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What do you mean by that exactly? The difference between the transient leading edge of a signal vs steady state or something else?

 

Well, what actually happens depends a lot on the room response.  To understand this, think about what happens if you play a bass sine wave through the front left speaker and then play the same sine wave except inverted through the front right speaker.  Assume the speakers are equidistant to the listener.  In an anechoic room, there is no reflected sound at all, so the steady state response will simply be the sum of the two sources.  They will cancel completely, and the result will be the same as if the waves cancelled during bass management or mix-down instead, except the woofers and amps won't work as hard.  Real rooms are not at all anechoic, especially in the bass.  If the room and speaker placements are totally symmetric with respect to the listener, then the reflections will also cancel at the listener.  But any asymmetry (including different wall construction on each side) will impact the time of arrival and/or level of the reflections from each speaker differently resulting in lingering reflected sound.  Another consideration is that any perception (such as tactile vibration) that depends on sound at locations other than the listening position will be experienced even in a perfectly symmetric setup.

 

Now, mixers who are aware of the problem will probably avoid mixing bass out-of-phase between channels because of the unpredictable results, but in reality, I bet this still happens enough to have audible consequences under different listening conditions.  Stereo recordings with mics spaced some distance from one another are likely to have plenty of out-of-phase bass.  How does one ensure that that bass is reproduced "accurately" on a two channel system?  With bass-management, that bass will be thrown away.  What's even weirder is if you use Dolby ProLogic or PL2X or some such which extracts signal that is out-of-phase between the two channels and send it (in-phase) to the surrounds.  So, up-mixing can actually increase the bass level during playback.

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This is the first of it's kind objective measurement tool for comparing the bass in movies - it's totally apples-to-apples.  (The measurement methodology AND content below 2.5 Stars is at the bottom o

Kong: Skull Island (Dolby ATMOS) Level - 4 Stars (111.38dB composite) Extension - 5 Stars (1Hz) Dynamics - 5 Stars (28.84dB) Execution - TBD Overall - TBD Notes - This fi

Hacksaw Ridge: Dolby ATMOS   Level - 4 Stars (111.4dB composite) Extension - 5 Stars (1Hz) Dynamics - 4 Stars (26.67dB) Execution - TBD   Overall - TBD   Notes - Terrific LF and infrasonic ef

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GODS OF EGYPT

 

lots of bass, but...

 

PHIL-TURD

 

At least an 8th order HPF @ 20 Hz throughout. Here's a snip of Chapter 15, which is indistinguishable from the bass in the entire movie (white means there is NOTHING there):

 

kfZFWtU.png

 

I found the level to be low and the brick wall is an octave higher. Not sure what method Fat is using to graph the soundtrack, but my sig chain is dead flat and I'm positive I'm not missing content to 10 Hz...

 

...as in Point Break:

 

Fooju5z.png

 

My copy of GOE was a rental. Might be the diff? Dunno, but I'm sure of the content I graphed with the disc I had here. It would have been MUCH nicer with content to 10 Hz, for sure. It was lame as I viewed it.

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Dave, was that a rental? I remember you doing another movie (one of the Divergent movies?) and you had way less bass but someone with the actual copy of the movie had a different mix with a lot more ULF.

 

Maybe the same thing happening?

Yes, a rental. That and the possible use by Fat of an errant correction file are the only 2 possibilities, IMO.

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I couldn't get on this site the last couple of days so, after screening Deadpool, I posted the caps in Adam's Raptor thread @ avs:

 

http://www.avsforum.com/forum/113-subwoofers-bass-transducers/1664809-bossobass-raptor-system-3-a-9.html

 

I just did a comparo animation of the mac daddy scene, mic'd full range @ the LP vs digits off the Oppo BD105 SW out with LPF @ 100 Hz. I was running the subs 3dB or so hot.

 

6900191af8f27737e463aae5d597e3d3.gif

 

I dug the movie and will be adding it to our collection tomorrow. The sound is just about perfect. Just enough ULF to add that bit of weight but not so much that it adds too much decay to the kick of the transients. And, the transients are what make this one demo-worthy. There's a billion or so of the best low end transients in memory.

 

Just my opinion and a heads up. ^^^

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Sorry for my ignorance, but I don't know what that means. :huh:

 

Can you explain the process?

Not sure if sarcastic or not ????

Sorry I should've explained myself better

I use jriver to downmix the 5.1 - 7.1 channels to a mono audio file per desertdome's instruction and then run the mono file through speclab.

 

I will only analyze the DTS-HD MA or the TRUEHD audio files

I never analyze lower quality audio files

 

Regards

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While my signal chain is no where near as flat as Bosso's I will confirm that DeadPool is going to be at the top of my list for demo disks. Low level Spec Lab measurements:

 

Going In:

DeadPoolGoingIn-1.jpg

 

Motorcycle near the beginning:

DeadPoolMotorcycle-1.jpg

 

No one needs you more than I scene:

DeadPoolNoOneNeedsYouMoreThanI-1.jpg

 

Prom sex comment scene:

DeadPoolPromSex-1.jpg

 

Super hero landing:

DeadPoolSuperheroLanding-1.jpg

 

Funny movie with lots of one-liner's. Very fun movie all around with lots of low-end. Highly recommended. 

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