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1. #VIENNA ENSEMBLE PRO DEMO FULL#
2. #VIENNA ENSEMBLE PRO DEMO PRO#
3. #VIENNA ENSEMBLE PRO DEMO SOFTWARE#
4. #VIENNA ENSEMBLE PRO DEMO PROFESSIONAL#

#VIENNA ENSEMBLE PRO DEMO PRO#

#VIENNA ENSEMBLE PRO DEMO FULL#

it’s full of features… almost every conceivable parameter of angle, width, depth, height, distance and three-dimensional space can be set, controlled, monitored and saved.because MIR Pro works with several digitally-sampled (not electronically created) spaces, the listener hears real acoustics.

#VIENNA ENSEMBLE PRO DEMO SOFTWARE#

MIR Pro (and its cut-down version, MIR Pro 24) is an excellent piece of software for five main reasons:

Technical support and documentation, responsiveness and general commitment to the communities in and for which they work are very good.

#VIENNA ENSEMBLE PRO DEMO PROFESSIONAL#

Vienna Symphonic Library is an established, professional and dedicated group of people, whose products – although expensive – deliver everything they claim. Such seamless integration, unsurprisingly, is what was experienced during the current evaluation. To get the best from MIR Pro and to experience the most seamless integration, though, Vienna Ensemble Pro 5 is recommended. In this environment you’ll simply see the MIR Pro plug-in listed in the appropriate place in that software with no further action needed on your part. In the latter case Vienna Ensemble Pro 5 (build 11660 and higher) isn’t necessary if you have software that uses the standard plug-in interfaces. It’s a comprehensive, fully-integrated package which can be used either as a standalone (probably with a sequencer such as such as Digital Performer, Logic or Cubase) and/or as a plug-in (VST and AU) for the likes of Logic, Sibelius and Finale. MIR Pro counts as one of VSL’s “Software Products” as opposed to their “Instruments”. It compensates for latency (delay) and can be configured for almost any set of “environmental” (acoustic, location) circumstances. It will run over a LAN when used in conjunction with Vienna Ensemble PRO 5. Yet MIR Pro is more than a dedicated add-on to control reverberation, convolution. Convolution digitally “adds” the acoustic to your sampled Virtual Instruments (VI’s) allowing you to “position” sound on, around, across and from (virtual) stages. Reverberation is achieved by a process known as “Convolution” working on and with so-called “impulse responses” (IR’s)… hence the product’s name, Multi Impulse Response. Vienna MIR Pro is meant to be used as mixing console, much as you would use an analog hardware mixer.

In fact, MIR Pro is the only product of its kind truly to add a sense of space, of a venue’s acoustic, of actually “being there”, to your music making. The Austrian company of dedicated musicians and acoustic, technical and audio experts produces MIR Pro – recently upgraded to become, without doubt, the front-runner of a tiny clutch of similar products.īy co-incidence, the MIR Pro range is also on sale for the whole of this month, April 2013. Such sampling technologies are areas in which Vienna Symphonic Library (VSL) leads the field by a long way. But just as importantly, there must be a sense of acoustic space: reverberation, three-dimensionality, distance from (perceived) source – and, ideally, the very essence of a venue’s “personality”.

But they still need to reach into the real acoustic world in two long and deep ways in order to pass muster.įirst, they must have credible-sounding professionally-sampled virtual instruments (VI’s). MIDI files can be all very well but there’s a danger that every instrument sounds like a tin bassoon!ĭigital Audio Workstations (DAW’s) and notation software like Finale and Sibelius have made great progress towards realism in recent years.

Serious music composed and/or played on your computer can still risk sounding squeaky, scrappy… just plain artificial.