Thanks for the kind words, Christian. The programming is the main part of the great result. Christian Kardeis (aka "CK" on these pages) did an incredible job.
The approach I took for mixing is not _that_ interesting, as I deliberately chose a very tedious way of applying hand-selected sets of multi-impulse-responses for each single instrument and/or ensemble one by one. This lead to literally hundreds of audio tracks during mixdown (direct signals in stereo, plus up to seven tracks of rendered reverb for each of them, due to the fact that I worked on the stereo version and the surround-version side-by-side). This is not a real-world scenario for our users, but for me it was an important step to get a better feel about the Do's and Dont's of MIR-mixing.
The panorama-settings are easy to achieve, as they happen almost by themselves, using the proper IRs form the real stage of the Grand Hall in the Vienna Konzerthaus.
Apart from that, it was a very conventional approach of applying EQ whenever I felt that it was necessary, and some dynamic processing as well as harmonic coloration by virtual tape-saturation.
The real magic happens by carefully _balancing_ all those signals level. For this task, Christian Kardeis put on his virtual conductor's hat in the studio to give me the necessary advices, with additional input from our Artistic Director Michael Hula, and of course Herb himself.
Finally, some mastering with overall EQing and slight limiting happend in our favorite mastering facility, the Vienna-based Swoon Factory, applied by Michael Haider (also of VSL-fame).
That's it, in a nutshell! [:)]