input from there.

Other than that, it is always a good idea to post some audio examples when asking for mixing advice. Some screenshots might help, too! ;-)

In any case: Without having heard anything, my first advice is: "Less is more". Maybe reducing the overall "wet" signal amount by means of the global Dry/Wet Offset slider is all you're looking for. :-)

And don't forget: MIRx settings are starting points, not an ultimate solution for all your needs. Don't be shy to change those settings that don't fit your arrangement.

Kind regards,

[nektarios]

Thank you Dietz for your response! I will go ahead and apply what you suggessted. I will also read that chapter as I haven't done so yet. Here is a link to the piece I was referring to:

https://www.dropbox.com/s/kao6zrdsno2fw8r/Agni_Parthene%20%28Chamber%20Strings%20orchestration%20by%20Nektarios%20Kalogridis%29.mp3?dl=0

I can post a screenshot later tonight. I basically used the MIRx preset for Grosser Saal with Chamber Violins B as muted. So I have Chamber Violins I (non muted), II (muted), Violas, Cello, Double Bass.

On my master bus I added the Miracle reverb with the "Close Orchestra ..." preset and modified it's tail to 4 seconds.

One thing I realized, when my ears spend so much time close to my monitor speakers, when I switch to small earphones, it takes time for my ears to adjust to the new sound.

[Beat Kaufmann]

Hi Nektarios

When I listen to your current example: It's a "Balcony Sound" from far away with a lot of venue timbre. As Dietz mentioned above as well, I would reduce the dry/wet ratio.

I assume that the value currently is 50/50. Try 30%wet and 70% dry and also play a bit around with different microphones.

Beat

[nektarios]

Thank you Beat! Will give it a shot. [:)]. In the beginning I also hear this hush sound. You know, when strings play at low velocity. Do you hear this? It's not as prominent as it was first time. Wondering if it stands out in your ears.

[Beat Kaufmann]

@nektarios said:

In the beginning I also hear this hush sound. You know, when strings play at low velocity. Do you hear this? It's not as prominent as it was first time. Wondering if it stands out in your ears.

It seems to me that you used the wrong layer of the articulations and this is what seems to sound strange to our ears...

I'm doing an example for explaining this matter...

Actually our brain is "the one" which is listen to music. It has learned over the years that sounds from far away must sound less brilliant and crispy than those from a close distance.

So when you produce a far distance with a reverb and in the mean time you bring up the high frequencies more than natural - our brain is irritated.

Further: The brain has learned as well that instruments sound different when they are playing pp mf or fff.

Back to your chambers now: They obviously play with the piano layer (p or mf) and they are placed far away from the listener which currently seems to be on "the balcony".

So your strings should sound quiet and damped in their high frequencies. True is that they sound loud (blowed up with a comressor?) and much too shiny for the distance.

Our brain is irritated because on the one hand the strings are far away and p-sounds are used but on the other hand their sound is trimed to sound loud and close...

... I believe that the "hush" will disappear to its normal level when you delete possible "loudmaker effects" and when you turn down the volume to the level it should have (quiet).

In case of playing your strings now in MIR you get "the hush" additionaly amplified by the room reflections so that the "hush" seems real too loud.

If you want to have the volume which the strings currently have I would try to play the chambers above 89 (midi-level) = with the forte layer.

Best

[nektarios]

Wow, that is a great explanation Beat! Thank you so much! Totally opened my eyes. [:O] You are right in what I did: I mixed it down, and then pushed the level to 10 db+. In addition, I increased the highs to +3db. Finally, I used a compressor on the lowend as I was getting to much rumble through my subwoofer. Back to the drawing board! Really appreciate it!

[Beat Kaufmann]

[:D]

Beat