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  • J.S.BACH using MIR Pro

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    Hi,

    few days ago, i said to myself that i really had to use Mir Pro ...

    Here is a new mix of the Harpsichord concerto BWV 1058 first mouvement, mixed with Mir, Konzerthaus Foyer V2  (unusual venue 😃😛)

    BWV 1058 Mir Pro

    Enjoy !

    Philippe


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    Lovely (again). DS or Chamber Strings? (Or both?)

    And the Konzerthaus Foyer venue does sound like a million dollars here... 🎵


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    Hi Phillipe,

    Really outstanding!!

    I always wonder whether you play the harpsicord 'live'?

    I know you're a very good harpsicordist but it is so clean.😮

    And You really got the recipe for the  strings to sound baroque.

    I would kill for your setup.😛

    I think its does sound even better than your previous attempt and yes, I wouldn't have think about trying the Foyer as a potential room for this piece.

    I'm always a fan of your work, very good, knowledgeable, balance and tasteful interpretation!

    Jean Roy


  • Thoroughly enjoyed the listen. Nice job! 


  • Hi Philippe,

     

    As usual, this is an outstanding performance, as stated in the other comments. I can't but agree. 

    However, The MIR Pro application is not the best option here. Your other interpretation is much clearer en distinct. MIR is more something for huge ensembles (philharmonic). At least that is my opinion and I'm not alone with that point of view. Your mastering the samples and the baroque sound, the baroque interpretation and the brilliant harpsichord playing are of course present here like in all your performances. Only the direct sound has disappeared a bit...

    Max


  • MIR is not for "huge" ensembles.  It is for any size ensemble.   It has for example the Mozart Hall,  Schubert Hall and  other small venues, as well as the "huge" sound of the Vienna Konzerthaus.  Also, there is a vast amount of control over microphone as well as instrument placements, not to mention dry/wet control for getting any clarity you want. 

    Sorry to divert the thread though - that sounds great Philippe!  The mix sounds excellent also.  I know you play the harpsichord and also wonder if you dubbed this in live. 


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    Hi,

    thanks to all for listening and your kind comments.

    @Goran : i use solo and Dimension strings, and a "drop" of Chamber strings 😉

    @Jean : please, keep calm and don't kill anybody 😛😉

    @Max and William : I agree with William, Mir is really for any size ensemble. I must admit that my choice of Foyer was a bit curious and provocative, because if you use the default settings, it sounds like an empty gotic cathedral with a long, long reverberation... By playing with the dry/wet and the reverberation control, you can obtain a very different result, it's exactly what i did here. In fact, for Baroque music, the best venues are, imo, the Teldex, the Schubert Saal and the Neuer Saal.

    The harpsichord is played live, but to be perfectly honest, i had to remove after some "extra notes"  here and there 😳 (the size of the keyboard of my Roland A-37 is bigger than an haspichord's one, so ...)

    Here is an example of a mix in Mir Pro - Teldex wide - MS microphone. It is a slow mouvement, so you can better enjoy the taste of the venue

    BWV 1053 Mir Pro Teldex wide

    Very Best.

    Phil


  • Hi Philippe,

    This is great again. The Teldex Studio is my favourite too (both in MIR and in Vienna Suite) and it serves the musical genre well here (and in most genres). It has a direct and cristal clear sound. The interpretation is masterful, as well as the mix and the combination of libraries. 

    As to MIR, it's a wonderful tool to create a fast natural ambience, but I prefer the Vienna Suite. (Personal point of view) or VSS (Virtual Sound Stage), if you don't like all the trouble with EQing, reverb tails, tail duration and amount, dry/wet scales, density... But what you did with MIR is absolutely stunning, a piece of live publicity. They should reward you for your work!

    Kindly,

    Max


  • Thanks Max for your kind comment.

    Best.

    Philippe


  • PaulP Paul moved this topic from Orchestration & Composition on