@Paul said:

Hi, 

We just added new mixer presets to all SYNCHRON-ized products (including our SYNCHRON-ized Special Editions). which makes it more comfortable to integrate those instruments with MIR Pro. 

The whole Synchron Player mixer is reset for this purpose, so that you're ready to apply the MIR magic to dry samples. 

What is reset?

• EQ
• Impulse Response
• Algo Reverb
• Panorama
• Volume

Find all SYNCHRON-ized Library Updates in MyVSL and the changelogs here. 

Best, 
Paul

Old thread but I wonder about the product lines side by side now, since the reason to purchase the VI series was to get the dry recorded samples for more flexibility. But now it looks like both products are the same then? Or are they still sounding different. Are they still recorded on different stages?

X POST from Synchron Libraries forum:

When setting the Mixer preset to "99 MIR Unprocessed" for any of the SYN-zed Dimension Brass or Dimension Strings libraries, I notice that the "mic" channels (i.e. Trumpet 1, Trumpet 2, etc.) do not revert to 0, but instead are set a varying amount (-3 for the trumpets, -6 for strings, etc.).  I also notice that, regarding the Trumpets, the singular patches have their gain bumped to +2 (with Blare at +4) in the Edit tab, while the singular players have those numbers reduced by 2 respectively.  Yet, when "0 default" is selected for a Mixer preset, everything is set to unity.

So, my question is this: are the varying gain settings in the Synchron player that are a result of the MIR unprocessed mixer preset intentionally set for use in MIR Pro (in conjunction with its natural volume and/or MIRx settings), or is it a better idea to use the "0 default" mixer preset instead?  

Also, another question for Dietz:

When you created the Synchron Stage wide MIRx presets for MIR, did you go off the original VI dimension samples or the altered SYN-zed dry samples?  Or does it really make a difference?

Hi Seventh Sam!

I have anwered your question in the thread that you have opened in the Synchron Libraries forum.
https://www.vsl.co.at/community/posts/m311349-Question-about-SYN-zed-Dimension-Brass-Strings-MIR-settings#post311349

Best regards,
Andi

@Seventh Sam said:

[...]

Also, another question for Dietz:

When you created the Synchron Stage wide MIRx presets for MIR, did you go off the original VI dimension samples or the altered SYN-zed dry samples?  Or does it really make a difference?

I worked on the original Vienna Instruments Dimension series. AFAIK, the differences (on a sample-level) between them and the Synchronized releases should be marginal (if any), but I hope that Andi or someone else from VSL will correct me if I got that wrong. 😊

I started with the VI dimension series...and then the upgrade to synchronized was not too expensive so I upgraded and have both.  My impression is that the synchronized not only has the Synchron hall added, but the Synchron player is arguably easier to use and I definitely prefer it in this particularly case, as just an easier way to work with the Dimension libraries.  I personally have not dug deep enough to comment about specific articulations or differences in the actual samples or the way they are edited...there are various commentary about this on VIControl forum if you search there.  But I think they both sound great!  I actually end up disabling the Synchron room and use MIR pro anyway!!!  But I find the Synchron player is just kind of nicer to work with.

@Dietz said:

I worked on the original Vienna Instruments Dimension series. AFAIK, the differences (on a sample-level) between them and the Synchronized releases should be marginal (if any), but I hope that Andi or someone else from VSL will correct me if I got that wrong. 😊

Thank you, that's helpful to know!  (The MirX presets sound really solid, by the by!)

Pretty much any sound source can be used with MIR Pro 3D.

For example, I've just been testing a synth on the Gateshead stage along with VI Appassionata Strings and Synchron Timpani. All good, so long as you comply with MIR Pro's input requirements (or at least preferences): i.e. close mics only, as dry as possible, on a stereo pair as nearly mono as possible [well that's what I recall reading in the MIR Pro 3D manual, although I can't find that particular quote now].

In the Synchron Timps player I applied the "Default" Mix Preset then disabled the Main, Main-C and Mid mixer channels, leaving only the Close channels.

I can appreciate that it's probably not great marketing for VSL to suggest that Synchron libraries can submit themselves to MIR Pro 3D. But then again, what about user scenarios in which they have a broad selection of libraries from different developers, and would like to spatialize an eclectic variety of dissimilar libraries together on one stage? MIR Pro 3D to the rescue!

Always, always. ;-D

Hello Dietz

I am just experimenting with MIR 3D in my first song ; it's a GREAT product.

My wishes so far :

- Have one place to disable all room reverb in ALL the VSL instruments entering in the venue

- I did not find the volume automation in MIR (there are too many places to set the volume, in the DAW, in MIR instruments and in the instrument setup of MIR)

- A command to set all 

- Add drop down menu for all the commands

- Have the manual in PDF so you can import and search in it

- Automatic placement of VSL instruments when you start 

- Add the Keyboard shortcut in the Mac Pro strip

Many thanks in advance

Cyril

Hi Cyril,

most of your questions are Synchron Player related. This is not my forte - please post them in the appropriate sub-forum, then they will get answered quickly. I can't split this thread easily myself, because you posted your questions in a totally unrelated announcement-thread.

@Another User said:

- Is there is a rule to make a mix ?

If there is one, I haven't found it yet, in about 40 years of mixing. 😄 ... Or actually there is one: "Make it sound as good as possible."

Kind regards,

Hello Dietz

My questions are MIR PRO 3D related ; who is the guru of MIR PRO ?

Kind regards 

Cyril