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well in my mind the close mics do also pick up some room reflection, no?
But yes, you probably are right about the dry signal. As for now I just use a second MIR plugin and place the "close" instrument close to the decca tree.
@HorNet505 said:
As for now I just use a second MIR plugin and place the "close" instrument close to the decca tree.
That's an quite unusual approach that has little in common with the more typical quest for "realism", but if you want to employ it I strongly suggest to use the direct signal only from one Icon (most likely the closer one). Chances are that you would not only run into phasing issues as soon as you use any kind of EQs or filters, but you would make the perceived positioning of the instrument even more fuzzy (and complicated 😉 ....).
Kind regards,
@HorNet505 synchron stage is very similar to normal opera house or concert stages . the only thing that is missing out there is the hall , where the audience stay . as far as i understand , mir pro helps rich that dimension to. dont mess with orchestral basic dynamics and positions , its a long process of centuries of development . all synchron stage or mir pro 3D concept is to stay faith full to that concept . use them in the wrong way and you going to mess up all your sound. I useed to record opera or symphonic orchestra a lot, the moment someone try to experiment with positions ( happens with experimental operas or contemporary music) than pandora box is open 😃
@ilirjan I think you misunderstand my current approach - I use a classical seating as you can see in the pic. The dense front positions are my addittional CLOSE MIC simulations which, right now, would have a wrong reflection from the hall. This is why I wanted to copy the players position on the same spot in another MIR instance and move the microphone from the conductor position to the players position, just like in a real scoring session, and thus simulate a close mic. In my mind, the reflection of the room then would be correct.
f.e. the pic shows my current use of the left percussion section with my CLOSE simulation as I use it now.
My dry VST instrument runs directly to the decca tree and a SEND runs to the close mic. If I need a more direct sound I could now dial in the CLOSE mics.
@HorNet505 said:
The close positions are my addittional CLOSE MIC simulations which, right now, would have a wrong reflection from the hall.
I don't really see why this should be the case. They will have most likely the ERs from the actual recording burnt-in (unless they are derived physical modelling or the like). Of course the close mic would pick up the ERs from the position of the instrument on the stage, but usually this is perceived as a potential issue rather than as a feature.
But in any case: Moving the Main Microphone will NOT trigger other impulse responses, it just changes the Ambisonics-decoder's internal geometry. The feature is meant to adjust the typical little imbalances of real rooms.
-> https://www.vsl.co.at/manuals/mir-pro-3d/starting#output-format-selection
Using the mouse, the Microphone icon can be dragged to different positions on the stage.
- Important
These changes affect only the dry signal components, not the decoding of impulse responses! The feature is mostly used for centering and/or widening the acoustic imaging of an orchestra on the stage. The sonic result achieved also depends on the setting for “Consider Mic Offset” in each Icon’s Dry Signal Handling panel, which should be switched “On” under normal circumstances.
@HorNet505 said:
well the DRY option is just for special mixing situations - f.e. if I really like a Studio-like close mix of a solo instrument or synth that goes not through the room (like J.Goldsmith used to route)
That's a typical scenario for a second MIR Venue in a dedicated tab, isn't it?
