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The Low Frequency Content Thread (films, games, music, etc)


maxmercy

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Sad to see PR filtered that way : (

Could be worse than that, like 40hz hpf or something.

 

Don't despair.  We still have Elysium to look forward to.....good things rumored about that one.  Hope it is a good film, too...

 

JSS

If my ulf senses were right, red 2 might be worthy to wait too. :o

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What I'm saying is that the center is asked to do so much (behind the center of the screen), that to get every sound that needs to be there it must be easy to overload it when mixing.

 

JSS 

 

The first thing one learns upon getting into audio recording, mixing, at any level ... newb, enthusiast, or even as a professional; audible distortion from clipping/overload is not acceptable.

 

It is inexplicable to me that these audibly distorted releases make it into the marketplace. I understand artistic overload for a specific effect, I get that. But these instances of heavily compressed/hard limited audibly distorted material just makes me scratch my head.

 

-----

 

Yeah, the center is tasked with a heavy workload. If you want a solid playback experience in the home, it's gotta be executed properly. It really pays for it to be robustly capable and free from compression/thermal modulated effects, certainly not downsized relative to the L&R, .. if anything it needs to be more capable. Also, the wave-launch distorting diffraction and cabinet resonances that accompany most A/V furniture (not all), certainly doesn't help, and from my recent experiments is worse than I previously thought. 

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So what's the consensus on this (man of steel) then? It was one I was really looking forward to.

 

Here's what I've got:

 

k35zPkf.gif

 

I don't know what to export from SpecLab to calculate level, extension and dynamics numbers. If someone could point me in that direction, I could contribute those as well.

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Well, might as well shove a port in my subs and program my mini for a 19hz HPF now. Can't hear below 20hz anyways right. So why bother with ULF. :(

 

 

Beeeeecause there is still content that exists that has ULF and there is the umm.... future. Don't write off all ULF in movies from now on all of a sudden. :rolleyes:

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Beeeeecause there is still content that exists that has ULF and there is the umm.... future. Don't write off all ULF in movies from now on all of a sudden. :rolleyes:

 

I was just being cheeky. I wouldn't do that, but I feel a bad trend on it's way. STID really upset me. I'm not even a ST fan. But ST 1 was such a cool sound track, that I expected lots out of STID. Then to see how badly it was butchered, just makes me lose hope.

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The first thing one learns upon getting into audio recording, mixing, at any level ... newb, enthusiast, or even as a professional; audible distortion from clipping/overload is not acceptable.

 

It is inexplicable to me that these audibly distorted releases make it into the marketplace. I understand artistic overload for a specific effect, I get that. But these instances of heavily compressed/hard limited audibly distorted material just makes me scratch my head.

 

-----

 

Yeah, the center is tasked with a heavy workload. If you want a solid playback experience in the home, it's gotta be executed properly. It really pays for it to be robustly capable and free from compression/thermal modulated effects, certainly not downsized relative to the L&R, .. if anything it needs to be more capable. Also, the wave-launch distorting diffraction and cabinet resonances that accompany most A/V furniture (not all), certainly doesn't help, and from my recent experiments is worse than I previously thought. 

 

I bet the sound guys probably know this, but the client reigns supreme....if the director wants it louder, then that's what they get....for as much as they are artists, they also have to answer to clients, who probably sit in a space with a different freq response than at the mixing console, thereby receiving a different presentation.

 

Executing a center channel is no easy business.  Furniture and baffles can wreak havoc, and 'pulling it out away from the wall' only shifts the suckouts and problems to different freq bands.....unless the front wall is very thick absorption.

 

JSS

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Case in point:  I believe FilmMixer now mixes here:

 

http://www.technicolor.com/sites/default/files/medialib/document/bloc_download/shp_freeform_location/technicoloratparamountefile.pdf

 

Depending on where you sit in this room, you may hear very different presentations, with varying degrees of early reflections.  Where the shot-caller is may have a distinct impact on the final product, good or bad.

 

JSS

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Final Poll results:

 

Inside - 4 Stars Execution and Rent

 

Kon-Tiki - 4 Stars Execution and Buy

 

After Earth - 4 Stars Execution and Rent

 

The Frozen Ground - 4 Stars Execution and Rent

 

Commando - 4 Stars Execution and Rent

 

This is the End - 4 Stars Execution and Buy (I will have to see this one)

 

Open Range - 4 Stars Execution and Buy

 

 

I'll update the posts when I get time, and get Watchmen and SotD measured.....

 

 

JSS

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Shaun of the Dead:

 

Level - 4 Stars (110.05dB composite)

Extension - 4 Stars (11Hz)

Dynamics - 5 Stars (28.57dB)

Execution - 4 Stars (by poll)

 

Overall - 4.25 Stars

 

Recommendation - Buy

 

The first of the Three Flavours Cornetto trilogy.....I like this film, and well done sound, I am a fan of Edgar Wright's (and his sound team's) work.

 

 

JSS

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Thought this was interesting. They bumped the filter down a bit, for an "extended" extended edition.

 

Still pretty lame:

 

adAoaGg.gif

The best part about this is that the peak trace from 15-25Hz is different. Hopefully that means the stone giants got a complete re-do, as well as some other scenes. It appears that it didn't just get an EQ change. It's huge mistakes like these that make me always question the 'infallibility' mystique that seems to surround the film business, when in fact, most of the bigger releases are compressed, clipped, and filtered, just like what is par for the course at iTunes....

 

JSS

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