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  • Single MIRacle, or three layers

    Hi,

    I love to put MIRacle everywhere at the end of my projects. I like the transparent density of this reverb. It sounds to me, after a few analytical listening, not dissimilar from the character and quality of a Bricasti M7.

    I usually go the straight way, and just apply it as a single instance at the end of the mix. But is this the correct way of using it? When we didn't have MIR, we used reverbs in layers. One for the first row (strings), one for the middle row (woodwinds), one for the last row (brass and percussion), plus other layer for voices and choir.

    Wouldn't MIRacle work better if still applied in separate layers, after MIR (or the multiple mics)?

    Also: should the layers of reverb be applied to the close/mid mics only, or also to the full output?

    Is this idea of layers of reverb already realized with the internal reverb sends of he Synchron Player presets?

    Time to experiment, but I wonder what's the other's experience.

    Paolo


  • Hi Paolo,

    I'm sure you've already seen the little tutorial in MIR Pro's Manual about the different approaches using MIRacle (or any algorithmic reverb you prefer to use):

    -> https://www.vsl.info/en/manuals/mir-pro/addons#using-miracle

    All the best,


    /Dietz - Vienna Symphonic Library
  • Hi Dietz, yes, but it is always a good re-read!

    In the end, everything is possible, and the choice is only of the person alone in this complicate world!

    Paolo


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    @PaoloT said:

    Is this idea of layers of reverb already realized with the internal reverb sends of he Synchron Player presets?

    Not reverb layers, but different mic layers are sent in different amounts to the built in reverb (depending on the mix preset and what the instrument is).  It's usually something like the close mics being given a little more reverb so they fall back in space and stick to the rest of the sound more.  I've noticed this in SYN piano player and the normal SYN player.


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    @Seventh Sam said:

    Not reverb layers, but different mic layers are sent in different amounts to the built in reverb

    You are perfectly right. In Synchron libraries I see that the internal reverb receives 0dB from the close and mid mics, and -6dB from the Decca Tree and the High Surround.

    With Synchronized libraries everything is obviously sent to the internal reverb, but then there are other things that are happening in the blackbox of the IR.

    What I was looking for in the reverb layers seems to be already made, inside the Synchron Player, using the internal reverb. Each individual instrument/section has its own algo reverb layer, with a number of layers that can easily exceed the three I described above.

    At this point, MIRacle has just to do some additional smoothing, if really requested. Or be used in a hybrid context.

    Paolo