I'm one of the estimated 80% who listen to music on headphones. I also mix on headphones.
I have no interest in using immersive loudspeaker arrays, nor indeed any kind of loudspeakers. Hence this approach as described here is probably of little or no use to professionals whose contractual deliverables include mixes/stems for immersive 2D or 3D speaker setups.
For many years I've been an ardent fan of 2D 2-channel binaural location techniques in mixing for stereo. But up until I bought MIR Pro 3D I've had difficulty in producing truly satisfying 2D ambience, other than with Synchron libraries using the original stage locations as recorded by VSL Now, thanks to MIR, I've discovered a way of producing a lovely and very satisfying 2D wet ambience for any stage-seating plan, WHILE ALSO using my familiar binaural techniques for re-locating Synchron instruments and sections as I wish.
MIR isn't quite the all-in-one solution I was hoping for. I'm accustomed to locating convincingly wide and not-too-wet string sections anywhere on stage, using binaural location techniques - similar to the object-based techniques as now used in Dolby Atmos. As yet I've been unable to find any way of using MIR Pro 3D to match the 2D realism and precision of these wide, 'dry-ish', more or less 'direct' sound paths. (I think it's perhaps because Higher Order Ambisonics, as an expansion of the Blumlein M/S micing technique, can't quite simulate the necessary psychoacoustic cues as well as binaural location techniques do. I believe, therefore, that whereas HOA is a remarkable improvement on the channel-based mixing techniques used for traditional surround sound ambience, intrinsically it's still not quite able to match the 2D realism of binaural techniques in terms of realistic location and especially width of direct-path sound. Do please correct me if I'm mistaken about this.)
And yet, I know of no better way of producing convincing wet-only 2D and 3D wet ambience than by using MIR.
So I'm now using a hybrid approach:- binaural location techniques for 'dry' only; MIR for wet only.
Synchron libraries are my weapons of choice for wide string sections because of the Decca Tree. There's something quite unique and beautiful about the acoustics of Synchron Stage A - the extremely 'polite' room ambience picked up by the Tree does not appear to interfere with or in any way restrict or disfigure the sense of wide, direct-path sound that can be obtained from the Tree using mono-to-stereo binaural location techniques separately on at least 2 of its inherently decorrelated mic signals.
MIR handles the Tree mics (no binaural processing prior to the MIR feed) extremely well for producing wet-only ambience.
So I'm a happy bunny now that MIR Pro has solved my biggest difficulty - i.e. producing convincingly realistic wet-only immersive 2D ambience.
Thus far my fav MIR main mic for this approach is the "Stereo - MIR 3D HOA Capsules" with C volume set to zero. All Instrument Channels in MIR are of course set to 100% wet.