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Hi Dietz,
I'm wondering if ...
... have to be enabled or disabled when using your MIRx settings in MIR Pro? I'm asking, because in the Teldex venue the main microphone is put further back. And I read somewhere that you prefer(ed) not to use air absorption in general.
Thanks.
"Distance Dependent Scaling" of the dry signal component's volume has been used for the creation of all MIRx settings, with the additional option "Consider Microphone Offset" activated, too.
The two remaining options which affect the Dry Signal were switched off when I created these presets, but this doesn't mean that you couldn't use either or both of them in your own creations (or when simply adapting MIRx settings for your needs):
- "Simulate Air Absorption" is basically a gentle low-pass filter which affects the dry signal, but not the signal that's sent into MIR's convolution engine - a routing that would be hard to achieve otherwise, especially when using MIR Pro's plug-in version without the split routing available in VE Pro. The effect is of course distance dependent, usually quite subtle and will get obvious only when using large distances between the Main Microphone and the instrument's Icon on the Venue's stage.
- "Directivity Filtering" is a very special effect when used on the dry signal component: Usually, directivity filtering which is only applied to the signal sent into the convolution core, depending on the data stored in the Instrument Profiles and the rotation of the Icon. By activating this option, also the dry signal will be filtered when you rotate it. - The perceived effect is pretty much the same as the player would turn the instrument away from the spot microphone. This (virtual) spot mic will stay in its perfect relative position as long as the option is switched off.
... the latter is what I strongly suggest to use as default setting. :-) The effect is of course "wowing" the occasional listener, but I rarely found musically meaningful usage for it.
HTH,
Many thanks for your thorough answers!
I think that "Consider Microphone Offset" is deactived by default (in MIR Pro and VE Pro), but I'm not sure at the moment. I was just wondering, because I had the setting deactivated and couldn't remember. Maybe it could be integrated into the MIRx settings, so that it automatically get switched on?
And I have another question: Do instruments also have different reverb lengths in addition to their dry/wet ratio? While creating my own MIR settings I compare to other, wet libraries on the market, and I noticed that strings seem to have a longer reverb than brass instruments. I'm not sure if this reflects the "real" behaviour of the instrument or if the reverb length have been shortened on purpose.
In the Synchron Player the IR lengths also show that there are different lengths for the instruments, e.g. brass 0.9s, woodwinds 1.0s and strings 1.1s.
I know that you are working on a next version of MIR Pro. Maybe it would be nice to be able to change the IR lengths per instrument? At the moment it's not possible and it's crazy to have each isntrument in their own MIR Pro instance.
I know that you are working on a next version of MIR Pro. Maybe it would be nice to be able to change the IR lengths per instrument? At the moment it's not possible and it's crazy to have each isntrument in their own MIR Pro instance.
Good idea. I'll put it on the list of feature requests.
Kind regards,
Thanks, again! And thanks that my suggestions are welcomed! :)
Concerning the IRs in the Synchron Player:
I don't really know... I compared the SYNCHRON-ized SE with instruments in MIR Pro.
Example:
https://www.vsl.co.at/de/Starter_Editions/Synchronized_Special_Edition_Bundle#!Gui
On the third screenshot you can see that the Solo Cello has a reverb length of 1.1s, but actually it's 1.38s. It's very misleading. What's the purpose? This was also why I was asking about different lengths.
