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minnjd

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minnjd last won the day on October 15

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  1. Dolby Digital is perfectly capable of encoding bass all the way down to 3Hz or so. Look at some of the early 00's DVD releases that had DD soundtracks. Some of them hit pretty low.
  2. I think it's really insulting and dismissive to automatically claim that the engineers that work on these releases are incompetent. I'm not saying that there aren't incompetent people in audio, as there most certainly are. But in many cases these guys are doing the job that was given to them. Look, as much as we might want to think otherwise, people with capable home theaters are NOT the vast majority of the buying public. HTIB and sound bars in a noisy living room rule the market. So they squash the heck out of the dynamics so those people don't complain about having to constantly adjust the volume. People with capable home theaters can't compete with those numbers, and to be brutally realistic we shouldn't have any expectation that they will. Right or wrong that's just the way it works. Don't misunderstand, I wish things were different too. I wish they didn't filter sub 20Hz material just so they can overcrank the midbass (looking at you Blade Runner 2049). But we have to be realistic at some point. Complain about the quality of the soundtrack all you want, but don't assume that it's automatically because of incompetent engineers.
  3. Looks like proof positive that all these mixes are created by different teams, each with a slightly different idea of what they should sound like. And it's unlikely the director or lead sound engineer is involved (unless you're someone like Christopher Nolan).
  4. The bathroom wallpaper in my grandparents old house was covered with ads like that one (along side miracle fat removers and hair elimination). One could easily spend an hour or more taking a dump with that distraction
  5. They also ultimately answer to the director. If he wants it louder sometimes you just gotta do what you gotta do. FOTR always had a hot soundtrack, even in the theaters. That's still happening today. Lot's of people think The Dark Knight Rises has a great soundtrack.
  6. I'm gonna break my geek out and say that they were orbiting a planet and even at that distance there is still minuscule amounts of atmospheric drag, so technically a ship without any propulsion could slow down.
  7. I finally got around to watching my Blu-Ray of Blade Runner 2049. Like in the theater, lots of bass. Most of it hovered above 30Hz but it was definitely weighty and sounded pretty good. But I did run across an acronym that is really appropriate for this movie (plus Interstellar and TDKR): ZIHL, or 'Zimmer Induced Hearing Loss'. Good lord was the music fucking loud. And not for short amounts of time either. One sustained synth tone had to be red lining in multiple channels and it went on, continuously, for over ten seconds. There was no modulation, no variation, just "BWAAAAAAAAAAHHHHHHH" Something's wrong with your mixing when I have to lower my volume for that but can keep it constant through gunshots, spinner crashes and explosions.
  8. The difference in levels at 20Hz between Star Trek and JP is best described as the difference between a mosquito fart and an earthquake. Can't take credit for that one. Read it years ago and never forgot it ?
  9. There might not be much recoverable with 1 and 2. They were mixed on analog consoles in the early to mid 90's. Infransonic content didn't start appearing in movies until around 1999. JP3 was release in 2002
  10. I think you're right on how sound is done. It's all ProTools these days, and it stores everything including the mixing desk automation. However I question just how much effort these studios put into their home mixes. Do they actually take the time to remix the entire film for home viewing or do they just slap some EQ and dynamics processing on the theatrical track and call it a day? Take a look at The Force Awakens; there is no good reason for a -3dB limiter other than the fact that they were looking for a cheap way of reducing the dynamic range and that was the solution. That's why I think the amount of bass filtering in home releases is almost always the same (or worse) than the theatrical track, rarely is it better. Of course it would be a lot easier to figure out if we could just get a peek at a PvA graph for an actual theatrical track. The Blu-Ray of The Game doesn't count since the theatrical and home mixes on that release were done so far apart (and with completely different mixing setups I would imagine).
  11. For We Were Soldiers (and Master and Commander to boot) appear to have been filtered for BD release, if the original theatrical track is filtered then there's not much a home mix can do about it I would imagine.
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