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The “common user” is an artist, hopefully, who is able to sculpt his/her music in every aspect. While MIR Pro has a nice, intuitive GUI, it was never meant to be just an easy solution for the heedless, but a deep, rewarding new approach to orchestral mixing.
By "heedless" here, you mean people who'd rather work on composing scores than mixing and mastering? Heedless people like Mozart, Beethoven, and Tchaikovsky?
Dietz,
I was thinking, maybe MIR PRO can introduce the ability to increase the reverb tail of a venue given the characteristics of a venue. MIR PRO already does this by means of reducing the tail if you wish. For example, on the Mystic spaces, we can reduce the tail which is 8 seconds long, but as a result, this results in all different sound for this particular venue. I would love this feature reversed, where any venue can have the tail increased to achieve the desired sound. This would be so helpful.
The "natural" sound would be the air-pressure wave emitted by the instrument in an anechoic chamber:
https://en.wikipedia.org/wiki/Anechoic_chamber
It was a rhetorical question. Usually, sample libraries aren't anechoic.
Vienna Instruments aren't recorded in an anechoic chamber; far from it. There is quite a lot of "room" on the samples. It is easy to hear the difference when you put them side by side with samples that are recorded that way. If I get a chance next week, I'll put a little audio example together so that you can hear what I'm talking about (sorry, no time before then)
DG
Thank you DG! Btw, the reason I even started this thread, is because of a sample mix you posted a few months back for one of my Dimension Stings pieces (playing a chord progression). I remember you sent me the EQ settings so I can apply them myself in MIR, but it never quite sounded the same yours. Unfortunately, you didn't use MIR PRO to create it. The version I have now sounds much better (with the use of VSL EQ presets), but I could never quite make it sound like your mix.
Vienna Instruments aren't recorded in an anechoic chamber; far from it. There is quite a lot of "room" on the samples. It is easy to hear the difference when you put them side by side with samples that are recorded that way. If I get a chance next week, I'll put a little audio example together so that you can hear what I'm talking about (sorry, no time before then)
DG
Here is the piece I am currently working on (still in draft mode):
It's MIR PRO/Dimension Strings/Chamber Strings/Horns 8/etc.
(I also use a non VSL instrument, the Ukrainian Bandura).
Here is my VE PRO 5 Project File:
https://dl.dropboxusercontent.com/u/33556625/Eastern_Dream_All_06_27_2015.viframe64
Any suggestions or improvements would be greatly appreciated!
Thank you!
-Nektarios
Hello all
Convolution Reverbs use Impulse Responses. IRs are acoustic copies of rooms. All! rooms have their resonances, room modes... called "colours" in this thread.
Here is a short instruction how to equalize those colours of a certain room - using the Convolution Reverbs of the SUITE EFFECTs of VSL...
http://www.beat-kaufmann.com/vitutorials/vi-tips--tricks-4/index.php (No. 36.)
All the best
Beat
Thank you Beat! Very good article. It's interesting because right before I read your post I decided to do an EQ-Match on the piece I posted earlier. I basically matched the EQ with an orchestral piece I like. I was amazed at the difference! Here it is now with the EQ matched:
Eastern Dream (Matched EQ) mp3.
I can def hear a difference. The matched one sounds cleaner and less muddy for sure.
I also used CurveEQ.
