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minnjd

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minnjd last won the day on April 10

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About minnjd

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  1. Personally I thought the warp booms sounded very close to the real thing......
  2. GOTG2 looks pretty much like the first one. Think it was the same sound team.
  3. Well the potential for movies to cause permanent hearing damage is certainly there, no doubt about that. Under reference playback I think it can hit peaks of well over 110dB if all channels are bumping. By and large it's rare for any movie to hit that level for extended periods, but some can average over 90dBA (Transformers AoE comes to mind). Even though Nolan's movies can get awfully loud and compressed I'd never for a minute say they were anywhere near as relentless loud as that. I do think that many (most?) theaters can't handle a Nolan soundtrack in it's element though. I remember a lot of ink being spent on how Interstellar was mixed to the very limit of an IMAX sound system's capability. Take that kind of thing and put it on a traditional multiplex sound system and it's pretty much guaranteed to sound like crap due to amp distortion. The EQ issues between theater and home playback are a lot less of a problem since they started doing HT mixes. Even if they don't do a full nearfield remix they usually re-equalize the theatrical track to tame the boosted treble frequencies. They may not give a hoot about bass but even HTIB systems can reveal overly trebly sound. And yes, I too wonder if the OSHA standards might be a bit lacking. I run our church band at about 90-92 dBA and after a technical run through and two services my ears definitely feel like they have cotton in them.
  4. I know I'm probably over reacting, I'm just feeling like this today: As far as Nolan having hearing damage, I doubt it. I think you can sustain a constant 90-100 dB for up to two hours a day without permanent hearing damage (according to OSHA). Even with as loud as Nolan's movies get it's doubtful they'd hit that limit.
  5. Just read a depressing article. A guy at a site I follow is a big Nolan fan and he drove 500 miles to see Dunkirk in 70mm. That's pretty cool, but he then went on to say two of his favorite audio demo discs were The Dark Knight Rises and Interstellar due to their 'incredible sound.'
  6. Well it's his problem when he has his mixers crank effects up so far that they become compressed, honky, clipped messes (DKR, Interstellar) with heavily filtered LFE's.
  7. Well I've read two reviews of 'Dunkirk' that specifically mention extremely loud and deafening sound effects. Sounds like Nolan hasn't learned his lesson from the feedback to Interstellar.
  8. Don't get your hopes up on that. Greg P. Russell has mixed the effects on all the previous Transformer movies and every Michael Bay movie since Bad Boys so it's almost guaranteed he's doing this one too.
  9. Anybody want to make bets on how bad the new Transformers movie is going to sound ?
  10. When I started doing this I just followed maxmercy's instructions . Didn't put any real thought into it.
  11. I watched Rogue One tonight, so I can add subjective opinions to the numbers... This is definitely a 30Hz humpfest, and most big low end effects have a distinctive 'tone' to them as a result. It's so apparent that it becomes distracting at times. For instance (and this is a spoiler if you're one of the holdouts that still haven't seen this one), when the Death Star destroys Jeddha City, there are a few big shots of the planet's surface lifting up and shattering due to the shock wave. It's visually impressive. Those shots also call for some incredibly deep, room shaking bass. Now, the bass that is there is loud, and it does pressurize the room, but you can definitely feel that the lowest octave or so isn't quite there, and the 27-36Hz frequencies have been boosted so much that it almost sounds like a sine wave has been put into the effect. It reminded me a bit of Interstellar in a way. Whatever clipping is present is masked withing the louder effects, so for the most part it isn't noticeable (on my less than ideal system anyway). Some explosions do have that 'crunch' to them that usually indicates that they are clipped, but it is brief and the soundtrack is well balanced in terms of volume spikes so at no point does it get fatiguing. Overall this soundtrack is a bit of a disappointment. The bass is much more one dimensional and generic than in The Force Awakens. Even the brief Force rumbles are less interesting. On it's own it might have been okay, but coming after Hacksaw Ridge it's a big letdown.
  12. Rogue One: A Star Wars Story-Disney/Lucasfilm DTS-HD MA 7.1 Supervising Sound Editors: Matthew Wood, Christopher Scarabosio Sound Designers: Christopher Scarabosio, David Acord Re-Recording Mixers: David Parker, Cristopher Scarabosio, Michael Semanick, Luke Dunn-Gielmuda, Tony Villafor Level: 4 Stars (111.33dB composite) Dynamics: 5 Stars (29.42dB) Extension: 3 Stars (17Hz)- LAAAME Ugh. Lot of people had high hopes for this one (me included). Well here it is. It's got some loud bass, but a major 30Hz bump is pretty much guaranteed to overpower the at times decent ULF that is present. And to no ones surprise there is clipping to be found, including some nasty flattops during the Jeddha destruction. The surrounds are spared but all three front channels and the LFE clip at -.5dBfs and clip heavily. While this is better than The Force Awakens and its -3dBfs limiter it's still a damn shame. I haven't had a chance to watch the film yet to see how bad the distortion is. Coming in after Hacksaw Ridge this mix is even more disappointing. I'll add my thought once I view the disc. P.S. As a side observation despite sharing almost the exact same sound crew as TFA, RO has a different mix philosophy regarding bass. The main channels drop of sharply at 30Hz and are actually quite flat as far as bass activity. The heavily peaked 30Hz material and pretty much all the ULF is contained in the LFE.
  13. Nope. But it does well enough for what it is . I'm guessing the first time mark is when the naval bombardment starts.
  14. I don't think there's any particular scene. You look at the PvA and the average graph looks almost identical in shape to the peak graph. I think this soundtrack is a perfect case study on how to mix loud bass that still has incredible depth to it. It doesn't look like they used a HPF anywhere in the mixing.
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