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  • Using MIR as a send (Meyerson video) - settings?


    In the Alan Meyerson video, near the end, he mentioned that in one project he was using the MIR Pernegg Monastery as one of his two reverb sends, alongside his Bricasti's in the other send. I know it is pretty common to have two different reverb sends like what he is doing, but to me it seems a bit unusual to have MIR in this spot as then you are really not using it as a positioner, it is instead just being used as a regular convolution reverb for the particular impulses.

    I'm wondering how this is accomplished, given that I cannot see any way of turning the MIR positioner off, in the same way that the Altiverb positioner can be enabled and disabled. Is there some way of doing this, or is there some position and width setting that will behave in a stereo mix as though a positioner was not being used? I would think that the positioning settings in MIR would mess up signals that were already positioned in the room, making it difficult to use it as a send effect like you would with a regular reverb.


  • That's actually very easy. The MIR instance used on your AUX send will be routed to an Icon using a General Purpose profile (most likely Cardioid). You place it in the desired distance on the Venue's stage of your choice and increase the Icon's Stereo Width to a value where it roughly forms an equilateral triangle with the Main Microphone. Finally, you set the Icon's Dry/Wet Ratio to 100% wet (alternatively you can put the whole Venue tab to wet-only mode by activating the Wet Solo button in the Output Panel).

    Of course you don't "bypass the positioner" like that, because there is no fake positioning in MIR like the one used in AltiVerb - in other words: Positioning is "always on" by definition. But that way you can have very detailed control over the achieved reverb character and the perceived depth. Still, all panning will follow the stereo AUX sends from your dry sources.

    There are three depths of "General Purpose Ensemble" settings in all "Vienna Standards" Presets which can serve as starting points, you just have to solo the wet signal (... see attachments).

    In the mix of the recent demo created by electronic music star Dorian Concept for the new Festspielhaus Salzburg RoomPack I used a similar approach, the so-called "virtual reverb chamber", extensively:


    Enjoy MIR 3D!



    /Dietz - Vienna Symphonic Library
  • @ducharme said in [Using MIR as a send (Meyerson video) - settings?](/post/317154):

    [...] Wouldn't "roughly forms an equilateral triangle" mean that the closest should have the least width and the furthest away should have the greatest width? Or am I overthinking this?

    Both. ;-D

    Yes, the Icon closest to the main microphone will have the narrowest stereo width, while the most distant icon will be the widest. However, do not take the "equilateral triangle" too literally as mathematical advice, but rather as a starting point for meaningful settings that avoid the resulting reverb's stereo width being too exaggerated or too narrow.


    /Dietz - Vienna Symphonic Library
  • If you like to measure, use a goniometer like the ones included in Vienna Suite and Vienna Suite Pro and make sure that the resulting wet signal looks like a perfect circle when fed with decorrelated pink noise. This way you'll use the maximum stereo width without risking out-of-phase signals.

    Repeat the measurement for each Icon individually.


    /Dietz - Vienna Symphonic Library