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Hi guys!
Im a MIR Pro user since quite some time, i love it, its an incredible tool and i cant live without it.
I have a question tho - Dietz announced a MIR Pro Update coming this year - do we have a timeframe on that one when it might appear? Also, do we know what the status on MIRx Synchron Stage is?
Greets,
Joey
Welcome Joey,
Thanks for using MIR Pro, and thanks for your interest in its further development. Highly appreciated!
The good news first: I have in fact finished two (very different) versions of MIRx presets for the Synchron Stage Vienna-Venue in the meantime. *whew!!* All in all, we're talking about roughly 900 hand-tailored new presets. 8-)
One version follows the classical MIRx-approach in a "portrait"-view of the hall, with 1st violins on the left, 2nd violins on the right, contra-basses close to the center axis. The second version adheres to the "Synchronized"-series' setup in respect of orchestral seating and sound; this setup will give VSL-users the definitive tool to integrate Vienna Instruments and Synchron Instruments seamlessly with each other.
I'll attach a couple of screen-shots to give you an idea. And before your ask: I have no idea how fast VSL software engineers will find the time to build the necessary downloads, so please don't hold your breath yet.
This brings us to your second question: We are working on the new version of MIR, that's for sure. The all-dominant COVID-crisis has bowled down most plans and schedules, though. Never say never, but chances are very small that we will see MIR 3D this year ... :-/
... thanks for your patience!
Thanks so much dietz, im SOO excited! :)
(Currently working on a big show due in 2 days, kinda got lost and forgot, sorry haha)
Greets,
😄 .... sounds like a great idea, Paolo, but that's not how MIR works.
Hi Dietz, I had this suspect because you already added a second mic set, that I think is derived from one of the various positions from where you sampled the room. But maybe the process is a different one.
In case it is a different sampling position, some of the rooms have more than two, so I wonder if they can be used as simulated channels. Or maybe there are phase issues.
A test I couldn't yet do is to first render the direct signal, the closest room mics, and a more distant mic set (simulating a Mid position). Then, a second pass would exclude the direct signal, and include two sets of mics positioned far from the source (to simulate a panoramic stereo pair and the surround pair).
Probably, it will only end into some sort of sonic molasses 😊
Paolo
Dear Paolo, the main issue is: The whole concept of MIR relies on Ambisonics. It gives us the possibility to define many acoustic parameters after the actual recording took place, and - equally important! - we can interpolate seamlessly between discrete source positions.
An Ambisonics recording is typically based on a so-called "coincident" multi-microphone array. We used indeed up to four of these arrays to capture the Venues represented by MIR - which is why we can add the Secondary Microphone, but that's for the wet signal component only: The goal is to increase the perceived spatial enveloping without sacrificing any of the positioning cues of the Main Mic. And yes, it's a great source for decorrelated rear mics in a surround mix, too!
The typical Synchron recordings use a completely different approach, based on wide-spaced single microphone capsules. They are referred to as "Decca tree", supported by Omni-outriggers and AURO top-layer mics. In short: A very different approach than a coincident recording. ... there have been lengthy discussions amongst Tonmeisters during the last 70 years (or so) which approach is "better", so I won't go into the details here. ;-)
Although I went to any length in my quest to match the sound of the Synchron Instruments' setup for VSL's "Synchronized" Vienna Instruments and now for MIR/MIRx, it has to be said quite clearly that there won't (and can't) be a MIR engine as we know it that will be able to fully recreate a spaced microphone setup as described above.
I have been doing that for many years. The biggest thing is to let your ears tell you it's ok, not how it looks on the stage. I have done some of the stupid shit you can imagine with this tool. People would probably laugh and say I am an idiot but oh well! As long as they don't see how it looks, and it sounds great I really gave up caring how it looked on the stage years ago!
I know, I know. Any news for the MIRx download? Would be a nice Christmas gift. :)
We hear you! 😉
Thank you so much! i didn't realize initially what the update was about, so as usual I just come to the forum and find the answer 😉
But adding a change-log update will also help other users to get the point, I guess. 😉
And now I will have fun experimenting and comparing my set-ups to yours (usually always very good, so I'm really excited by this time saving and quality improving feature, that was my best source for learning as well).
