Watching Black Rain right now while LCR/LFE.1 remain muted as I’m only interested in monitoring the surrounds.
They appear to be split-stereo surround. Nice discreteness of effects and occasionally music
There is weird sounding moment when Nick Michael Douglas hustles for some money along the river-side of New York. One of the bikers hands him the money that he just lost on bet. (The rustling of the money is heard on the surrounds equally each side centre phantom).
Chapter 2, time 00:04:54
It’s not the first time I’ve heard strange and exotic mixes that have odd sound placement. There is moment in Crimson Tide that has sound image that is heard on left surround.
The image looks okay over the murky muddy washed out milky colours of the VHS that I still have in its pan & scan form. The film was photographed in super35 not one of my favourite formats its framed in 2.35:1
While trying to enjoy my evening microwave meal! The db level on the surrounds between DolbyTure and (dtsHDMA is +1db) wow! Back to my meal!
I would prefer if dts was only used on films that was exclusively produced for dts like that of the early days of T-Rex, Jurassic Park!
The surrounds have very little directional effects in the meat factory where Nick cashes down a Japanese gangster. Lots of Han Zimmer syth percussion.
There are moments where the surrounds go mute, leaving only the LCR playing. In Dolby stereo all the channels will be constantly active with sound due to the nature of Dolby stereo matrix circuitry.
Chapter 22 Andy Garcia is trapped with gang of Japanese tugs motorbikes whirl around very, very subtlety in loudly chaos way that echoes along the hollow surroundings.
I think Black Rain is worthy of frequency waterfalls later on.
-I can take anything I want?
-Anything.
[Pulls gun from its holster with dramatic music!]
Nice punchy end credits I can see why this was nominated for best achievement in Sound 1989 Oscar®.
Re-recoding mixers
Donald O. Mitchell
Kevin O’Connell
Greg P. Russell