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Everything posted by maxmercy

  1. Are the t.amp amplifiers readily available in the US? JSS
  2. Very nice! My first sub was definitely not that well finished.... Glad you are enjoying it, but welcome to the rabbit-hole. You may have just opened the Pandora's box we all have at one point or another... JSS
  3. Updated the first post links to the corrections. More BEQ to come, starting with the Lord of the Rings trilogy. JSS
  4. Interesting question, but I do not know what will happen sim v reality for this. Will you have shaped and non-shaped cabs built to compare? JSS
  5. Interesting....they are quite different, windows could account for it, but the level differences are what I see as most prominent. I wonder if the DTS-HDMA and ATMOS tracks have different dialnorm settings, or something else. JSS
  6. I have not seen that many films this year, lots of reasons why; I have not had the chance to measure that many either. So far, the PvA for Ad Astra above looks pretty good, but I have to see it. This year I mainly did some BEQ for the films I did buy and see on BluRay, like Avengers:Endgame, Godzilla and Bumblebee, and really looked into the LOTR trilogy as we are nearing the 20th anniversary time on it. It is one of the film trilogies that did not get a decrease in LF from DVD to BluRay, which was very nice. JSS
  7. Godzilla: King of the Monsters - Dolby ATMOS (7.1 channel bed) Level - 5 Stars (112.7dB composite) Extension - 3 Stars (19Hz) Dynamics - 3 Stars (24dB) Execution - TBD Overall - TBD Notes - Loud, but not deep. Very much like Pacific Rim in the rolloff slope. BEQ for this film in the BEQ thread. JSS
  8. I did a BEQ for Godzilla, let me look back and post up stats for it later this week. I have not measured Overlord. JSS
  9. 1) Yes 2) Some receivers let you know how much correction they are applying as the track first plays. On my Denon, once the main movie fires up, it will display the bitstream (DolbyTrueHD/ATMOS), and then for a second or two, Dialnorm -4dB. You can then turn up the film by that amount to have the equivalent presentation. If you run at the high SPL end of things, turning up the MV by that much can make someone a little nervous if they run at the edge of their system's capabilities. 3) Dialnorm in theory has good uses, especially in TV production. I have mainly found it annoying, b
  10. Here's how they compare with dialnorm accounted for: Now that may account for some bad reviews from ppl listening from AVRs. JSS
  11. I have a possible answer. I went back and looked at the track data for the ATMOS and DTS tracks. The ATMOS track has a -26 setting for dialnorm, which means your AVR will reduce the overall volume by 5dB. I experienced the same thing with Transformers: Revenge of the Fallen. The regular edition was DTSHD with no dialnorm applied, the IMAX edition was Dolby TrueHD, with dialnorm applied at -27. When you changed the level to account for dialnorm, the mixes were much more similar. If you listened at your normal level, the IMAX version seemed to lack dynamics. But in truth, it was jus
  12. The LFE channel is a separately encoded channel, that in cinema will ONLY go to the LFE system. For us at home, BOTH the low freqs from LCRS AND the LFE (played back 10dB hotter) added up go to our subs. So the LFE channel dominates any PvA graph, and the Avg graph is the average of the whole film, so between these two mixes, they will be close. In this case, only around 1dB different. But the Peak graph shows you more in the midbass and upper midbass, sometimes 4-5dB hotter in the DTS track. That is very noticeable when listening. That could be in the LFE, or the LFE summed with the LCR
  13. Bumblebee BEQ (ATMOS 7.1 channel bed) The effects that matter get more weight. Also got rid of ULF noise in LCRS that was prevalent in the mix. Correction: LFE: 1. Gain: -7dB 2. Low Shelf: 10Hz, Slope 1, Gain 6dB 3. Low Shelf: 16Hz, Slope 2, Gain 5dB (3 filters for 15dB total) 4. Low Shelf: 32Hz, Slope 0.5, Gain 2.7dB LCRS: 1. Gain -7dB 2. Low Shelf 22Hz, Slope 1.2, Gain 5.25dB (3 filters for 15.75dB total) 3. low Shelf 44Hz, Slope 0.5, Gain 0.7dB 4. Highpass Filter, 2Hz, 6dB/oct JSS
  14. Godzilla: King of the Monsters: ATMOS 7.1 channel bed Pre-Post: I initially put too much midbass in the first iteration a page back on this thread, and it was awful. It works better this way, with more 'heaviness' where needed. Correction: LFE Channel: 1. Gain -7dB 2. Low Shelf: 18Hz, Slope 2.5, Gain 6.5dB (3 filters for a total of 19.5dB) 3. Low Shelf: 36Hz, Slope 0.5, Gain 5dB LCRS Channels: 1. Gain: -7dB 2. Low Shelf: 16Hz, Slope 2.0, Gain 5dB (3 filters for a total of 15dB) 3. Low Shelf: 32Hz, Slope 0.5, Gai
  15. Spider-Man: Far From Home DTS vs ATMOS: Cyan is ATMOS peak, Green is DTS Peak. Red is DTS Avg, Green is ATMOS Avg. More midbass overall on the DTS track. That can make a difference that is definitely felt on a capable system. If mixers use a cinema dub stage for one mix, and an 'HT' stage for a nearfield mix, it could account for these differences. The monitoring equipment used can lead to different curves that we measure. But one PvA for a film can be misleading. Unfortunately, the LFE channel DOMINATES any Bass PvA, as it is encoded 10dB hotter than the rest of the
  16. The tracks graph nearly identically, with a slight edge to the DTS track in overall level with an increase in midbass level (>40Hz), only a slight difference in dynamics, but a definite increase in noise, especially ULF noise in the DTS track, all of which may be below the threshold of hearing. If I were to BEQ one of the tracks, it would likely be the ATMOS with it's lower noise floor. I can do a more detailed audio comparo looking at more things + clipping and such when I have time. I thought the film overall was pretty good, with the lately-typical Marvel great visuals, with soun
  17. Avengers:Endgame BEQ (Dolby ATMOS 7.1 Channel Bed) I finally got a chance to screen it with the BEQ, and it is a substantial improvement. Correction: LFE Channel 1. Gain -7dB 2. Low Shelf 17Hz, Slope=1, +6dB 3. Low Shelf 18Hz, Slope=1, +6dB 4. Low Shelf 19Hz, Slope=1, +6dB LCRS Channels 1. Gain -7dB 2. Low Shelf 25Hz, Slope=1.25, +5dB (3 filters for +15dB total) 3. Low Shelf 50Hz, Slope=0.5, +1dB 4. PEQ 30Hz, Q=2.87, +6dB JSS
  18. Spider-Man: Far From Home (Dolby ATMOS 7.1 channel bed) Level: 4 Stars (111.9dB composite) Extension: 2 Stars (21Hz) Dynamics: 5 Stars (29.93dB) Execution: TBD (3-4 IMO) Overall: TBD Notes: 4k disc definitely provided the better track, with 24 bit depth (16 bit for DTS on BD), and slightly higher dynamics. More low level noise noted on the DTS track. Some flat tops, but not as bad as other Marvel films. This track appears to be VERY amenable to BEQ, with a single correction for all channels. Will post up BEQ later. JSS
  19. I did throw out tons of numbers....but lemme make it more manageable. Do you and your spouse like how loud a good cinema is? You can consider that 'reference'. You can think of 10dB steps below that as each one being '1/2 as loud'. When I used to demo my old system, I would tell people that it played at '1/2 the volume' of a good cinema, at 10dB below reference. On my first ever HT, I rarely ever played louder than '1/4 as loud' as a cinema, or 20dB below reference. As for frequency, I tell people that 40-50Hz is most 80s-90s hip-hop. 30Hz is around where some EDM mu
  20. Return of the King Extended Edition DVD vs BD: Very similar again, with the BD having slightly better dynamics and more clipping noted on the DVD version. DVD Stats: DC offset -0.000001 Min level -0.541110 Max level 0.589154 Pk lev dB -4.60 RMS lev dB -35.16 RMS Pk dB -10.58 RMS Tr dB -190.65 Crest factor 33.76 Flat factor 0.00 Pk count 2 Bit-depth 24/24 Num samples 758M Length s 15794.069 Scale max 1.000000 Window s 0.125 BD Stats: DC offset -0.000000 Min level -0.630937
  21. The Two Towers Extended Edition DVD vs BD: Again, virtually identical graphs. Clipping in this film is more prominent, especially in the LCR channels, both on DVD and BD, with more clipping in the DVD version. Stats for DVD: DC offset -0.000001 Min level -0.461359 Max level 0.464815 Pk lev dB -6.65 RMS lev dB -37.72 RMS Pk dB -14.70 RMS Tr dB -1.#J Crest factor 35.74 Flat factor 0.00 Pk count 2 Bit-depth 23/24 Num samples 678M Length s 14125.920 Scale max 1.000000 Window s 0.125 S
  22. Boomer, Something you need to ask yourself is how loud will you be listening? Reference Level is what most folks compare their listening SPL to for movies/films. In fact, most receivers have their volume knob in gradations in dBs below a 'zero' level, like -20dB. 'Reference' in cinema size venues means peaks from the LCRS can hit 105dB, and from the LFE channel 115dB. It is impactful and loud (no 'rewind' button in a cinema, you gotta hear it the first time). It is hard to find a good enough cinema that can play at reference without significant strain to both equipment and audie
  23. Prelim BEQ for Fellowship: Lots of under 3Hz noise, hence the extra highpass down low, now I just need the time to screen it properly. These are long films. JSS
  24. Even on a modest home system, I remember wondering what was 'wrong' with the sound of Batman Begins on Bluray. It turns out the BD would default to the lossy soundtrack. I couldn't put my finger on it, just that the lossless track sounded 'airier' and more 'crisp'. Looking at HF content in DVD vs BD I see the following: RED trace is the BD. There is a transition in the 14-15kHz region. Not sure I can hear that, and I'm not sure if this is not just an artifact of lossy compression. Has anyone done any experiments on what AC3/DTS compression does to a spectrogram/FFT? JSS
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