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Everything posted by minnjd

  1. minnjd

    The Bass EQ for Movies Thread

    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.
  2. 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.
  3. 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 ?
  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.
  12. Oh here I thought that was for Blade Runner 2049 and I was about to take the gloves off ?
  13. 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.
  14. 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.
  15. Those looks like bass graphs from the 'music' soundtrack, right? Typically that doesn't represent the bass levels of the movie itself. Hans Zimmer is pretty notorious for searching for the brown note on his soundtracks but a lot of the time it get's reduced or modified in the final mix once all the sound effects are competing for the same frequencies. Still, might be a nice surprise.
  16. I didn't ever say that I thought the movie had bad audio or visuals. Technically the movie is very well done and nearly flawless. I just didn't always agree artistically with the choices Villaneuve made regarding the visual and audio design. That's purely subjective to my tastes. Of course it goes without saying that my taste in movies is perfect. By that measure everyone else should finally come to terms with the fact that Titanic is a great movie