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minnjd

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minnjd last won the day on June 27

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About minnjd

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  1. 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.
  2. minnjd

    The Bass EQ for Movies Thread

    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 😁
  3. Sheesh, looks like the soundtrack is nothing but bass. And lots of it.
  4. minnjd

    The Bass EQ for Movies Thread

    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
  5. 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).
  6. 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.
  7. That's not surprising. Zimmer's style of scoring is almost all bass. Anything else is a garnish
  8. 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
  9. 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
  10. minnjd

    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
  11. minnjd

    X-curve compensation re-EQ

    Awesome work SME. My head hurts from reading it but there's a lot of good information.
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