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Luke Kamp

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About Luke Kamp

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  1. Just finished this and the bass was fantastic. I found what in my setup was a strong low end effect at 27:53 at the train scene. Is that in one of the spectrographs? From beginning to end this mix is filled with broadband effects and a fun ride. Although the flick missed the boat on a few things, I found it better than I thought it would be going in. With the gorgeous visuals and bombastic mix, I will be adding this to the collection down the road. Also I dig the new color scale on the spectrographs.
  2. Good stuff. This along with cea in room measurements and commentary on source material between the two would make a great addition to the Article Archive
  3. While we have industry standards for level, bandwidth... there is none I can find about feel. So all we have are opinions. On one side of the spectrum you have someone like Paul Hales check out 53:45 on for a few minutes. http://www.avsforum.com/forum/138-avs-forum-podcasts/1478854-science-room-paul-hales.html He even talks about source material vs. steady state signals. I think this is something you would like and agree with what he has to say Dave. Then on the other side of the spectrum you have someone like Dr. Hsu who uses one of his mbm's right behind him crossed over to another sub ~ 50hz. So I say people should Edison it up and try different setups to find out what they like for their system. Archaea another thing is your enclosures are too small IMO for your drivers. The UM's just don't have the motor and the clean power handling of the LMS's. Larger enlosures would increase efficiency down low and you wouldn't need as much boost or worry of power compression.
  4. I know Scott and we even discussed price of admission and how I ended up where I am at. A different riser, possibly with a couple Crowsons under might be something I explore down the road. Not going to get too far without constructive criticism and I welcome it. I come from a car audio background, so enjoy feeling the bass more than most others I assume. I am not one promoting a limited bandwidth system and "filling in" with a TT. I do think they and or nearfield have merit in complimenting a broadband system wanting a little more without distorting the presentation with huge house curves or sub level. It was a real treat to have you over and pick your brain a bit. If you ever make it this way again, you are more than welcome to stay or stop by whenever. Looking back I wish I would have turned the TT on and off and played with levels. I just played it the way I enjoy it, so YMMV. Next time.
  5. What I have found is that same frequency response and same levels, two different rooms will NOT reproduce that content in the same way as has been discussed above. So if a tree falls in the woods and nobody around, does it make a sound? Of course it does, but who cares? So those sitting on concrete and sitting on a nice suspended floor with everything else the same will have a very different opinion on same content. The other thing that has been discussed before is that some are better at recognizing the content no doubt. When we were comparing caps and sealed (needed more displacement for that room) in Archaea's space. They could hardly pic out the low note in Bass I Love You. I said I could and closed my eyes and pointed out every time said content was reproduced. Extremely subtle, but I still want it there. I get it, you take a hard lined stance because somebody needs to. The more noise we make about this, the better chance we have of the actually influencing the guys that have the choice in if this content should be included in the soundtracks instead or a couple more dB at 30 Hz. We all know there are plenty of hard line "can't hear nothin belough 20 Hz blah blah blah" out there. Some of the teams and or directors influencing these soundtracks being released should be embarrassed at the clipped compressed garbage with a few octaves lopped off they are putting out. At the same time educating others on this important topic of extension and headroom utilization is paramount in getting this message across. If you get to defensive or in your face about it, I am afraid that turns a lot off and they go build another resonant system to have a Marty party and talk up how BA the last Transformers movie was. I used to get worked up about those running 15, 20, 25 dB hot. Now I say who cares, have a good ole time, but I don't care too much of what they think of a soundtrack when running the bass that much over reference. A recording of my grandma farting would be pretty intense at those levels. At the end of the day it comes down to having fun and enjoying how we decide to reproduce said content. If somebody chooses to chop of an octave or two of said content, knowing what they are missing out on, good for them. They still are reproducing more than the commercial arena. Heck I have seen more than one instance of someone with gobs of output to single digits, with a 40" monitor, 6 1/2" drivers in mains, and zero room treatments. IMO they would have been better off allocating some of that somewhere else. Heck I explained all of this to a relative of mine on concrete and he is doing two 11 cu. ft. low tuned subs with the UM 18's that will be hidden behind false wall. After he has finished up the rest of the theater and made all other purchases, big deal we order more drivers, amps, wood, and have a nice fire with beers next winter with the old enclosures. I don't post much anywhere anymore as I am just having fun and tired of the Audio VIdeo Shill site. With the knowledge on this site, I don't have much to add and can't as eloquently say it as the next guy to post. Your subs and Adam's room and setup are both a knock out of the park. I guess I can still pat people on the back though. I have nothing but the utmost respect for you and all you have done on the low frequency front. You have brought the importance of <20 Hz to the table and keep the discussion going. I enjoy reading all you have to say, but I don't see the need to waist time (like you commented about a couple pages back) telling this group of guys. Probably 90% are running sealed setups and love them, including myself. I wouldn't be surprised if I alter or completely rebuild my riser on concrete multiple times over the coming years to see changes in presentation. I will try out multiple TT's to see what they are all about along the way as well. I don't disagree with anything Scott said about my current iteration, but f it, I am having fun. The crowson's have a 30 day return, try them out before knocking them. I think they are great. Dildo's? Nut massagers? Whatever are you on about, old man?
  6. Over the last couple weeks I have gone through and watched most of these films again to try and come to a decision. I finally settled on EOT because it had the most demanding bass scene on my system of the year, the rest of the soundtrack was very good, and scored a true 5 star on the best movie bass rating/ranking system.
  7. I wasn't impressed by this bass or soundtrack at all. I think I was expecting too much out of the movie after seeing some reviews. I gave it a 2 and rent. PS: I don't know if it was something going on with my system, but the movie preview before this film was one of the worst things I have heard.
  8. Most of the time when a clipped compressed mix is presented, it is going to get 5 star level. Then it gets a 5 star execution from the 'awesome' crowd. Since execution is the only subjective category, maybe a heavily clipped 5 star level track can be penalized with a 4 or 4.5 star ranking. You list the composite and the spreadsheet is set up by the composite, so those looking at level alone will still see it properly placed. This way it is taken into account in the overall score. Level - 4 Stars (114.59dB composite) 5 star level - 1 star for obvious clipping throughout. For me, yeah it has a 5 star level, but I can't watch it at reference and have to turn it down vs. something like Elysium I can crank at reference. So when watching at comfortable levels a 5 star clipped track at -10 mlv the 114.59 is a 104.59 vs. 3 star level at reference of Elysium at 107.54. Or possibly below execution have Clipping- measured and audible. overall score deduction of .5 ( or 1) I see subjective praise from end users as well as from professional reviews for some of these tracks. Then when I play them I either run for the remote or my subs sound like they have a limiter enabled when running with ample headroom. Then I look up to see here and they are objectively a distorted presentation. This is the only site measuring these movie mixes and showing with repeatable measurements clipping and square waves. I think the soundtracks that aren't up to snuff in the loudness wars crap should be held accountable, what better place than here? Another way to do the execution is average the votes by star and rate it to the closest .5 star. 5 star 11 votes 4 star 9 votes 3 star 9 votes (55+36+27)/29=4.06 4 stars. This way all votes are taken into account. (edit: gdffgdfgd got it first) Did I spell that right? Rant over and I will let it go if nobody agrees.
  9. I enjoyed the mix even though the crappy filter. I try not to weigh execution too heavily on level and extension as that is already weighted into the final score. This seemed to be a clean dynamic mix with bass in all the right places. I really enjoyed the film and gave it a 4 and buy.
  10. The latest Transformers getting a 5 for execution is a joke. Personally I think since nube and max are doing all the measurements and are competent, if they deem significant clipping or compression the execution should be given a -1 from the executions final vote, or be given a max of 4 from the start of voting. IMHO a heavily clipped or compressed track is in no way deserving of a perfect for execution.
  11. Loud, compressed, and lots of it. Probably most bass sweeps of any movie I can remember. Execution is 3 stars and a rent for me. Not my cup of tea, but from a quantity standpoint I can see why some would love it. I did enjoy the use of the surround channels and CGI.
  12. I just finished this for the second time. First time watched it back to back with the first one on blu release day and was just having a ball. Even after reading here and trying to remember to judge which scenes dug deep, I got pulled into the film and forgot. Several Whoa moments with bass waves even this second time watching with the family at lower level than my norm. Great film and fantastic use of the subwoofers. I am good to 9 hz with quad sealed SI HT18's <1500 cubes. I knew I was in for a treat with the flyby at the beginning, but I would be surprised if the heli carrier crashing into the building isn't one of the scenes digging low. Great sound design with a lot of different effects that fit right in with what was on-screen. As of now, my favorite film and soundtrack combo of the summer. Edge of Tomorrow or a late sleeper is going to have to blow me away to dethrone this as my pick of the year. Watched Godzilla in AMC Prime with Atmos and butt shakers and had a feeling it would be a 30hz heavy flick. Wasn't that impressed with the plot holes or acting so don't know when I will get around to renting. Thanks for keeping up on the ball with posting on the new releases Nube. Always nice to check in and see what I felt.
  13. Besides a bit of a lack of extension, I really enjoyed the 7.1 sound mix on this one and what makes it worth a rent. Watched after TASM2 and was obvious this had higher levels. Movie was pretty terrrible.
  14. Max I gotta say it again, thanks for all the work. 75 already you are a f'in trooper. It's looking Very Nice Dave. I see a lot of your movie collection getting another spin real soon. I watched Brave in a Dolby Atmos theater and was in awe. Seeing Randy was involved and has the bandwidth I am going to pick it up. I have taken the CGI plunge, still trying to get the wife on board. Thanks for the heads up on Flight, going to check it out. Any you guys spun Skyfall yet? I thought it had great dynamics and a few mood setting scenes. Look forward to the results. Love the thread and Data-bass!
  15. This is my favorite place online these days. The way you guys are turning the movie bass into objective based measurements should be applauded by all. I know this is a ton of work you guys are doing here collecting and deciphering the data, but once backlogged new releases can be instantly compared to the old goodies. Thanks again! Just a thought I am throwing out here, is to start another thread were all could discuss the execution or the buy/rent upon seeing the graphs and data here. As this is somewhat subjective and could keep this thread for the data goods. For example I have found the hospital explosion to be my favorite bass scene from the Dark Knight. I would love to see it on a bottom digging system as it appears to start out with a nice pressure wave ~3-5hz. or Only watched it once, but I think maybe the reason many find Prometheus as a strong bass flick, is possibly because of the lack of masking accompanying some of the bass.
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