@Dietz said:

As a post scriptum to this question, please see the attached screenshot. 😉

Dietz!  What's the scoop with this Sychron setup???  Different from the default when this pack is opened.  I'm seeing the "wide" stage option, but the orchestra set up in the "long" format.

That's the "classical" MIRx setup for Synchron Stage I'm working on since quite a while now. We plan to do a second, "non-classical" setup to supplement the Synchron Instruments series later. 

... and what you see is just the visually rotated Venue Map of SSV "long", for better visibility. You can achieve this by Alt-Ctrl-clicking anywhere in the map. 😊 

@McArnes said:

A new question, if I may: How does automation of instrument positions work? Let's say I want to have an instrument closer for a solo section?

You can't automate movements of MIR Icons, because this leads to small, but audible interruptions and clicks in the audio signal. This is due to the pre-rendering of the case-dependent IRs which takes places as soon as you put an Icon into a chosen spot.

For a solo part I would create a seperate instance (much like the MIRx presets are organized).

HTH,

That makes sense. I know nothing about programming, but a great feature would be to turn close mics on and off on each instrument with CC. And some more questions I’m afraid (I hope this thread can be useful for others who are interested in Mir Pro, and if I buy it I want be sure it’s right direction for me. 1. I see that there are no presets in Miracle for the Pernegg Klosterkiche, is that right? I still don't know how to use Miracle though. I have some instruments in Mir Pro, in the Pernegg at the moment. Then I have instruments outside of Mir, from Spitfire. I have positioned the instruments and used Spitfire's mic settings so that they match quite well. But I want to glue all this together with an algorithmic reverb. Is this where using Miracle would be useful? At the moment I'm just using my favorite preset in Lexicon Randomhalll. That works quite well! 2. I guess when I use a VSL instrument in Mir Pro, each instrument’s profile contain eq information? So that a flute loses it’s lower frequencies further back in the room, while a bass drum actually get more lower frequencies back in the room. But it I use a flute or bass drum from another library this changes won’t happen because it’s impossible for Mir Pro to know the instrument. Which means I need to EQ these instruments so that their eq profile gets different in various positions in the room? Or, can I use the 8dio oboe and use the VSL oboe’s profile to get a similar result? 3. When using instruments from other companies, would you recommend using just their close mics before MIr? I won’t use wet Spitfire libraries in Mir though as their just too wet.

@Another User said:

3. When using instruments from other companies, would you recommend using just their close mics before MIr?

This is highly recommendable, yes. In case of ensembles I would also try to get rid of any "burnt-in" panning information (by means of an stereo imaging processing device like Vienna Suite's PowerPan or Waves' S1) before feeding the signal into MIR.

Kind regards,

@McArnes said:

[...] a great feature would be to turn close mics on and off on each instrument with CC.

Another nice solution will be to add individual mics for the solos 

@McArnes said:

[...] a great feature would be to turn close mics on and off on each instrument with CC.

Another nice solution will be to add individual mics for the solos 

Yes, that was kind of what I meant but you wrote it better 😊

@McArnes said:

[...] a great feature would be to turn close mics on and off on each instrument with CC.

Another nice solution will be to add individual mics for the solos 

Yes, that was kind of what I meant but you wrote it better 😊

That's not what MIR is about. 😊

MIR "thinks" like an audio engineer in a recording venue: There's a main microphone array, maybe a secondary one for additional spatiousness and eveloping, and there are perfectly aligned spot mics (i.e. the positioned "dry" signal component). All instruments are meant to sit in different positions, but in the same acoustic space. You can easily bring up the volume of one of them, reduce its dry/wet ratio, or (in case you want to achieve a solo-concert like impression) use a dedicated Icon in front of the Main Microphone. - For a pop-mix like, completely seperated solo instrument, simply don't put it into MIR. 😉

@Dietz said:

in case you want to achieve a solo-concert like impression) use a dedicated Icon in front of the Main Microphone. - For a pop-mix like, completely seperated solo instrument, simply don't put it into MIR. 😉

 

These are good idea.

Thanks

Cyril

I think I'm starting to get a good knowledge of what Mir can do now, thanks to you and the manual, of course, Dietz. Not saying I know how to use it in detail though.

I have a limit with Logic, as I can only have 255 separate instrument tracks. But as my 500+ multi-timbral template consists of a lot of Spitfire instruments, I think I'm able to create enough tracks to have each one in Mir Pro. 

Your screen shot of the 400 Instrument configuration loooks amazing., I am curious as to what kind of mega computer can run this setup without encountering cpu issues? 

I'm using a MacPro 2013 2.7GHZ 12 core Xeon E5 w/ 128GB memory and in process of building my template. I am using Mir Pro as a plug in on each Vienna Instrument channel and am at about 36 instruments in my orchestra and already having major clicks and pops. Even with a larger buffer size I can see the lots of core spikes. How can I optimize my system to handle a bigger orchestra template? Suggestions would be very welcome, Rich 

:-D ... this template includes _all_ Vienna Instruments for MIRx preset creation. It was never meant to be used with all instruments playing at the same time. But as long as Vienna Instruments are set to open without any samples loaded, this setup won't make any recent machine sweat (... provided there's enough RAM for all the pre-rendered IRs, of course).

By today's measures, my MIR development DAW is a below-average i7 based machine from late 2012 with 32 GB RAM. I did stress-tests with about 190 instruments playing inside MIR Pro in stereo setups without drop-outs, and about 90 in a 5.1 setup (using Windows 7 64-bit as OS). Latency was set to very high values for both the RME audio system as well as MIR itself. Modern machine will outplay these results easily, I assume.

Hi Dietz! I'm messing around with a similar setup, images like this are always helpful. Would you be willing to share your prefered microphone settings for the setup seen in the screenshot. And perhaps more screenshots of instrument placements if you are feeling generous😉

Kind regards

Betuel

@Another User said:

11. If run in VEP and I have 40 instances, will all instruments still be seen in ththe stage map, or only if used in a daw as a plugin?

@Betuel said:

Hi Dietz! I'm messing around with a similar setup, images like this are always helpful. Would you be willing to share your prefered microphone settings for the setup seen in the screenshot. And perhaps more screenshots of instrument placements if you are feeling generous😉

Kind regards

Betuel

Hi Betuel,

sorry for the slightly delayed reply, but I didn't find the time to gather the data you're asking for during the week. Here comes the MIR Pro Engine Settings file of the unfinished (i.e. broken) MIRx setup of Synchron Stage Vienna. The more detailed screenshots will follow!

Kind regards,

SSV_MIRxSettings_unfinished.zip-1696259149888-g8cja.zip