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minnjd last won the day on December 7 2017

minnjd had the most liked content!

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About minnjd

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  1. 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).
  2. 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.
  3. That's not surprising. Zimmer's style of scoring is almost all bass. Anything else is a garnish
  4. Just remember it may not hard clip much but we've seen more than a few tracks that clip heavily at -.5 dBfs due to overzealous use of a limiter. Not trying to be negative nancy but it's a good thing to remember
  5. Now this HAS to be a new record for 30Hz peak content. I'm gonna guess it's from the musical 'score' foghorn blasts since there are peaks at roughly every octave. But that is one steep filter at 30Hz. There's really nothing of substance under 18Hz
  6. Good "bass tester" for Xbox-360

    It's a long shot but the original Mech Assault for XBox had some serious low end, especially when a mech exploded. And I second the first Dead Space. Some of the effects in that one are siesmic
  7. X-curve compensation re-EQ

    Awesome work SME. My head hurts from reading it but there's a lot of good information.
  8. Oh here I thought that was for Blade Runner 2049 and I was about to take the gloves off 😁
  9. Just got home from a screening of The Last Jedi. A favorite reviewer of mine says this is a movie of incredible 'moments' tied together by underwhelming material, and I agree. The sound mix was certainly aggressive though. It's been a while since I've heard such active use of the surround speakers. Shit was flying everywhere. The bass was very, very similar to TFA and R1 but not quite as one dimensional as the latter. I'm guessing we'll eventually see the same 30Hz bump with some content below that. A handful of effects seemed to have a little extra depth to them but they were few and far between. I will say this movie has a very high ratio of stuff that blows up real good, including a couple of near apocalyptic infernos.
  10. FYI Nolan got a new effects mixer with TDKR: Gregg Landaker. Previously it was Lora Hirschberg. BTW, am I the only one who noticed that the graph had the peak bass between 50-60Hz? That's different..... I'm guessing this movie will 'slam' something fierce but there will be little underneath that. With every movie Nolan seems to be making his soundtracks more and more artificial in his never ending quest to be LOUDER than everything else.