Infrasonic

Mmmm... A gear list like that makes me get a fizzy sensation somewhere behind my penis but not in my prostate. Does anyone else get a fizzy sensation behind their penis or is it just me? ?

Haha. My bad. I think it should have said, "spectrum of movie titles". If all you do is watch rom-com's from the 90's, you're not going to find a lot of ULF. I'm slowly losing my mind.... it's okay. I won't say there are "many more" unfiltered movies than umm...filtered movies because I'm starting to wonder if your idea of "unfiltered" means a flat PvA curve... Everything we hear in movies is 100% studio creation so they are under no obligation to be flat-to-DC type extension in their audio mix in every single release. Is it really a surprise that the overall curve of most movie's bass PvA looks very similar to the capabilities of pro-style cinema sub-bass systems? I agree with your last sentence.

Enjoy! Not much. There will be some, sure but not a note-worthy amount. The point of those demos is to demo Atmos. Hogwash. It only seems like a "trend" because audio enthusiasts started graphing bass when things started to get interesting and the industry has reeled back, for the most part, since. Look at it another way and bass content in film <25hz is the exception rather than the rule. For every "filtered" new movie there is one or more that isn't. Also depends on what bandwidth of movie titles you consume. Fortunately, the trend with newer movies is better surround mixes but we don't talk about that here.

Agreed with @maxmercy list there. Both Dunkirk and Jedi will not be great titles to test <20hz content, imo. They will both have powerful bass but >20hz (which isn't a bad thing). I can think of a handful of "scenes" to test out for true ULF. Entering the Grid - Tron Legacy Elysium - laser templates being cycled through before cutting into Bugattipod Captain America: Winter Solider - vending machine Hurt Locker - M2 .50cal scene Lone Survivor - the whole Chinook sequence Edge of Tomorrow - opening title ULF Dredd - interrogation scene Pulse - server scene (~18hz but sustained, trip dem breakers!) and more

Why can't these sales exist when I actually have money? lol

Hey. This is a neat build. Looks so old school, I love it! You'd never know there is some serious bass gonna come out of it.

Man.... Sorry to hear that. At least it went out in a blaze of glory. Are you going to replace with another one or use something different?

Both Ragnarok and Justice had mediocre surround/bass mixes theatrically and that is translated perfectly to the home versions. They make Nolan mixes seem pretty damn good in comparison.

Try the DD 5.1 track on the Blu-ray. And yes, I agree. I can not wait for a UHD version that I hope will be better than the BD.

People like all sorts of crap. That's not too surprising.

Data Bass approved*

Oh yeah, I guess you could have a higher vertical res in some way. I have a triple screen PLP layout at home. I should do some long waterfalls.

When I used to do Speclab's for dvd's I had to either have a more zoomed out view (harder to see details) or keep it zoomed in and take multiple shots. It was quite tedious but it worked.

Interesting! I do know what you're talking about. Always wondered why I could never hear/feel this effect on my main rig but could in other rooms on hdtv feeds of PR. The UHD version is on my Amazon UHD wishlist for dat Atmos. Will get it eventually. Looks like a good upgrade. Would love to sync the 3D version to the new Atmos audio. But that goes without saying.

Noticeably less rolloff below 20hz. Systems that can reproduce that bandwidth should feel the difference.

Umm.... Hmmm.... Specs: 32" subwoofer Oh boy. Okay. Let's check the "parameters" shall we...? Vas .... 50 liters ? Really? Qts .... .21 " dual 4-layer 6 inch voice coils " *Ponders what other .21 Qts drivers look like* Yyyeah nope.

Haven't seen this one yet. Wanted to catch it in theaters but missed it. It does look good, on paper at least. Could be a quiet one with only a handful of "good bass" scenes. Haha! Yeah, really.

Indeed! Now that's more like it. .....and also... ....now let's have MOAR like it!

Nah. They leave that sort of thing to the guys at home who own MiniDSP's and can't leave well enough alone.

-10dB point is ~15Hz on the Avg. Not great but not that bad. Just looks worse than it is with lots of peak energy in the 30's which is typical. To be noted, it looks to be (and is) a very dynamic track with very little clipping of which is only in the LFE channel. Also a first rate immersive/surround mix.

That's my point. The difference between the mixing stage and our homes is wildly different. We keep constantly trying to justify things we do/believe about how we hear things at home and compare it to how things work in a large acoustic space to our living rooms or even how the things we hear are made in the first place. It must also be made clear what Marc does. He is a Re-recording Mixer. That is, the guy who gets all the stuff at the end and makes sure it works. *insert snarky comment about mixes not working cuz not enough bass or something* He doesn't create the effects. He's not the guy "making the bass". He is making sure all the elements are where they need to be and the levels between them are good. At no point is he EQ'ing anything. There are engineers working alongside (or at other times) that would have done that. So you have to understand when I ask him questions, it's coming from his PoV. There will always be a disconnect between what he does and what we demand as end users. Though his passion outside of work is no different from us. He loves consumer A/V equipment just like us. Not sure how he'd feel about telling people where or what he is working on currently so I'm going to skip that part. Just not sure if I should give out other peoples personal info, I mean. Apparently he did post here so I'll leave it to him to reply about what he is doing right now. His mixing/studio room IS a full sized cinema auditorium though. Even a single ported 24 would have a lot of work to do. Do you make a ported 24 now? I'd like to see that, fo sho! Right. There is no part in his workflow where he "EQ's" the sound. Somebody else has already done that by the time he gets it. Also, multiple mixes are made for a movie for various reasons. Comparing one mix to another usually leads to confusion and it should because nobody here created them. Well, there ya go. Obviously. You should retain this statement in your head and really remember it. Yes. The illusion we put upon ourselves is that following standards will "level the playing field" but that is not the case in reality. Yes, of course. That is how they sound how they sound. Everything that is sound that isn't pure untouched recordings of life, are artificially made. Creations born out of a computer or mixing board. There is nothing "pure" in the music we listen to and especially the movies we watch. That goes without saying for everything that is produced. We all do and we all have our own opinion on how it should be done. Presumably. Yes, of course. To achieve the best sound, you should EQ to personal taste. ...to personal taste. ......to personal taste.

A single sealed 24 for a full sized cinema auditorium? What could go wrong? But if you'd like to make an offer... he goes by FilmMixer at AVS. PM him.

Soo... I had a talk with my friend who mixes feature films for a living. http://www.imdb.com/name/nm0279892/?ref_=fn_al_nm_1 The "x-curve" does still exist, I was wrong there. But... it is not a part of the mix. The compensation for the screen and losses from distance are done during the calibration of the system, per screen. There is no EQ done and it is not a mandate for the home "nearfield" mixes that anything of the sort is applied to the mix itself. Minor adjustments to levels to surrounds and dialog (~1dB deviation from theatrical) are about as offensive as it gets. Sorry to burst yer bubble but....

Oy vey. Harman Target Curve.

Will do. I do know that the Xcurve is not baked into the actual mix. This EQ is part of the calibration of the system in the room itself. Not apart of the mix. "compared to how things work for music (no standards) and "home mixes.." Well... now see. That's the problem. You're conflating issues that exist across a varying multitude of different circumstances, layouts, equipment, expectations, etc. What can be applied as good methods for one market will not yield identical results in another. You're probably going to go on a long thing about inroom response and different attenuation levels and response shapes and all that stuff. Large room acoustics =/= small room acoustics. Omg... who'd of guessed. Well. You didn't have to. There are parts in what you say that are accurate and some that are wildly inaccurate. But that's okay. I'm too lazy (and at work ) to even bother correcting anything. Either way, I already look like an asshole and just don't have it in me to defend my own statements. Ya'll believe whatever you want to believe. Don't have the energy to debate against full audiophile mode. Sorry. I just enjoy movies, enjoy how they are made (even when it frustrates me) and like to replicate the cinema experience at home. *shrugs* Lol, I have outlived my usefulness on these audio boards. I'm just here to have a good time.