Now that VSL is entering this new era of sampling with the ambience of the hall (not on the quiet stage, but on the Synchron Stage) what are we to do with our Vienna MIR Pro setups and investments into the various Roompacks? For the moment we could match the rest of our traditional VI's (using MIR Roompack 6) with the Synchron Series instruments (Synchron Percussion I and Synchron Strings I so far), but what are we to expect next? Wouldn't this new approach eventually render MIR Pro and MIRx obsolete? The "dry" samples is what makes VSL so flexible compared to other sample library manufacturers whose recordings are always affixed to one venue only. I have to admit that the new Synchron Stage sounds beautiful, the instruments render so well there. I just would love to know if Vienna Symphonic Library would eventually completely change to "non-dry" recordings, thus leaving the MIR technology in the dark.
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Due to Synchron Series Vienna MIR Pro to become obsolete?
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Welcome ZWaves,
thanks for your friendly words and your interest in MIR Pro.
I think it's save to say that MIR Pro won't become obsolete any time soon. It is an integral part of the whole Vienna Instruments-universe and will build the bridge between them and the new Synchron-series.
Apart from that, there are _so_ many things that can be done by means of MIR technology with signal sources other than Vienna Instruments that you can regard it as a tool of its own right. ... and if you think of it, even more aspects which MIR would be perfectly able to cover (like 3D audio rendering and the like) have still remained untouched, ... ;-) ... interesting times ahead.
Kind regards,
/Dietz - Vienna Symphonic Library -
Hi Dietz, I own more than one pack for MIRPro and I think you made a great job, expecially with Mir X. Would it be possible to know, more or less, when the Synchron Mir X will be available? Thanks!Welcome ZWaves,
thanks for your friendly words and your interest in MIR Pro.
I think it's save to say that MIR Pro won't become obsolete any time soon. It is an integral part of the whole Vienna Instruments-universe and will build the bridge between them and the new Synchron-series.
Apart from that, there are _so_ many things that can be done by means of MIR technology with signal sources other than Vienna Instruments that you can regard it as a tool of its own right. ... and if you think of it, even more aspects which MIR would be perfectly able to cover (like 3D audio rendering and the like) have still remained untouched, ... 😉 ... interesting times ahead.
Kind regards,
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Hi Nicola,
The sad truth is that I had almost finished the first version*) of SSV MIRx in March already when I realized that a bug had crept in during the most recent changes of my in-house development version of MIR Pro which rendered about 75 percent of my work useless ... ⛈️ ... I will have to redo most of it as soon as my schedule allows.
.... if you want to get a rough idea how these settings will sound once they're available you can listen to the latest demos of Jay Bacal, who already used some of RoomEQs I created (but not the positions and Character EQs a.k.a. "Pre EQ" in MIRx).
*) I still plan to do a second version of the "MIRxed" SSV which tries to mimic the settings of Synchron series instruments, but this will take even longer then estimated now.
Thanks for your patience!
/Dietz - Vienna Symphonic Library -
Thanks for the answer. That's too bad, I know what means to start from the beginning an almost finished work... All the best, NicolaHi Nicola,
The sad truth is that I had almost finished the first version*) of SSV MIRx in March already when I realized that a bug had crept in during the most recent changes of my in-house development version of MIR Pro which rendered about 75 percent of my work useless ... ⛈️ ... I will have to redo most of it as soon as my schedule allows.
.... if you want to get a rough idea how these settings will sound once they're available you can listen to the latest demos of Jay Bacal, who already used some of RoomEQs I created (but not the positions and Character EQs a.k.a. "Pre EQ" in MIRx).
*) I still plan to do a second version of the "MIRxed" SSV which tries to mimic the settings of Synchron series instruments, but this will take even longer then estimated now.
Thanks for your patience!
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"there are _so_ many things that can be done by means of MIR technology with signal sources other than Vienna Instruments that you can regard it as a tool of its own right..." Dietz
That's how I look at MIR and I would never in a million years want to simply dump it and go with Synchron alone because Synchron - though it sounds great - is only one sound. Realistic sound of an orchestra on one stage instantly. That is what people want. But MIR is an infinity of sounds potentially in any place in the world. Already the Mystic Spaces which are totally different from Synchron are essential to all the work I'm doing. Also MIR is a creative tool like what I remember Dietz saying - like another instrument in itself - that one can work with in any number of ways from subtle to radical.
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Thank you Dietz and thank you all for your answers! I love MIR Pro and also MIRx very much. I own all of the MIRx extensions currently released, and I also own the MIR Pro 24 version of the software. The choice of stages is exactly what has drawn me originally to this amazing product. Of course just the whole idea of placing instruments in 3D space has been the winner for me. It is the most intuitive way a reverberation could be ever approached. So that is why I wanted to know more where we are heading in the future. I understand that with VE Pro and MIR on board we could now create such realistic blend between libraries (talking about non Vienna Instruments), and due to this I have been always utilizing close mics on all the libraries I own whenever and wherever I can. Therefore I am still baffled on how am I to approach the new Synchron products. I understand the [i]other[/i] possibilities, that's not what I am concerned with. The questions is the use of Synchron which is clearly the path VSL has taken, looking at where the efforts have been in development terms for the last year and a half or so. This is where it is going: one stage for VSL. I am not saying what am I going to use MIR Pro for right now? Sure, we can do all these other things. But the primary application of MIR always has been placement within the venue of which we have a choice. With Synchron, the choice is already made. The samples are wet, and MIR is no longer needed, unless we want to match our other libraries to it, VSL or non-VSL. I am still in the process of assembling my orchestral collection at the moment. And it happens that I am looking exactly at the strings right now. I haven't made any decisions yet should I go with Orchestral Strings, should I chose Synchron Strings I, which virtually would mean - match everything else I have with the Synchron Roompack. This is my current little dilemma. When it comes to making an investment, we'd like to be able to make those choices in a smart way after all. I am simply looking at the situation from purely technical standing point which has posed this question basically: In which direction should I grow when choosing my next sample library from VSL? I'd like to thank you all again for your kind input! Warm regards from the city of L.A.! Cheers!
