The MIR will be much more specialized towards the instruments of our library - "knowing" quite a lot about them, to get their positioning right, and to pre-process their sound in the background, according to a multitude of parameters. It will work stand-alone on a dedicated PC which will have to fulfill certain technical requirements (one of our primary concerns right now).

Concept-wise, the main difference between MIR and AltiVerb is that the latter is meant to be used as a reverb inside an existing mixing environment (i.e. a DAW), while the MIR _is_ a mixing environment that relies a lot (but not only) on custom-made, multi-sampled impulse responses. In addition, its intuitive GUI is oriented strongly towards orchestral music, putting the user in the position of a conductor, not "just" a technician (... hey, I'm an engineer myself, I'm allowed to say this [;)] ...).

The MIR will be able to work with inputs other than coming from our Vienna Instruments to a certain extent. You won't have all the unique features for arbitrary signals, of course.

In case you missed it - there is a video preview of the MIR and the ideas behind it available on our site: -> http://vsl.co.at/en-us/65/71/250.vsl

HTH,

Dietz... still cant comment on an approximate timetable? I mean - are we talking this year?

Thks a lot, Dietz, I saw the movie before and was pretty impressed [:)]

Thks for the inside, but do you think you could specify a little more to what extent the engine will differ by using VSL or other audio sources?

Thks,

Ivan

@Christian Marcussen said:

Dietz... still cant comment on an approximate timetable? I mean - are we talking this year?

You know - concept-wise we are ready since almost a year now ... [8-)] ... no, I can't give you any hints ... who knows, maybe there's still something else up our sleeves, just like the Vienna Instruments [+o(] (pun inteded).

@Ivan P said:

Thks a lot, Dietz, I saw the movie before and was pretty impressed [:)]

Thks for the inside, but do you think you could specify a little more to what extent the engine will differ by using VSL or other audio sources?

Thks,

Ivan

Your're welcome.

We make directivity measurements from the instruments we implement in our VIs, as a counterpart to the directivity of the multi impulse responses we capture in the orchestra venues. This information is part of a meta-data stream that the VI sends to the MIR. Without it, many of our concepts simply make little or no sense, because they have to rely on a certain inital profile. There are features like the prefiltering and the volume weighting for each input of a source into a certain IR (dependent on deep knowledge of the original recording); the original stereo-width of each input (like before); the original frequency profile of an instrument or ensemble to achieve proper "Character"-presets for each instrument or ensemble (several predefined instrument settings to get "smooth" violins, for example, or "distant" horns -- depending on extensive measurements of average profiles as well as listening tests); and more.

Technically it _is_ possible to feed almost any signal into this virtual stage; to keep things controllable, this will be limited to certain aspects and positions. - You could consider this to be the "ordinary reverb engine"-part of the MIR [:)]

HTH,

Hmm... I wonder if a quad intel Mac is the answer for the voracious processing needs of MIR. Apparently that's what's holding up the show: a machine that can actually do what MIR demands (or has been demanding for a year now as Dietz seemed to indicate.)

Can you already tell what the system requirements are, and in what price range it's going to be? (An approximate value of the decadic logarithm, i.e.the number of zeroes will do [[;)]] )

@Dietz said:

Your're welcome.

We make directivity measurements from the instruments we implement in our VIs, as a counterpart to the directivity of the multi impulse responses we capture in the orchestra venues. This information is part of a meta-data stream that the VI sends to the MIR. Without it, many of our concepts simply make little or no sense, because they have to rely on a certain inital profile. There are features like the prefiltering and the volume weighting for each input of a source into a certain IR (dependent on deep knowledge of the original recording); the original stereo-width of each input (like before); the original frequency profile of an instrument or ensemble to achieve proper "Character"-presets for each instrument or ensemble (several predefined instrument settings to get "smooth" violins, for example, or "distant" horns -- depending on extensive measurements of average profiles as well as listening tests); and more.

Technically it _is_ possible to feed almost any signal into this virtual stage; to keep things controllable, this will be limited to certain aspects and positions. - You could consider this to be the "ordinary reverb engine"-part of the MIR [:)]

HTH,

Thks again, it does make better sense now...

Mmmm all that info makes me want to buy everything [:)]...different presets for same instruments...very very interesting...it's going to be a winner!

One thing that should be crystal clear to Vienna is that most of us are running the Vienna Instruments on more than 1 computer, So needless to say, that we will need a way to pipe in audio into the MIR as it is a separate computer with I presume some type of audio interface. How this will be done I have no idea but you would think that MIR would have to have about 40 to 60 inputs to receive the external data in real time. I am also wondering if there will be a way to patch in for example; limiters or other plug ins.

@Another User said:

Can you already tell what the system requirements are, and in what price range it's going to be?

Sorry, no explicit numbers or requirements yet.

HTH,