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Kvalsvoll

The Bass EQ for Movies Thread

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Iron Man 2:

 

post-20-0-30003700-1424111077_thumb.jpg

 

 

Iron Man 2 BEQ:

 

post-20-0-25025400-1424111078_thumb.jpg

 

 

 

Correction Algortihm:

 

All Channels:

 

1. Gain -7dB

2. Low Shelf 17Hz, Q of 0.707, Gain +5dB (2 filters stacked for 10dB correction)

 

Very easy, this correction could be applied to the SW out only, for those with miniDSP after your avr/processor.

 

 

The film gains significant heft.  It unfortunately is a clipped presentation to start with, but less so that other films, so there is some GI=GO.

 

 

JSS

 

 

 

 

 

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Thor:

 

Pre:

 

post-20-0-85175200-1424143994_thumb.jpg

 

Post:

 

post-20-0-94730100-1424143995_thumb.jpg

 

 

Correction:

 

All Channels:

 

1. Gain -7dB

2. Low Shelf 15Hz, Q of 0.868, +5dB

3. Low Shelf 16Hz, Q of 0.868, +5dB

4. Low Shelf 30Hz, Q of 0.5, +0.5dB

5. Low Shelf 32Hz, Q of 0.5, +0.5dB

 

 

Since all channels get the same correction, this one can also be done to the SW out.

 

Since this track is also clipped, it is also not as improved as others, but some effects carry much more weight.

 

 

JSS

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Iron Man 3:

 

Pre:

 

post-20-0-26376800-1424269714_thumb.jpg

 

Post:

 

post-20-0-49341700-1424269713_thumb.jpg

 

 

Try to guess where that giant 18Hz hit is.

 

 

Correction:

 

LFE:

 

1. Gain -7dB

2. Low Shelf 16Hz, Q of 0.873, +9dB

3. Low Shelf 18Hz, Q of 0.873, +9dB

4. Low Shelf 20Hz, Q of 0.873, +9dB

5. Low Shelf 40Hz, Q of 0.5, +3dB

 

 

LCRS:

 

1. Gain -7dB

2. Low Shelf 22Hz, Q of 0.875, +10dB (3 filters stacked for 30dB correction)

3. Low Shelf 40Hz, Q of 0.5, +3dB

 

 

This one improves considerably, but not as much as Avengers.

 

 

JSS

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Thor: The Dark World:

 

Pre:

post-20-0-48146100-1424295945_thumb.jpg

 

Post:

post-20-0-37592100-1424295946_thumb.jpg

 

 

Improved, but about as much as IM3 improved.  Not a whole new experience like some BEQs.

 

 

Correction:

 

LFE:

 

1. Gain -7dB

2. Low Shelf 25Hz, Q of 1.24, +5dB (2 filters stacked for 10dB correction)

3. Low Shelf 50Hz, Q of 0.5, +3dB

4. Low Shelf 8Hz, Q of 0.707, +4dB

 

 

LCR:

 

1. Gain -7dB

2. Low Shelf 25Hz, Q of 0.632, +5dB

3. Low Shelf, 6Hz, Q of 0.707, +6dB

 

 

Surrounds:

 

1. Gain -7dB

2. Low Shelf 32.5Hz, Q of 0.707, +6dB (5 filters stacked for +30dB correction)

 

 

 

JSS

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Yes, Into The Storm is a bass-eq candidate, based on the spectrum (in the poll-thread), it falls off sharp below 25hz, and it looks like a shelf filter was used. 

 

I have not seen the film myself, but nube's comment regarding loudness-war may indicate that it may not be worth the trouble - you will get more deep bass, but the sound will not be good anyway, and if the overall sound level is too loud it can not be played comfortably at a decent master volume level.

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Yes, Into The Storm is a bass-eq candidate, based on the spectrum (in the poll-thread), it falls off sharp below 25hz, and it looks like a shelf filter was used. 

 

I have not seen the film myself, but nube's comment regarding loudness-war may indicate that it may not be worth the trouble - you will get more deep bass, but the sound will not be good anyway, and if the overall sound level is too loud it can not be played comfortably at a decent master volume level.

Thanks for the info.

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Kval is right, with BEQ, Garbage In usually = Garbage Out.  Clipped waveforms get turned into more sawtooth-like forms, so it has more bass, but the distortion is still there, like in TF4 BEQ.    

 

If there is enough demand, I can do request BEQs, but it would require financial compensation, as it takes me at least 8 hours to do it right for a feature-length film.  I'm not sure there is enough demand out there for that.

 

JSS

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coming soon:

 

Batman Begins

The Dark Knight

 

 I can't wait to hear these two with BEQ.  Can anything be done for TDKR, or is that one a lost cause?

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If there is enough demand, I can do request BEQs, but it would require financial compensation, as it takes me at least 8 hours to do it right for a feature-length film.  I'm not sure there is enough demand out there for that.

 

How much compensation are we talking about?  I'd love to have a BEQ for HTTYD 2.  I can't believe how disappointing the bass for that film is.  Even my 10 year old son noticed.  I had to check to see if the sub was on.  With those massive alpha dragons, my room should have been shaking.

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HTTYD is a film I was planning on doing, so hold tight on that one.  As far as compensation for the correction schemes I develop by request; people would only be essentially paying a small fee to download the filters I use to correct films (listed by channel, like I do on this thread).  A portion of the proceeds will go to me so I can buy more BDs to BEQ (I do not support piracy), a portion to the people who helped me develop the BEQ process, and the rest to the d-b site so it stays operational.  I have yet to even think of the particulars, but hope to do so in the future.

 

JSS

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I hope "HTTYD 2" is worthwhile.  I clearly heard content down to 20 Hz throughout, even though it was all low level.  The score had a few heavier bass hits, so it may be hard to get a BEQ with a good tonal balance that doesn't make the score disproportionately heavy-handed.

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Please forgive my ignorance. I really would like to attempt to utilize these BEQ files, so I'm looking for some confirmation that the setup is correct.

 

My query is: where in the processing schema does the PEQ get applied? I only ask because the provided flowchart would lead me to believe that any (and in the BEQ cases-MOST) of the Low Shelf adjustments to LCRS channels under the selected Crossover/HPF frequency and slope would be lost due to the nanoAVRs updated LFE Management tab

nanoavr-bm-bass-management.png

 

Would it be required to shift back to the "old style" of routing in order to have the BEQ filters apply and send a full range signal (no crossover/HPF on LCRS channels) to the AVR and have the AVR do the bass management? Like this:

nanoavr-eq-routing.png

 

 

Any feedback would be appreciated.

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Yes, let the AVR do bass mgmt, and send full bandwidth to the AVR with the corrections provided.

 

I have not tried BEQ solutions with nanoAVRs bass mgmt scheme. Not sure if it would apply the correction before bass managing, so there could be some loss.

 

JSS

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Avengers: Age of Ultron Pre/Post BEQ:

 

post-20-0-50368700-1444069263.png

 

Correction Filters:

 

LFE:

 

1. Gain -4dB

2. Low Shelf 15Hz, Q of 0.94, +6dB 

3. Low Shelf 15Hz, Q of 0.94, +6dB

4. Peak 19Hz, Q of 2, +6dB

 

 

LCRS - The LCRS channels on this film have a high Q notch in them at 31Hz.  Every LCRS channel, and I do not know why.  I included correcting the notch as an optional filter in the set below.

 

1. Gain -4dB

2. Low Shelf 28Hz, Q of 0.87 +6dB x3 filters, then +3dB x1 filter (for total shelf of +21dB)

3. Low Shelf 46Hz, Q of 0.5, +3.5dB

4. OPTIONAL NOTCH CORRECTION: Peak 31Hz, Q of 7.2, +6dB x 3 filters (for a total peak of +18dB)

 

I personally like it with the notch corrected, but I do not have a peaky response in my room below 40Hz.  Maybe the mixing stage did?

 

JSS

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LCRS - The LCRS channels on this film have a high Q notch in them at 31Hz.  Every LCRS channel, and I do not know why.  I included correcting the notch as an optional filter in the set below.

 

Could be the sound design is like that, but it can also be that you now have room correction for the studio embedded in the soundtrack.

And then the statement "you don't have what we have in our studios" makes sense - because I know for sure I do not have a high-q resonance at 31Hz that needs correction in the program material.

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I can't wait!  Once my DSP project is "in production", I'll be able to dial-in filters like that with great ease.  Then I just need the <15 Hz subs to make it *really* worthwhile!

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Great thread... appreciate the hard work that has gone into producing the corrections

 

I would like to try some of the newer films that have had corrections listed. Can I please ask (sorry if really basic question but I'm relatively new to this) how does one go about generate the filters or xml file for the films? Is there a tutorial / walk through somewhere I could read / follow? I have a nanoAVR HD and have downloaded the All-digital-coefs v1.2 but am lost as what to do after that.

 

Any help is gratefully received

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It is not necesarily intuitive, and it is an iterative process to create the corrections.

 

To implement them, simply go into the nanoAVR plug-in and enter the corrections into every channel manually, without the spreadsheet.  You can use the spreadsheet to generate the biquad coefficients and save them as a .txt file you can 'import' into the plugin.  Or you can load the config (the .xml file).

 

If you use nanoAVR to EQ already, you may not have enough space or headroom for the correction filters.

 

 

JSS

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If I am using Jriver MC20, is it possible to do any of these filter type changes?  If so, can they be done for each movie individually?

I am only asking because I think Jriver has some kind of eq function. 

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Thanks for the reply maxmercy

 

My nanoAVR is currently sitting in it's box unused as I purchased a miniDSP DDRC-88a not long after. Will there be any issues running both?

 

I guess I'll download the latest nanoAVR plugin and have a play see if I can figure it out :)

 

Thanks

 

Edit

 

Think I've got the hang of it..... as usual probably me making things more complicated than they need to be.

 

For the BEQ of Avengers AOU as listed above I opened up the nanoAVR plugin and went to outputs and then input each channel's setting as listed into the PEQ option using a new band for each listed adjustment then set the gain for each channel to 4db.

 

Is that correct?

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