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maxmercy

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maxmercy last won the day on January 8

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About maxmercy

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    Ultra Bass Overlord

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    NW FL
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    Lots of stuff....too much, in fact

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  1. Are the t.amp amplifiers readily available in the US? JSS
  2. Very nice! My first sub was definitely not that well finished.... Glad you are enjoying it, but welcome to the rabbit-hole. You may have just opened the Pandora's box we all have at one point or another... JSS
  3. Updated the first post links to the corrections. More BEQ to come, starting with the Lord of the Rings trilogy. JSS
  4. Interesting question, but I do not know what will happen sim v reality for this. Will you have shaped and non-shaped cabs built to compare? JSS
  5. Interesting....they are quite different, windows could account for it, but the level differences are what I see as most prominent. I wonder if the DTS-HDMA and ATMOS tracks have different dialnorm settings, or something else. JSS
  6. I have not seen that many films this year, lots of reasons why; I have not had the chance to measure that many either. So far, the PvA for Ad Astra above looks pretty good, but I have to see it. This year I mainly did some BEQ for the films I did buy and see on BluRay, like Avengers:Endgame, Godzilla and Bumblebee, and really looked into the LOTR trilogy as we are nearing the 20th anniversary time on it. It is one of the film trilogies that did not get a decrease in LF from DVD to BluRay, which was very nice. JSS
  7. Godzilla: King of the Monsters - Dolby ATMOS (7.1 channel bed) Level - 5 Stars (112.7dB composite) Extension - 3 Stars (19Hz) Dynamics - 3 Stars (24dB) Execution - TBD Overall - TBD Notes - Loud, but not deep. Very much like Pacific Rim in the rolloff slope. BEQ for this film in the BEQ thread. JSS
  8. I did a BEQ for Godzilla, let me look back and post up stats for it later this week. I have not measured Overlord. JSS
  9. 1) Yes 2) Some receivers let you know how much correction they are applying as the track first plays. On my Denon, once the main movie fires up, it will display the bitstream (DolbyTrueHD/ATMOS), and then for a second or two, Dialnorm -4dB. You can then turn up the film by that amount to have the equivalent presentation. If you run at the high SPL end of things, turning up the MV by that much can make someone a little nervous if they run at the edge of their system's capabilities. 3) Dialnorm in theory has good uses, especially in TV production. I have mainly found it annoying, but that is due to my personal experience (and frustration at times) with it. I just see it for what it is, another bit of metadata DTS and Dolby provided so people could have an option to use it. Few DTS mixes have dialnorm, but they are out there. When I examine the audio in a film, I remove dialnorm so I can see clipping more easily when it happens. Like I said above, I remember playing scenes from Transformers 2 over and over at the same MV level and getting pretty annoyed at the IMAX mix. I had convinced myself it was a dynamics/compression change, when in fact, it was just a turn of the knob. 4-5dB can make a huge difference in perceived impact at the MLP. If you have a clean system, play the Star Trek 2009 warp scenes at your cleanest high SPL level, then turn it down by 4-5dB and feel the difference.... I also remove dialnorm when I BEQ a film. Maybe I need to specify if a mix has dialnorm or not in the BEQ correction so people can set the best MV level. JSS
  10. Here's how they compare with dialnorm accounted for: Now that may account for some bad reviews from ppl listening from AVRs. JSS
  11. I have a possible answer. I went back and looked at the track data for the ATMOS and DTS tracks. The ATMOS track has a -26 setting for dialnorm, which means your AVR will reduce the overall volume by 5dB. I experienced the same thing with Transformers: Revenge of the Fallen. The regular edition was DTSHD with no dialnorm applied, the IMAX edition was Dolby TrueHD, with dialnorm applied at -27. When you changed the level to account for dialnorm, the mixes were much more similar. If you listened at your normal level, the IMAX version seemed to lack dynamics. But in truth, it was just being played back 4dB lower. My experience with it: https://www.avsforum.com/forum/113-subwoofers-bass-transducers/755493-master-list-dvd-hd-dvd-blu-ray-movies-bass-thread-waterfalls-123.html#post17394243 keep reading and you'll see echoed many similar sentiments about SM:FFH Great article on dialnorm: https://hometheaterhifi.com/volume_7_2/feature-article-dialog-normalization-6-2000.html JSS
  12. The LFE channel is a separately encoded channel, that in cinema will ONLY go to the LFE system. For us at home, BOTH the low freqs from LCRS AND the LFE (played back 10dB hotter) added up go to our subs. So the LFE channel dominates any PvA graph, and the Avg graph is the average of the whole film, so between these two mixes, they will be close. In this case, only around 1dB different. But the Peak graph shows you more in the midbass and upper midbass, sometimes 4-5dB hotter in the DTS track. That is very noticeable when listening. That could be in the LFE, or the LFE summed with the LCRS. The increased midbass is possibly a reason the DTS track is more highly rated. Looking at each individual channel between the two will tell us more. To get down to brass tacks, we can graph specific effects and compare things, but that can get tedious. If you know of specific effect timestamps that have been panned on the ATMOS track compared to DTS, I can compare them. JSS
  13. Bumblebee BEQ (ATMOS 7.1 channel bed) The effects that matter get more weight. Also got rid of ULF noise in LCRS that was prevalent in the mix. Correction: LFE: 1. Gain: -7dB 2. Low Shelf: 10Hz, Slope 1, Gain 6dB 3. Low Shelf: 16Hz, Slope 2, Gain 5dB (3 filters for 15dB total) 4. Low Shelf: 32Hz, Slope 0.5, Gain 2.7dB LCRS: 1. Gain -7dB 2. Low Shelf 22Hz, Slope 1.2, Gain 5.25dB (3 filters for 15.75dB total) 3. low Shelf 44Hz, Slope 0.5, Gain 0.7dB 4. Highpass Filter, 2Hz, 6dB/oct JSS
  14. Godzilla: King of the Monsters: ATMOS 7.1 channel bed Pre-Post: I initially put too much midbass in the first iteration a page back on this thread, and it was awful. It works better this way, with more 'heaviness' where needed. Correction: LFE Channel: 1. Gain -7dB 2. Low Shelf: 18Hz, Slope 2.5, Gain 6.5dB (3 filters for a total of 19.5dB) 3. Low Shelf: 36Hz, Slope 0.5, Gain 5dB LCRS Channels: 1. Gain: -7dB 2. Low Shelf: 16Hz, Slope 2.0, Gain 5dB (3 filters for a total of 15dB) 3. Low Shelf: 32Hz, Slope 0.5, Gain 3dB JSS
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