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

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

-2dB at 2Hz is pretty darn good. JSS

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

The Ultrabass processor creates new audio data by synthesizing content an octave or two below what is on a track. It is the only way to make some tracks ANY better (like The Hobbit, where the data was never there). It can smear transients, but if only used in Crowsons, that is a perfect application. A smaller room is usually better for lower bass extension from a given subwoofer system. But usually not neighbor-friendly. JSS

What type of restorer where you using for the clipped material? JSS

I use eac3to. JSS

Interesting. How do you feel the delayed LF in Room 2 according to the spectrogram plays a part in what you are perceiving? JSS

Look forward to seeing how the SBIR treatments change things. JSS

Lionsgate generally puts more compressed video and lossy audio to fit on a single layer BD. The mixes are often different, IME. JSS

How does a 'too dry' room handle >2 channel sound, in your opinion? JSS

I'll graph it if I get the time. Crazy busy and moving soon, so measuring the bass in films took a back seat for a bit, minnjd, can you measure it? JSS

What is going on between 200 and 700Hz? Lots of suckouts there. JSS

Rush is a terrific film. The fact that the sound is also very well done is just icing on the cake. JSS

I really like the effort to make the room a multipurpose one with treatments such as this. JSS

No, I haven't looked at Fifth Element. Going by my experience with older films, BEQ really doesn't help much. I tried to BEQ Predator and a few others and it was not good. Shelf filters are easier to correct than the rolloffs seen with the older films, and most of the analogue equipment had infrasonic filters. 24 bit audio has such range that even with the 'adding headroom' step in the BEQ process, we never approach the noise floor of the digital medium compared to the noise floor of the typical HT, which is usually >20-30dB. JSS

HTPC or nanoAVR, combined with the settings on the BEQ thread, or come up with your own. With nanoAVR, you can change the individual EQ and level of every channel in a 7.1 mix before it hits the bass management in the AVR (unless you have an HTPC that does bass mgmt for you), with no rolloff with either system b/c everything is all done digitally before any analog stages and DC blocking caps are involved. JSS

Because the LFE channel dominates a PvA graph, you have to look at each individual channel to come up with a proper BEQ solution. JSS

Valkyrie is a terrific track and great film. Any time the dynamics score rises above 31dB, I am sure it will be a well-done, no loudness war track. JSS

DTS also has dialnorm metadata, just not often used. Very often DVD and BD have separate tracks. JSS

I consider that aggressive. I consider this gentle: My curve is a lot like this one but the slope continues up until 10-20Hz. The TFA soundtrack provides the Harman Curve for you, so if you start with the Harman Curve, you can get some real 25-50Hz boom, maybe even too much. JSS

No clue how the home mix was done nor by whom. The theater I went to was both a LieMAX and a conventional theater, presentations were similar, to me, most cinemas have a little more midbass, that's probably because you are above Schroeder Freq in the midbass as opposed to the midrange in a small room, which can lend far more midbass impact in a cinema. Bigger room=better slam, in general, for the same SPL. I'm sure you have experienced a well-done outdoor concert. Best impact you can get. No cancellations, reverb and modal ringing to be had to mess up an impulse response. I like the changes I made, which is why I said not to use an aggressive house curve with the BEQ, as I tried it with a little more aggressive curve and there was significant midbass 'bloat'...my 'flat' curve drops from 20-20kHz smoothly (on a log graph) by 7dB. My more aggressive curves add more <40Hz and midbass, and are mainly for listening at lower SPL levels.

Yes you did. Not as bad as Empire Strikes Back, but it was there. JSS

BEQ solution on both the BEQ thread and the TFA thread, with caveats noted. JSS

The Force Awakens BEQ: BEQ Correction (implement prior to AVR, with HTPC software or nanoAVR): LCRS: 1. Low shelf - 15Hz, Slope 1 (Q of 0.707), Gain +6dB 2. Low Shelf - 15Hz, Slope 1 (Q of 0.707), Gain +3dB 3. Parametric EQ - 85Hz, Q 1.12 (Bandwidth 1.25 Octaves), Gain +4dB 4. Overall Gain -7dB LFE: 1. Low Shelf - 15Hz, Slope 1, (Q of 0.707), Gain +6dB 2. Low Shelf - 15Hz, Slope 1, (Q of 0.707), Gain +6dB 3. Low Shelf - 15Hz, Slope 1, (Q of 0.707), Gain +3dB 4. Parametric EQ - 70Hz, Q 1.12 (Bandwidth 1.25 Octaves), Gain +4dB 5. Overall Gain -7dB. What I did was give the track more room-shuddering effects as well as more midbass slam while minimizing the boost to the 30-40Hz bandwidth which was over-utillized, IMO. I like the result, but beauty is in the eye of the beholder. These changes will mean that Reference Level playback will occur at +7dBMV. The track does not reach over 126.5dB peak level at this level of playback, and max RMS level is 119dB (over 1/8th sec), so if your system can handle Reference Level with very demanding material, it can handle this track at +7dBMV, provided your AVR does not clip the signal. The track gains over a dB in Dynamics, Extension and Level become 5-Star Level if played back at +7dB from your typical listening level. DO NOT add a house curve to this unless you know your system can handle it. Adding a steep house curve will bloat the midbass and the score will sound unnatural. This BEQ assumes a gentle (if any) house curve, maximum of -6 to -10dB downslope from 20Hz to 20kHz, with no aggressive slope-up in the midbass region. JSS