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Everything posted by Infrasonic

  1. Try the DD 5.1 track on the Blu-ray. And yes, I agree. I can not wait for a UHD version that I hope will be better than the BD.
  2. People like all sorts of crap. That's not too surprising.
  3. Oh yeah, I guess you could have a higher vertical res in some way. I have a triple screen PLP layout at home. I should do some long waterfalls.
  4. When I used to do Speclab's for dvd's I had to either have a more zoomed out view (harder to see details) or keep it zoomed in and take multiple shots. It was quite tedious but it worked.
  5. Interesting! I do know what you're talking about. Always wondered why I could never hear/feel this effect on my main rig but could in other rooms on hdtv feeds of PR. The UHD version is on my Amazon UHD wishlist for dat Atmos. Will get it eventually. Looks like a good upgrade. Would love to sync the 3D version to the new Atmos audio. But that goes without saying.
  6. Noticeably less rolloff below 20hz. Systems that can reproduce that bandwidth should feel the difference.
  7. Oh no problem, good sir just......... heeeeeyyyy wait a minute! You didn't let anyone else post before you replied to yourself. Looks like a discussion is going now. You're welcome and .... thanks.
  8. Umm.... Hmmm.... Specs: 32" subwoofer Oh boy. Okay. Let's check the "parameters" shall we...? Vas .... 50 liters ? Really? Qts .... .21 " dual 4-layer 6 inch voice coils " *Ponders what other .21 Qts drivers look like* Yyyeah nope.
  9. Haven't seen this one yet. Wanted to catch it in theaters but missed it. It does look good, on paper at least. Could be a quiet one with only a handful of "good bass" scenes. Haha! Yeah, really.
  10. Nice. Now that the hard part is over with....
  11. Working at all and being "recommended for" are two different things. I know you're on a budget. Don't lose sight of what you are trying to accomplish, whatever that may be.
  12. Nah. They leave that sort of thing to the guys at home who own MiniDSP's and can't leave well enough alone.
  13. 15hz is a pretty good goal for extension, if it's in limited quantity. Extension below is honestly not as exciting as it sounds. 15-30hz is where the real meat of that sensation of "weight" is. Below 15hz, there isn't so much sensation to be appreciated. The effects on the room on the other hand, are quite palpable sometimes. Will this affect your enjoyment? Maybe. After a while the effects become less interesting and more like a cheap parlor trick. Don't get me wrong, I'm not poo-pooing full bandwidth extension. Just saying that producing it might not really add to the enjoyment of either movies or music....as 15hz and up surely will. As @SME mentioned, you can still build a riser with no drivers. That is a thing people do.
  14. -10dB point is ~15Hz on the Avg. Not great but not that bad. Just looks worse than it is with lots of peak energy in the 30's which is typical. To be noted, it looks to be (and is) a very dynamic track with very little clipping of which is only in the LFE channel. Also a first rate immersive/surround mix.
  15. That's my point. The difference between the mixing stage and our homes is wildly different. We keep constantly trying to justify things we do/believe about how we hear things at home and compare it to how things work in a large acoustic space to our living rooms or even how the things we hear are made in the first place. It must also be made clear what Marc does. He is a Re-recording Mixer. That is, the guy who gets all the stuff at the end and makes sure it works. *insert snarky comment about mixes not working cuz not enough bass or something* He doesn't create the effects. He's not the guy "making the bass". He is making sure all the elements are where they need to be and the levels between them are good. At no point is he EQ'ing anything. There are engineers working alongside (or at other times) that would have done that. So you have to understand when I ask him questions, it's coming from his PoV. There will always be a disconnect between what he does and what we demand as end users. Though his passion outside of work is no different from us. He loves consumer A/V equipment just like us. Not sure how he'd feel about telling people where or what he is working on currently so I'm going to skip that part. Just not sure if I should give out other peoples personal info, I mean. Apparently he did post here so I'll leave it to him to reply about what he is doing right now. His mixing/studio room IS a full sized cinema auditorium though. Even a single ported 24 would have a lot of work to do. Do you make a ported 24 now? I'd like to see that, fo sho! Right. There is no part in his workflow where he "EQ's" the sound. Somebody else has already done that by the time he gets it. Also, multiple mixes are made for a movie for various reasons. Comparing one mix to another usually leads to confusion and it should because nobody here created them. Well, there ya go. Obviously. You should retain this statement in your head and really remember it. Yes. The illusion we put upon ourselves is that following standards will "level the playing field" but that is not the case in reality. Yes, of course. That is how they sound how they sound. Everything that is sound that isn't pure untouched recordings of life, are artificially made. Creations born out of a computer or mixing board. There is nothing "pure" in the music we listen to and especially the movies we watch. That goes without saying for everything that is produced. We all do and we all have our own opinion on how it should be done. Presumably. Yes, of course. To achieve the best sound, you should EQ to personal taste. ...to personal taste. ......to personal taste.
  16. A single sealed 24 for a full sized cinema auditorium? What could go wrong? But if you'd like to make an offer... he goes by FilmMixer at AVS. PM him.
  17. Soo... I had a talk with my friend who mixes feature films for a living. http://www.imdb.com/name/nm0279892/?ref_=fn_al_nm_1 The "x-curve" does still exist, I was wrong there. But... it is not a part of the mix. The compensation for the screen and losses from distance are done during the calibration of the system, per screen. There is no EQ done and it is not a mandate for the home "nearfield" mixes that anything of the sort is applied to the mix itself. Minor adjustments to levels to surrounds and dialog (~1dB deviation from theatrical) are about as offensive as it gets. Sorry to burst yer bubble but....
  18. Battlefield Bad Company 2 was pretty good. The first Dead Space had great sound.
  19. You will. Exams end eventually. Aww. Yep. Lots of surface area. Proper midbass reproduction. First-most, they are there for front/rear sub blending. Used for smoothing the response of the whole. At the time, there was no intention of a sub riser so in a way I thought they would be "nearfield" but I chose to take that road after every one else started putting their subs AT their seat. Like, 1" away. So I can't really call them nearfield these days cuz they are about 3-4ft away. The subriser is the nearfield sub.... now. It's not. Just a step up. Idk... about an inch or so behind the motor. Plenty of room around the drivers though. No. Not necessarily. You have the opportunity to actually choose your drivers. I had two on hand and made it work. My riser both fits into the room and is ideally sized.
  20. Actually, the whole system is quite underpowered but that's okay because I make up a lot with the very high sensitivity. Having a subbass system that is >100dB sensitive means cool running amps too. There are seven subbass enclosures in my HT room. Six identical dual-opposed sealed enclosures. Four up front, two in rear. Each approx. 8cuft each. Four up front house the eight Stereo Integrity HT18's. The two in the rear house four Sound Splinter RLp18's. Then the riser with the last two SS RLp18's. The riser is very simple. Top and bottom are just some 5/8" or 3/4" plywood. I don't remember exactly. *laughs* Not even really high end stuff either but solid. The walls are made from 2x8's cut to the length I wanted for this size. There is a single 2x4 in the middle (running between the two drivers). The extra baffle pieces were added to accommodate the depth of the RLp driver. The riser is the only enclosure I've ever built that I didn't really "design". Just thought it up in my head and then simulated to "make sure". Certainly couldn't simulate how it was going to feel. Had to build it to really know for sure.
  21. Right. Don't worry about it. You'll get what you get. I don't see it as a "problem" but more of an unknown, for you. Don't worry about it. I don't see how it would help out in your case at all, no. But... my riser is powered by a single Behringer Europower 4000, bridged to a 4ohm load (two 8ohm drivers in parallel). My entire front sub-bass system is power by a single Cerwin Vega CV5000 running stereo 2ohm. The two rear subs are powered by a single Behringer iNuke 4-6000, bridged to two 4ohm loads.
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