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The Bass EQ for Movies Thread


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#261 maxmercy

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Posted 08 November 2016 - 07:54 PM

It is much better, good impact and appropriate heft for the oncreen action...  The sound designers look like they knew what they were doing, and then the shelf was put in later.  Zero Infrasonic noise noise in LFE, had to use the ~DC highpass on the LCRS, though.

 

It's no 9 or Star Trek 2009 or War of the Worlds, but it is much improved.

 

JSS


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#262 bluescale

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Posted 11 December 2016 - 05:08 AM

LCR:

 

1. Gain -7dB

2. Low Shelf 25Hz, Q 1.13, +6dB

3. Low Shelf 26Hz, Q 1.13, +6dB

4. Low Shelf 27Hz, Q 1.13, +6dB

5. Low Shelf 52Hz, Q  0.5, +5dB

 

LFE:

 

1. Gain -7dB

2. Low Shelf 18Hz, Q 1.13, +6.5dB (3 filters for 19.5dB correction)

3. Low Shelf 36Hz, Q 0.5, +5dB

 

Surrounds:

 

1. Gain -7dB

2. Low Shelf 22Hz Q 1.13, +7dB

3. Low Shelf 23Hz Q 1.13, +7dB

4. Low Shelf 24Hz Q 1.13, +7dB

5. Low Shelf 25Hz Q 1.13, +7dB

6. Low Shelf 22Hz Q 0.5, +8dB

 

Pacific Rim is now near 5-Star with this correction, and from the opening scene with 'Axehead', you know it right away.  I highly recommend people try this one.  MiniDSP nano-AVR .xml will be coming when I get time, or program an .xml yourself with the data above and miniDSP's spreadsheet:

 

Biquad Spreadsheet 

 

 

JSS

 

I'm finally going back and redoing my BEQ filters for JRiver by converting Q to S.  I'd love it if someone could take a look at my calculations and make sure I've done the conversions correctly:

 

LCR:

 

1. Gain -7dB

2. Low Shelf 25Hz, S 2.35, +6dB

3. Low Shelf 26Hz, S 2.35, +6dB

4. Low Shelf 27Hz, S 2.35, +6dB

5. Low Shelf 52Hz, S 0.51, +5dB

 

LFE:

 

1. Gain -7dB

2. Low Shelf 18Hz, S 2.32, +6.5dB (3 filters for 19.5dB correction)

3. Low Shelf 36Hz, S 0.51, +5dB

 

Surrounds:

 

1. Gain -7dB

2. Low Shelf 22Hz S 2.28, +7dB

3. Low Shelf 23Hz S 2.28, +7dB

4. Low Shelf 24Hz S 2.28, +7dB

5. Low Shelf 25Hz S 2.28, +7dB

6. Low Shelf 22Hz S 0.53, +8dB



#263 3ll3d00d

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Posted 11 December 2016 - 10:50 AM

You could run a loopback measurement through those filters to see what the shape looks like.

#264 maxmercy

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Posted 11 December 2016 - 02:07 PM

What formula are you using to convert Q to Slope?

 

JSS



#265 3ll3d00d

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Posted 11 December 2016 - 04:26 PM

The formula to convert Q to S is listed in http://www.musicdsp....EQ-Cookbook.txtand is

1/Q = sqrt((A + 1/A)*(1/S - 1) + 2)

where

A = 10^(dBgain/40)


If you solve for S you get

1/((((1/Q)^2-2)/(A+1/A))+1)

#266 bluescale

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Posted 11 December 2016 - 07:32 PM

You could run a loopback measurement through those filters to see what the shape looks like.

 

Sorry if this is seems like asking the obvious, but I want to make sure I understand correctly.  You mean run a loopback measurement of the entire movie to see if the measurement matches what was posted in the graphs?  I could do that.  I suppose I was hoping for something that didn't take ~2 hours to verify.  That, of course, assumes that this is easy for someone to verify my work.

After I posted my question, I realized there is a quick way to do a sanity check.  I took a look at a coupe of the more recent posts where maxmercy posted both S and Q.  In both cases, if I plug his Q value into my Excel spreadsheet, my S and his match.



#267 3ll3d00d

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Posted 11 December 2016 - 07:39 PM

I mean measure the response of your combined set of filters by running a sweep through jriver, compare against the expected correction.

#268 bluescale

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Posted 11 December 2016 - 07:41 PM

What formula are you using to convert Q to Slope?

 

JSS

 

 

If you solve for S you get

1/((((1/Q)^2-2)/(A+1/A))+1)

 

If you'll recall, 3II3d00d, I had to come up with a slightly different formula for Excel to work correctly.  I'm not sure why our experiences different, but here's what I finally settled on for S:

 

S = (A^2*Q^2+Q^2)/(A^2*Q^2-2*A*Q^2+A+Q^2)

 

For A I used what comes from the Audio EQ Cookbook:

 

A = 10^(dBgain/40)

 

More specifically, I set up a spreadsheet where you input the desired dB gain in cell B1 and the target Q value in B2.  Then I have a formula for A in E1 and S in E2.  Here's what those formulas look like:

  • A: 10^(B1/40)
  • S: (E1^2*B2^2+B2^2)/(E1^2*B2^2-2*E1*B2^2+E1+B2^2)


#269 3ll3d00d

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Posted 11 December 2016 - 08:39 PM

An easy online alternative is to paste it into https://www.mathpapa...-calculator.htm

i.e. Paste into the box and click evaluate, you can then enter values for gain and q

1/((((1/Q)^2-2)/((10^(d/40))+1/(10^(d/40))))+1)

#270 maxmercy

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Posted 10 April 2017 - 11:41 PM

Rogue One: A Star Wars Story

post-20-0-55142200-1491524716.png

 

BEQ Solution:

 

LFE:

 

Gain: -7dB

Low Shelf: 20Hz, Slope 1.2, Q 0.776, +8dB

High Shelf: 50Hz, Slope 1.5, Q 0.873, +8.5dB

 

 

LCR:

 

Gain: -7dB

Low Shelf: 20Hz, Slope 1.75, Q 0.943, +8dB (2 filters for total gain of 16dB)

Low Shelf: 40Hz, Slope 0.5, Q 0.5, +2dB

 

 

Surrounds:

 

Gain: -7dB

Low Shelf: 20Hz, Slope 1.5, Q of 0.872, +8dB (3 filters for gain of 24dB)

Low Shelf: 40Hz, Slope 0.5, Q of 0.5, +3.5dB

 

 

Playback for equivalent dialog level will be +7dB.  No scene is louder than 126dB if played back at equivalent reference.

 

Let me know what you guys think.  The high shelf is OK on LFE as the very steep DTS filter is in place on the original LFE track.

 

 

JSS


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#271 Kvalsvoll

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Posted 14 April 2017 - 05:20 PM

Lots of movies has this 30hz boom-boost and falls off below - question is, are they similar enough to allow for one simple predefined filter solution.

 

BassEQ with several filters for each channel is fine, and will give the best results. However, if I just want to watch a movie - NOW - this is not a practical solution. It takes to much time and effort to implement either you are doing it in dsp for playback or remastering the soundtrack.

 

Since many movies share similar frequency balance defects, one or a small selection of predefined filters could improve things a lot - actually improving the overall sound quality by magnitudes - and it would be easy to select if predefined in the bass system dsp.

 

A bass-system dsp with option for presets could be configured with a few filters, covering most of the movies:

 

1: Default - flat response (flat ref to chosen target).

2: ULF boost - +10dB < 25hz.

3: ULF boost + boomfix - +10dB < 25hz, -3dB at 30hz.

 

Example #3:

Attached File  Generic BassEQ.jpg   88.19KB   0 downloads

 

 

When I want to watch SW-RO, I go to data-bass, observe the frequency spectrum chart, and choose preset #3. Done, start the movie.

 

This is something that could work for a lot of people.

 

 

For new readers:

 

Now, of course, the soundtrack should be played "as intended", but that will have to wait until they actually present a soundtrack with decent sound quality having reasonable full frequency range balance, and this will not happen until they install proper sound systems in their studios.

 

When "as intended" is boomy bass with lack of realism and dynamics and refinement there is huge potential for improvement, and if you really believe there is no significant difference to balanced, full frequency range sound, you are lucky because you can look forward to having a new experience for what sound reproduction actually can be like.


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#272 Kvalsvoll

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Posted 16 April 2017 - 03:03 PM

Rogue One: A Star Wars Story

post-20-0-55142200-1491524716.png

 

BEQ Solution:

 

LFE:

 

Gain: -7dB

Low Shelf: 20Hz, Slope 1.2, Q 0.776, +8dB

High Shelf: 50Hz, Slope 1.5, Q 0.873, +8.5dB

 

 

LCR:

 

Gain: -7dB

Low Shelf: 20Hz, Slope 1.75, Q 0.943, +8dB (2 filters for total gain of 16dB)

Low Shelf: 40Hz, Slope 0.5, Q 0.5, +2dB

 

 

Surrounds:

 

Gain: -7dB

Low Shelf: 20Hz, Slope 1.5, Q of 0.872, +8dB (3 filters for gain of 24dB)

Low Shelf: 40Hz, Slope 0.5, Q of 0.5, +3.5dB

 

 

Playback for equivalent dialog level will be +7dB.  No scene is louder than 126dB if played back at equivalent reference.

 

Let me know what you guys think.  The high shelf is OK on LFE as the very steep DTS filter is in place on the original LFE track.

 

 

JSS

 

Fixed SW-RO yesterday, briefly saw some scenes earlier today - huge improvement, and I found the sound to be quite good, despite all the negative comments. This movie has great dynamic range, the loudness varies between scenes, some are softer and some are loud.

 

Removed the 30hz-boom and may have ended up with quite high level below 20hz, added only a moderate midbass-lift.

 

Sounded quite balanced on the scenes I saw - the beginning and some later. I will post a spectrum and the filters later.


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#273 Kvalsvoll

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Posted 16 April 2017 - 07:33 PM

SW-RO BassEQ filters:

 

lcr:

sfm 16hz 2.0 +10dB


lfe:

gain -10dB

sfm 16hz 2.6 +12dB
sfm hs 32hz 1.6 +1.6dB

hpf 12hz 24dB/oct
hard limiter -10dB

gain +10dB
 

 

Spectrum for fixed LFE:

Attached File  SW-RO LFE ULF Remaster 2.jpg   150.89KB   1 downloads

 

 

In this scene (from the opening) you can now feel the spacecraft passing by:

 

Attached File  SW-RO sc1.jpg   41.65KB   1 downloadsAttached File  SW-RO sc2.jpg   30.78KB   0 downloads

 


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#274 SME

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Posted 16 April 2017 - 08:30 PM

SW-RO BassEQ filters:

 

lcr:

sfm 16hz 2.0 +10dB


lfe:

gain -10dB

sfm 16hz 2.6 +12dB
sfm hs 32hz 1.6 +1.6dB

hpf 12hz 24dB/oct
hard limiter -10dB

gain +10dB

 

...

 

Is this your own BEQ solution for Rogue One?  What does sfm mean?  How much content do you lose with "hard limiter -10dB" in your chain?  FWIW, my BEQ implementation has no headroom limitation aside from what the equipment can do.  :)



#275 Kvalsvoll

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Posted 16 April 2017 - 11:05 PM

Is this your own BEQ solution for Rogue One?  What does sfm mean?  How much content do you lose with "hard limiter -10dB" in your chain?  FWIW, my BEQ implementation has no headroom limitation aside from what the equipment can do.  :)

 

This is the quick-fix-BassEQ, the one JSS presented is the state-of-the-art.

 

Perhaps a bit too quick with the copy-paste:

sfm = shelf filter min = Low Shelf

sfm hs = High Shelf

 

The effect of the hard limiter remains to be verified, I did not get to those scenes in my brief testing. The reason for this is that I ended up getting some heavy ulf peaks in some very few scenes, the 12hz high-pass fixed most, and the hard limiter does the rest. This is on the lfe channel, it should not introduce audible distortion and no content is lost. Doing the same on any other channel would destroy the sound, as the limiter would distort and remove all other higher frequency content when the signal is limited.

 

Doing the hard limiter in the signal processing makes no difference compared to letting the bass system dsp limit the signal during playback - the result is the same.

 

The ulf boost is a bit heavy - JSS uses only 8dB where i put in a +12dB boost with a much higher q on the filter, making for much more level in the 5hz - 20hz range.

 

I wanted to test a simpler filtering scheme, more suitable for bass system dsp presets. If that works, it becomes so easy to play back a movie with BassEQ that anyone with a similar dsp can do it simply by looking up the movie on data-bass and select the most suitable preset.

 

Remember that the alternative is NO EQ, with too low ulf level and too much 30hz boom. Even if it isn't perfect, the improvement will be very significant, to the extent that the experience is lifted to a different level.


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#276 SME

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Posted 28 May 2017 - 09:51 AM

The Force Awakens BEQ:

post-20-0-34394700-1460076461.png

 

BEQ Correction (implement prior to AVR, with HTPC software or nanoAVR):

 

LCRS:

 

1. Low shelf - 15Hz, Slope 1 (Q of 0.707), Gain +6dB

2. Low Shelf - 15Hz, Slope 1 (Q of 0.707), Gain +3dB

3. Parametric EQ - 85Hz, Q 1.12 (Bandwidth 1.25 Octaves), Gain +4dB

4. Overall Gain -7dB

 

LFE:

 

1. Low Shelf - 15Hz, Slope 1, (Q of 0.707), Gain +6dB

2. Low Shelf - 15Hz, Slope 1, (Q of 0.707), Gain +6dB

3. Low Shelf - 15Hz, Slope 1, (Q of 0.707), Gain +3dB

4. Parametric EQ - 70Hz, Q 1.12 (Bandwidth 1.25 Octaves), Gain +4dB

5. Overall Gain -7dB.

 

What I did was give the track more room-shuddering effects as well as more midbass slam while minimizing the boost to the 30-40Hz bandwidth which was over-utillized, IMO.  I like the result, but beauty is in the eye of the beholder.

 

These changes will mean that Reference Level playback will occur at +7dBMV.  The track does not reach over 126.5dB peak level at this level of playback, and max RMS level is 119dB (over 1/8th sec), so if your system can handle Reference Level with very demanding material, it can handle this track at +7dBMV, provided your AVR does not clip the signal.

 

The track gains over a dB in Dynamics, Extension and Level become 5-Star Level if played back at +7dB from your typical listening level.  DO NOT add a house curve to this unless you know your system can handle it.  Adding a steep house curve will bloat the midbass and the score will sound unnatural.  This BEQ assumes a gentle (if any) house curve, maximum of -6 to -10dB downslope from 20Hz to 20kHz, with no aggressive slope-up in the midbass region.

 

JSS

 

Tonight, we played this on my new subs pretty much at reference level.  :o  :blink: :D

 

Well, technically I used "-4", but I'm calibrated to about 86 dBZ from 100 Hz on down and ran a +3.0 dB shelf from 80 Hz down.  I'm calibrated flat to 5 Hz with a fairly steep drop below there (at least according to my calibrated-to 5 Hz mic).

 

I forgot the stats on this BEQ and didn't realize I was going to be asking my system for (almost) 126.5dB peaks.  I did notice the peak indicators for the sub channels bouncing into the upper half of the display, *a lot*.  The half-way mark is about -9 dB digitally, and IIRC about -4 dB from where the amp clip lights come on with no load.  I didn't notice them come on during the movie and never heard any unpleasant sound.

 

Anyway, I thoroughly enjoyed the presentation.  Some of the bass was downright violent, particularly the scenes with Kylo Ren and Rei together.  In the forest scene, there is a ULF burst that was so strong, it caused two of my rack cabinets to rap together.  I also noticed a couple passages of strong sustained bass in the low teens.  IIRC one is after the big burst in the forest, and the other is the Ren/Rei interrogation scene.  Oh yeah, pretty much everything involving the Millennium Falcon was solid too.

 

Edit: Now that I have my subs working better and can do BEQ, I'll have to check out a bunch of others on this list.

 

Edit2:  Oh yeah.  I passed on the mid-bass boost PEQs when I did this one.  Despite that, I noticed a fair amount of slam.  I still have room to improve my own mid-bass presentation, so I expect it will be better when I get there.


Edited by SME, 28 May 2017 - 10:01 AM.

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#277 SME

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Posted 29 May 2017 - 07:38 AM

Guardians of the Galaxy:

 

...

 

A whole new experience.  Great movie, too.

 

This is one of my wife's favorite movies, so when she learned there was a BEQ for it, we just *had* to watch it again.  So we did.  Playback level set the bass at about -1 dB vs. 85 dBC reference, flat to 5 Hz.

 

These words are spot on.  It was a whole new experience.  The ULF here was nowhere near as heavy handed as in Star Wars: TFA, but I thought the BEQ revealed a very interesting and intricate overall sound design.  I also think I noticed an effect or two in the high single digits, when it made my pants move.  :)  It's still very subtle though.  Anything above 10 Hz or so with sufficient level is not subtle in here at all.

 

It's a shame the mixers don't get to hear this.  I think this BEQ made a net improvement to the sound in about 95% of the places where it mattered.  This surprises me a bit, thinking about it.  There's only a couple places where I as a mixer would have said, hmm, maybe that was heavier on the ULF than was called for.  :)  One of those was the score, which sounded slightly unnatural, even though I kind of enjoyed it that way.  Just a tiny bit less ULF on the score would likely have settled it nicely, if only they were able to hear it.

 

Anyway, this is starting to get real fun, and I'm really beginning to appreciate all the extra headroom I have above 15-20 Hz.   Before I finished the subs, I had no idea if I'd be able to play these BEQed films cleanly at reference, but so far the system seems to be doing just fine.  I don't think I could go any hotter though.  I can live with that.



#278 maxmercy

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Posted 29 May 2017 - 12:46 PM

GotG was one I was wary about because of the steep correction, but the correction worked well.  If you want to be surprised, go back and watch the film without BEQ.....

 

JSS



#279 SME

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Posted 31 May 2017 - 05:37 AM

GotG was one I was wary about because of the steep correction, but the correction worked well.  If you want to be surprised, go back and watch the film without BEQ.....

 

JSS

 

I actually chickened out and didn't apply the full boost to the surrounds because 60 dB seems an insane amount of gain for any signal coming off of analog inputs as is the case.  All things considered though, I had zero issues with noise using the boosts I did.

 

On another note, I recall you saying you'd done a BEQ for "Big Hero 6".  Is there anything I can do to help with getting that released?  :)



#280 maxmercy

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Posted 06 June 2017 - 11:33 AM

I'll put it up later this week if I have time.  BH6 improved significantly, but not as much as other BEQ films.

 

JSS






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