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I've just starting using MIR PRO 3D with my Special edition solo strings and Synchron pianos, and love what it can do.
MIR automatically recognized the proper unprocessed instrument settings for strings--but the synchron pianos dont appear to have an unprocessed patch.
Should I just manually dial down reverb on the piano and make it as dry as possible? or is there another way---
Hoping to save a half dozen hours fiddling...
Hi Rich,
The SYNCHRON-ized libraries feature instruments that are virtually placed into Synchron Stage - with the option to work with the unprocessed signal.
If you use both libraries as they come out of the box, they already use matching sound signatures = Synchron Stage.
You can try to work with only Close mics for the piano and reduce the additional reverb. But that does not change the fact that these are actual recordings from the Synchron Stage - even for the close mics.
Which venues are you using? It might make sense to move your third-party instruments into the Synchron Stage rather than "un-Synchron" our recordings from there.
Best,
Andreas
@Andreas8420 said:
Hi Rich,
The SYNCHRON-ized libraries feature instruments that are virtually placed into Synchron Stage - with the option to work with the unprocessed signal.
If you use both libraries as they come out of the box, they already use matching sound signatures = Synchron Stage.
You can try to work with only Close mics for the piano and reduce the additional reverb. But that does not change the fact that these are actual recordings from the Synchron Stage - even for the close mics.
Which venues are you using? It might make sense to move your third-party instruments into the Synchron Stage rather than "un-Synchron" our recordings from there.
Best,
Andreas
I'm using the room pack 2--currently looking at the smaller venues studio 2/3.
Ok-- I will use the close mics and see how that works. It is also possible to dial down reverb by instrument on the MIR platform, but this wouldn't compensate for the mismatch of patches.
Doesn't it seem like access to these venues and different convolution reverb profiles for the SYNCHRON series would be a good thing? Would offering an unprocessed patches open up other sales opportunities?
Also, I was so happy I could use the SYNCHRON PIANOS with finale easily, it seems odd not to anticipate use with MIR pro 3d and synchronized SE instruments.
Chamber music generally benefits from a drier environment, and this seemed the perfect match....
The dry stereo recordings from Vienna Instruments (which is what you hear inside SYNCHRON-ized) as well as MIR Pro was developed and released many years before we started recording in Synchron Stage.
These are two entirely different approaches on how to work. Some of our Synchron Pianos are recorded in our much smaller and more intimate Stage B. For example the Synchron Boesendorfer 280VC could be the perfect match for chamber music.
