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maxmercy

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Everything posted by maxmercy

  1. maxmercy
    On X-Men:Apocalypse, the Infra scenes of the film are at 26 mins, 1hr 50mins, and 1hr 12mins. JSS
  2. maxmercy
    Now that I run Crowsons, the infra is definitely experienced. When I get more time with them more properly integrate them, I'll do a proper review in the gear section. Short story is Crowsons = (or nearly so) Nearfield Subs but with much less cubic footage. Can't comment on slam, saw some of X-Men last night at -20dBRef, you need to listen at -7dB or preferably -4dB or higher to properly experience slam, IMO. Will hopefully finish it tonight. So far decent film. JSS
  3. maxmercy
    X-Men:Apocalypse - 7.1 DTSHDMA Level - 4 Stars (112.2dB composite, only 0.3dB away from 5-Star) Extension - 5 Stars (1Hz) Dynamics - 5 Stars (27.6dB, 0.1dB above threshold) Execution - TBD Overall - TBD Comments - Appears to have some soft limiting, clipped passages very few and far between, mainly in center channel. Actually a 12Hz film, that 1Hz bump gives it 5 Star extension. JSS
  4. maxmercy
    The only way I see a change is if it is marketed as an elite experience, like RPX, IMAX, etc. If people are willing to pay more for it, that would be the only way I see Infrasonics making their way into cinemas and mixing stages in the future. No way the cineplex at the mall is putting in 10-20Hz capability. JSS
  5. maxmercy
    Anyone who has any sense will have HPFs in-line on a vented high output system. It should not require a shelf or high-pass to the soundtrack, but we often see it, likely because Infrasonic events eat up a lot of headroom on a track. By taking them out, you can make the 30+Hz stuff louder, and we have definitely seen a lot of this happening (TF4 is the worst offender I can think of). The loudness war is alive and well on bluray disc. Also, by applying the shelf/high-pass to the soundtrack, you preserve the integrity of the subs that do not have protective highpasses in-line, which does exist; I have been in a handful of theaters running with blown subs. I conclude that most exhibitors know next to nothing about quality audio reproduction. Add to the pile the outdated X-Curve, varying mix levels (not everyone mixes at Reference Level, for various reasons, not the least of which is 'director's intent'), varying playback levels due to customer complaints, and you see that getting an unfiltered, unclipped track is nothing less than essentially miraculous. The best tracks seem to come from lower budget films with terrific sound crews and non-dictatorial directors who do not micromanage the hell out of a production, and allow the artists/professionals to do their work and collaborate. Follow the career of a director, and you can see that as their films make more money, they also seem to have the typical rolloff and compression/clipping/limiting. Look at JJ Abrams Star Trek 1 v 2, as well as Batman Begins and TDK vs TDKR and Interstellar, and you see my point. Extension worsens, and so does the dynamics score. JSS
  6. maxmercy
    Should get X-Men measured and up soon. JSS
  7. maxmercy
    Man, I wish the old BagEnd systems would be brought back to mixing stages, Rolloff in the low teens/tweens, and dual 18" subs on the LCRs to monitor infrasound in those channels......22 18" drivers per mixing stage.....no longer, AFAIK. JSS
  8. maxmercy
    http://data-bass.ipbhost.com/index.php?/topic/12-the-low-frequency-content-thread-films-games-music-etc/?p=14708
  9. maxmercy
    This is due to the fact that BEQ reduces the entire track in level before boosting LF, typically by 7dB. All of that data is lost, but it typically is within the noise floor. 24 vs 16 bit allows more volume 'steps' for a given dBFS SPL level keeping the lower SPL bits of the soundtrack a little more out of the noise floor than 16 bit. JSS
  10. maxmercy
    I'll get to audition these at a good level this weekend. Then I'll put up the polls. JSS
  11. maxmercy
    Without 24-bit audio, BEQ would not be possible. I'm glad we have it over just 16-bit on most discs. JSS
  12. maxmercy
    Lots of <10Hz stuff throughout. Main events: 1:41, 1:43, 1:54, 2:17. These are not the loudest events on the film. Only some of the deepest. JSS
  13. maxmercy
    So a plus for BvS: No clipping. JSS
  14. maxmercy
    So is the ATMOS content simply redirected above when called for? JSS
  15. maxmercy
    The Extended Cut/Ultimate Edition is nearly identical, so I won't post it up. JSS
  16. maxmercy
    Batman v Superman: Dawn of Justice (Dolby TrueHD 7.1 - ATMOS information not measured) Level - 4 Stars (111.28dB composite) Extension - 5 Stars (1Hz) Dynamics - 4 Stars (27.01dB) Execution - TBD Overall - TBD Comments - No clipping on this film. I still need to watch it at a proper level when the theater gets squared away. FULL bandwidth LF on this one. This one, like TDKR, pales in comparison with Batman Begins and The Dark Knight, but it is a visual effects spectacular. It's as if they took the Leatherback Kaiju's EMP weapon and just ran with it.... JSS
  17. maxmercy
    Captain America: Civil War (DTS-HDMA 7.1) Level - 3 Stars (108.8dB Composite) Extension - 3 Stars (17Hz) Dynamics - 5 Stars (29.75dB) Execution - TBD Overall - TBD Comments: Signal is clipped, mainly in Center channel, but there appears to have been a compression/limiting scheme in place to avoid very sharp edges on the waveforms as the waveforms hit 0dBFS. New theater is not fully set up, and I only watched the film at -25dB with DRC engaged so as not to wake anyone in the house up, So I cannot comment on execution. The PvA is very reminiscent of the original Iron Man. This is the first film that basically requires an investment in the prior films to grasp what is happening and why, otherwise this film cannot stand on its own with the audience comprehending why the characters are doing things. While the Marvel Cinematic Universe has enough audience buy-in to pull this off, and make a film more like a comic book, I think this formula could reach a breaking point eventually, whereby attracting new audience members will get tougher as the MCU rolls on and the older films start to show their age, and the urge to reboot everything will grow. We already have 3 different recent cinema Spider-Men, 3 cinema SuperMen (counting Reeve), 3 Batmen, 3 Bruce Banners. But if the box office totals are any indication, we may be in for reboots of the same characters for the rest of our entire lives. /rant JSS
  18. maxmercy
    Been away for a while (moved from the center of the country to one of its edges), but later this week I'll put up numbers for Captain America:Civil War and Batman v Superman Extended Cut. JSS
  19. maxmercy
    Those are well controlled early reflections! My current setup is with screen/center channel in a corner, lots of 'front wall' absorption, and my LCR untreated 1st reflections are all behind me, except ceiling/floor. Don't want to treat the ceiling, as eventually I want to put in floor-ceiling line arrays, which use floor/ceiling reflections to their advantage. JSS
  20. maxmercy
    What is below the vertical blinds on the left? JSS
  21. maxmercy
    You will need a projector if you are sinking this much time and energy into the sound system. JSS
  22. maxmercy
    So it looks like front wall, side wall 1st reflection, floor 1st reflection are addressed in that photo. Are back-wall reflections simply diffused? Anything on the ceiling? JSS
  23. maxmercy
    Not sure I use much above Q>1.25 for most BEQ, so unless the Q values are really high, it should be OK. JSS
  24. maxmercy
    -2dB at 2Hz is pretty darn good. JSS
  25. maxmercy
    That is terrific news. Now more folks will get to enjoy BEQ. Nearly completely moved in, should be able to get back to measurements soon. JSS
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