Shredhead

On 4/24/2018 at 12:52 PM, Ricci said:

Interesting comparison of the declipper function Shred. Could you hear a difference?

The clipping was pick attack so yeah, it sounded less harsh when de-clipped and played by itself but once the bass was put in the mix and EQ'd, it's pretty hard to tell a difference. 

You still playing these days?  Any new recordings or vids? 

On 3/31/2018 at 2:35 PM, maxmercy said:

In short, it is a quieter, but very dynamic track that doesn't clip.

Hi max, long time no see.  Hope you're doing well as well as the rest of you guys here on DB.  I found something that I think is pretty cool that might interest you.  It's a VST plugin (typically used in DAW's for recording) by iZotope that takes a clipped signal and "de-clips" it: 

For example I put down a bass part and intentionally clipped it:

Close up of the clipped signal:

After applying the de-clipper:

After de-clipping zoomed in:

Anybody who was bothered by a clipped soundtrack could put the separated channels into a DAW like Audacity, apply this, export it to disc and then apply max's BEQ to it to bring out the best of the low stuff.  Just an idea...  I know that it's a lot of work and that the production houses should just give us a proper product but it is what it is. 

Anyway, keep cool fellas... let the bass be with you and whatnot. 

Everest

Dolby Atmos downmixed into 7.1

0:26:30

1:15:40

1:16:30

1:18:27

1:20:15

1:22:00

1:34:13

1:47:30

See here for waveform analysis: http://data-bass.ipbhost.com/index.php?/topic/425-analyzing-waveforms-of-heavy-hitting-movies/?p=12302

There's supposedly a camp in the Himalayas where climbers have been known to die mysteriously when storms passed through.  Storms that should have been survivable for experience crews wiped them out.  Investigation and interviews with survivors led to the understanding that something about the conditions in the environment caused many among the crews to literally panic and disregard precautions (like staying sheltered during the worst of weather).  In the end, the best explanation offered was that nearby rock formations formed a resonant cavity through which the wind flowed through to produce intense infrasonic sounds, and that the mountaineers, lacking familiarity with high intensity ULF suffered from immense confusion, became consumed with panic, and then froze (or fell) trying to escape their predicament.

What a bunch of ULF pansies.    Might be right though, this video kind of blew my mind (it has to do with ULF in a very similar way as the above story)

Spectre might still be all right.

You can't expect every movie to have WCS peak levels with rising bass down to 1Hz. I'm more worried about things like whether the soundtrack is clipped, how dynamic it is and how varied the bass sounds are. Also whether the movie is good. It certainly might be a loud, clipped all to hell, 30Hz recycled rumble for every explosion type of movie. I'm hoping not though. We've got plenty of those already.

It's been over a decade since the release of WotW, why wouldn't I expect every large budget action flick to have 5 star extension in the year 2016?

Here is Spectre on top of the 1st Avengers movie which as max accurately stated was: "the biggest LF disappointment of all time". 

Pretty obvious what they're going for with this one.

capt1601201419.jpg

The Martian

DTS-HD MA 7.1

0:04:42

0:08:25

0:11:50

0:14:27

0:26:21

1:04:20

1:56:09

2:06:18

See waveform analysis: http://data-bass.ipbhost.com/index.php?/topic/425-analyzing-waveforms-of-heavy-hitting-movies/?p=12151

Oh, and so when are we  going to compile and vote on "Bass movie of 2015?"

I thought it was already a landslide victory for Pixels.

Here's a sneak peak at The Martian.  Just giving a heads up on this one: it's unfiltered.  Haven't run across anything that is at a crazy high level yet but there seems to be a lot of 10 and under rumble for extended periods that might get some folks into trouble if you run things hot. 

0:04:42

0:11:50

0-14-37

Yikes.  Luke and Gage, please be careful and re-check your methodology 20 times before using your new tools.  You are basically connecting 2 or more sources of high energy together that might all be at different potentials.  No joke fellas, this can and has killed people.  The only thing that I can advise in good conscience is to get a differential probe and stick to 1 input at a time or return your tools for hand held battery operated units.  If you are going to lift ground with a cheater plug or an isolation transformer on either ends of your rig, you are doing this at a high risk and you should wear thick gloves and isolate equipment with thick rubber.  I do not recommend that anyone do this unless you have a thorough understanding of the fundamentals of what you're doing and take precautions. 

All you need the scopes for is to find the point of clipping for a given frequency.  You can do this separately with only the load connected.  Use your DMM for all other measurements (once you confirm their accuracy using a safe method) if you're not going to take my above advise please.     

The Last Witch Hunter

DTS-HD MA 5.1

0:02:45

0:06:03

1:09:51

1:12:15

1:13:53

1:30:20

1:31:30

1:32:19

See waveform analysis here: http://data-bass.ipbhost.com/index.php?/topic/425-analyzing-waveforms-of-heavy-hitting-movies/?p=12015

Lone Survivor

DTS-HD MA 5.1

0:19:39

-This and 21:06 are the only notable scenes with ULF and the levels at 6.5Hz are far too high compared

to the rest of the soundtrack.

0:21:06

1:00:37

1-04-00

1-10-47

1:44:49

1:45:48

-The majority of movie's bass spread and level look similar to this

Big thumbs down on sound design and mix.

See waveform analysis for rant: http://data-bass.ipbhost.com/index.php?/topic/425-analyzing-waveforms-of-heavy-hitting-movies/?p=11801

Minions

(Atmos to Dolby True HD)

0:02:03

0:04:30

0:21:22

0:30:13

-most bass levels are weak like this

1:08:56

1:09:52

1:11:32

Screwy mix on this one.  A few strong transients but most of the mix is very weak in level.

See waveform analysis here: http://data-bass.ipbhost.com/index.php?/topic/425-analyzing-waveforms-of-heavy-hitting-movies/?p=11778

The Transporter - Refueled

(Netflix rental)

Chapter 7a

Chapter 7b

Chapter 16

This movie is FAT... Filtered At Twenty.

Pan

(Netflix rental)

0:14:36

0:15:50

0:17:00

0:20:00

0:21:06

0:41:24

1:29:33

Pan ain't playing around.

Waveform analysis: http://data-bass.ipbhost.com/index.php?/topic/425-analyzing-waveforms-of-heavy-hitting-movies/?p=11739

Double post, stupid brassa-frackin' phone.

What EQ curve did you end up with for what MLP response?

Ant-Man

7.1 DTS-HD MA

30:58

31:55

37:15

1:29:33

1:31:25

1:32:26

See here for waveform analysis: http://data-bass.ipbhost.com/index.php?/topic/425-analyzing-waveforms-of-heavy-hitting-movies/?p=11183

There's no judgement for that here at Databass.

Nice rig Audiofreak, I dig the analog player.

The Man From U.N.C.L.E.

1:30:00

1:32:45

1:35:50

1:36:50

1:37:51

1:42:45

1:45:30

See waveform analysis here: http://data-bass.ipbhost.com/index.php?/topic/425-analyzing-waveforms-of-heavy-hitting-movies/?p=11047

Isn't your body's sense of feeling the ultimate gauge of "tactile feel"?  Aren't the differences in tactile feel for similar systems mainly the resonances of different things that come into contact with our bodies -couches, floors, risers?  Other than that the only major factor I could think of is how much energy is lost from the construction of the room.  We can change the frequency response of a system but when it comes to tactile feel, what would be the adjustment?    Even to accurately measure a thing like that for the tactile feel of a system would need to be isolated from contact with surrounding surfaces or it would skew the results? 

Started reading some of the DSP section of the K20's manual, didn't take long for my eyes to cross.    When you engage the peak limiter, do you notice any latency? 

 

Here is about what the room gain profile translates to compared to ground plane. I've tested about 10 powered systems in room versus ground plane and the average gain in output at 20Hz is roughly 3 to 4dB to the LP.

GP VS IN ROOM.jpg

I was curious about how a close mic (1" on axis)  in room compared with your ground plane measurement.  You are just about the only guy I know who can compare this accurately (or that I would trust to.)

Good response so far anyway.  How does it sound compared to before?