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maxmercy

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Everything posted by maxmercy

  1. maxmercy
    @3ll3d00dI need to download this and try it out. Thanks for developing this tool! @SME RP1 BEQ is currently my favorite track. The movie is not bad, either. You can watch it many times just looking for more nostalgic references. JSS
  2. maxmercy
    I may have it somewhere, I'll look when I get time. JSS
  3. maxmercy
    That looks like a terrific tool, can potentially save many steps in my BEQ process. I will have to check it out. Individual channels can have individual corrections? JSS
  4. maxmercy
    Can anyone contact the JRiver developers to ensure that the Q=Slope? Using slope values for Q would result in a VERY different correction. If there is a difference, I'll edit the BEQ post above to include both Q and Slope values. JSS
  5. maxmercy
    Ready Player One BEQ (Both UHD and BD have ATMOS tracks, this correction was applied to the 7.1 channel bed) All effects that need to gain power/heft do so. I like this BEQ, and this film. Correction: LFE: Gain -7dB Low Shelf 16Hz, Slope 2, +5dB Low Shelf 16.5Hz, Slope 2, +5dB Low Shelf 17Hz, Slope 2, +5dB Low Shelf 33Hz, Slope 0.5, +2dB Highpass 6dB/oct 3Hz LCRS: Gain -7dB Low Shelf 15Hz, Slope 1, Gain +5.5dB (3 Filters for total of 17.5dB) Highpass 6dB/oct 3Hz Let me know what you think, and if you need Q values instead of slope values for the shelf filters. JSS
  6. maxmercy
    Ready Player One tentative BEQ solution:
  7. maxmercy
    Ready Player One - Dolby ATMOS (7.1 bed measured) Level - 5 Stars (112.67dB composite) <=NOTE that this is with dialnorm REMOVED=> Extension - 3 Stars (16Hz) Dynamics - 5 Stars (29.53dB Execution - TBD Notes - Clipped but decent soundtrack to accompany terrific visuals. I still do not have overheads, but my surrounds are mounted high and some overhead effects were experienced. Possible BEQ for this one. JSS
  8. maxmercy
    So what would you do if you had what most people on forums have available: limited budgets, limited placement options, some room treatment, REW measurement capability and limited parametric/IIR correction capability? Would you mainly focus on minimum phase problems in the LF and largely ignore MF/HF, or how would you go about optimizing a system with limitations like the above, given what you know now? I ask not only because that's the way my system is set up, but many others with miniDSP or other DSP components who have had less than stellar results with the on-board AVR 'room correction' products. JSS
  9. maxmercy
    I do not follow... How can one correct something that is inherently designed into a speaker (power response), if it does not depend on speaker location? Or are you talking about correcting power response depending on the speaker's location in the room? Is this why incredible amounts of headroom are needed? Is there not a simpler way to do this by changing the possible layout and treatments in the room, or is this correction geared towards getting as much as possible from a current configuration if placement and treatment options are limited? JSS
  10. maxmercy
    I'll look at it. I enjoyed the film, but wasn't really impressed by the LF, much like Thor:Ragnarok. JSS
  11. maxmercy
    I can see this, by correcting response at one location, you create problems and ringing at others. How can 'precise' correction of a reflection be 'corrected' for many locations? The peaks and dips will occur at different freqs depending on location from the speaker.. JSS
  12. maxmercy
    Pacific Rim 2 is disappointing with BEQ. While most effects gain a little, it was not as huge a difference as the PvA would lead you to believe. JSS
  13. maxmercy
    Are these enclosure/horn/driver or room resonances you are correcting? JSS
  14. maxmercy
    "Is it possible that, even though the aggregate PvAs looked similar, the distribution of low frequency energy between the different channels was different between the two tracks?" This is what I think happened, and constructive interference with bass management took things to another level. JSS
  15. maxmercy
    Pacific Rim: Uprising tentative BEQ: That 10Hz hit skews a lot of the spectrum. It is in an emotion-charged scene. Will screen it soon and report back. Lots of Infrasonics embedded in the LCRS in this one, which constructively make the PvA look very different from the LFE-only PvA. JSS
  16. maxmercy
    This track should not come close to 128dB WCS, largest peak on the ATMOS BEQ is 121dB. The BEQ after-gain for dialogue matching is only 4dB, not the usual 7. Watching this BEQ at '0' would yield a peak of 124dB ( I did not apply the correction to the DTS track to see how it would do, but I do know the DTS track had a lower Crest Factor. I chose the ATMOS track to BEQ since it had the more dynamics of the two. There must be a substantial difference that PvA and simple wav stats do not show to have had that large an effect to clip your setup. JSS
  17. maxmercy
    The first time I saw BL2049 was at low volume late at night with the crowsons providing all the deep bass, and still that score was reach-for-the-volume-control-lest-you-wake-people loud. Something tells me if Philip K Dick was alive he would probably approve. JSS
  18. maxmercy
    I will look at it soon. JSS
  19. maxmercy
    Some boost under 20 would do well enough for this one. JSS
  20. maxmercy
    Very interesting observations. How does the FL/FR/BL config do higher in frequency velocity/phase/FR wise? What size driver/sensor do you use for velocity measurements? I need to actually do these measurements at some point. JSS
  21. maxmercy
    Make sure you put a finish on the cab before you install the driver. I have had cabs that went without finish for 3 years, b/c after the driver goes in, it is so easy to just listen to it. JSS
  22. maxmercy
    Good to see you here! Interesting... Can you run the same audio through Audacity's Clip Fix plugin and see if you get similar results? I think Clip Fix runs a bezier fit, this looks similar. JSS
  23. maxmercy
    Mr Allen at HPS4000 has been echoing your sentiments for some time: http://www.hps4000.com/pages/articles_page_.html Even though he considers <27Hz not part of the audible spectrum (he is not wrong depending on frame of reference, hence his choice on subwoofer low corner), he has some solid ideas in those articles, and addresses many of the things we complain about here. JSS
  24. maxmercy
    Commercial cinemas, when designed, implemented, and maintained properly provide a great low frequency experience, similar to a well done live concert. The caveat is that the experience does not extend much lower than 25-30Hz. Most impact/slam is between 40-100Hz and even higher in frequency. We are freaks here that can monitor and playback the lowest frequencies, that are often taken out of a mix that is CREATED and is meant to be played on a cinema system (25-30Hz vented, high sensitivity subwoofers). While mixing stages have existed in the past that could monitor into the low teens Hz-wise, most cannot monitor below the high-20s. We sometimes are surprised by mixes that do not exclude the content below 30Hz, as those mixes are a significantly different experience in a properly equipped home theatre. Your friends may simply be used to a certain frequency and level of low frequency experience, and call that 'good'. The EQ mixing described is in the Bass EQ for movies thread on this forum. JSS
  25. maxmercy
    The Incredible Hulk is still the track I compare all others to. A close second is the Star Trek reboot, War of the Worlds, and all of the 5-Star films on the first page of the thread. For lots of 20Hz and below energy, Battle:LA is hard to beat as well. JSS
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