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VSL shameless "fanboyism" thread

  • Thread starter Thread starter mscp
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Casiquire said:
VSL is one of the cleanest devs you could hope for. I don't often have to do much resonance hunting at all. Nothing is perfect but they're far down the list of devs I worry about. It's possible that a lot of those presets also tame certain resonances but they tend to be more like sonic profiles to quickly achieve a mixed sound
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And what's you're approach for the reverb? Use what's there and add a separate reverb for the tail or mix it with a dry signal and then add a convolution reverb?
 
Ben said:
Most EQ settings are there to clean up resonances, with the exception of FX / Signature Presets: here we do whatever we want to get a specific sound /characteristic.
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That definitely seems to make it much easier to have presets like that ready to go for us to play.
 
Jackal_King said:
And what's you're approach for the reverb? Use what's there and add a separate reverb for the tail or mix it with a dry signal and then add a convolution reverb?
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Whatever sounds best and fits best with your workflow. I'll have a main track where the main recording itself lives and that's where I'll do any cleanup or resonance taming, gain staging, and the like. Then I'll "send" that to one or more effects tracks (as "pre-fader" you can automate the volume of the main recording and the volume that's going into your effects independently). This setup gives me a massive amount of freedom.

I don't worry about early reflections at all for orchestral recordings unless I want to color the sound somehow but that's rare. I just find a reverb setting that sounds best in the mix and call it a day. Doing it as sends, you can even EQ the reverb alone to put less mud in the mix, or compress it running the main recording as a sidechain, or whatever you want.

One very popular thing to do in these forums is to run it through a very short ER first and then add just a tail, and that tail is sometimes common to all the instruments. The ER might be different between different instruments and they might all send to the tail reverb at different levels, that way the strings can sound more dry and close than the brass. Others use different tail reverb for different sections.

All of these methods are valid and with VSL's tight recordings any of them would work brilliantly. You could even use their Synchron-ized reverb or the natural hall sound from the mics and find a setting where you don't need to use extra reverb at all
 
I like the idea of Mir 3D but i find the price increase not justifyable if it's a complete replacement.

So my suggestion: keep te price the same as Mir Pro was OR also keep mir Pro (and 24) alive for a cheaper price, yet lesser functionality. Just as you guys also keep the old VI libs alive with reduced prices.
 
View attachment LoTR_DS_MIR3D.mp3
Syz Dimension Strings (Dry) + MIR Pro 3D Synchron(Factory Preset)


View attachment LoTR_DS_MIR3D_BP.mp3
Syz Dimension Strings (Dry)


A quick test for Syz DS and MIR Pro 3D.
For the stereo export, I used the default preset (MIRx?) from Synchron Stage.

It's a pity I can't compare it to the MIR Pro 3D since I deleted the old MIR Pro, but in my experience it feels cleaner and in multichannel MIR Pro 3D works much better than the MIR Pro.
 
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