Thanks Dietz et al, but it still sounds like Altiverb 5 on steroids to me. So how do you SEND audio to the MIR from the VI? and when is the unvieling?

@Bruce said:

Thanks Dietz et al, but it still sounds like Altiverb 5 on steroids to me. So how do you SEND audio to the MIR from the VI? and when is the unvieling?

Forget it Bruce... the great Lord Dietz only shows himself bi-weekly to speak about MIR [:D] [;)]

@Christian Marcussen said:

Forget it Bruce... the great Lord Dietz only shows himself bi-weekly to speak about MIR [:D] [;)]

Dietz has always struck me as more of the Dark Lord type.

Be that as it may - as long as he speaks of MIR he is great [:D]

No doubt about it: when he talks about MIR we all listen. I have a feeling it's going to be much like VI in that it's easy to use and greatly enhances one's ability to get the sound they're looking for. None of this stuff is cheap but it's kind of like having an orchestra in your own home.

@Christian Marcussen said:

Forget it Bruce... the great Lord Dietz only shows himself bi-weekly to speak about MIR [:D] [;)]

Dietz has always struck me as more of the Dark Lord type.
Ha! Only when Mr. Evans is around. [+o(] It seems that he has a problem with me.

@Bruce said:

Thanks Dietz et al, but it still sounds like Altiverb 5 on steroids to me. So how do you SEND audio to the MIR from the VI? and when is the unvieling?

Forget it Bruce... the great Lord Dietz only shows himself bi-weekly to speak about MIR [:D] [;)]
Now come on, guys, this forum is full of preliminary information, covering almost all aspects of this project. As a matter of fact I described so many details already that anybody who is crazy enough to do the same amount of work could do it - just without the years of research.

To Bruce: I'll try to rephrase it. A Vienna Instrument is not sent to a mixer from where you feed some AUX-send into the MIR. The VI's signal is sent directly into the sampled venue you have chosen inside the MIR, where a multitude of parameters are dealt with: Position, elevation, stereo width, directivity, filtering, volume (both of the dry and the "wet" signal), and some less self-explaining parameters I won't cover here.

Now do this with all VIs your computer(s) is/are able to play, and you have a virtual orchestra seated in a virtual hall.

The main problem from today's point of view is that we are talking about several hundred convoltions here, something which is not possible in real-time. The comparison with (the highly esteemed) AltiVerb is not a good one, given the approach we took. Due to this, we have to discern between a real-time mode and a high-resolution rendering mode.

HTH,

Thanks Dietz for the info. I can see that this is something way beyond Alti 5. I wonder if it will run on the Intel Macs?

Can we assume at this point that MIR will not be announced at Musikmesse?

@Dietz said:

Now come on, guys, this forum is full of preliminary information, covering almost all aspects of this project.

Indeed - but given the amount of time since MIR was announced we know very little - but enough to drive me insane though [:)] The very important, when and how much are still unanswered.

Yeah Plowman it seems MIR was not for MusikMesse...

@Dietz said:

The main problem from today's point of view is that we are talking about several hundred convoltions here, something which is not possible in real-time. The comparison with (the highly esteemed) AltiVerb is not a good one, given the approach we took. Due to this, we have to discern between a real-time mode and a high-resolution rendering mode.

Rendering mode - I presume that is a little like the offline bounce that I use on my Mac in Logic.
Now there is one thing that I haven't yet tested....

....Since certain aspects of VI's performance mode sample switching depend on the speed of notes within a musical passage then if I use Bounce in Off Line mode** where progress along the timeline depends on the amount of data rather than the real tempo, will there or will there not be an affect on the interpretation of the "speed data" within the VI. Note- tempo changes within standard midi data are of course rendered correctly. Since the sample switching according to note speed is in effect external to Logic (VI being external to the actual plug-in in a Mac) I am slightly unclear as to what will happen

Has anyone tried this?

I presume that Rendering in MIR will take account of the effective speed of notes so that the correct sample switching will occur despite the rendering happening at a SLOW speed.

**I use Offline bouncing when I get any hint of Core Audio error messages. I can successfully mix down a file that would otherwise stall.

Stuart W.