Star Trek DVD has very well crafted Dolby digital 6channel mix. The opening with enterprise shhh along the right surround then shhh along left surround then again shhh on right surround and finally shhh on the left surround as it exits from onscreen to off-screen into the far distance of space.
SPL db meter set at 80dbc hmm I can’t explain why its performing smartly this week, when last week, it was overloading at 80dbc.
Switched rear stereo back half from regular stereo surrounds to Dolby-EX with overhead surround ON.
Lows can be aggressively deep and high on this Dolby film mix.
Cool use of the surrounds as captain Rubin exits the turbo-lift centre [shhh] then doors close behind him on centre back surround [shhh].
The opening STAR TREK intro WOW score beating left to right slam! Slam! Slam! Slam! Slam! Slammm!
This was the best Dolby digital mix I heard at the Empire on its new JBL sound system thou at times the highs were a bit bright, ear bending on the phasers.
I like the Foley body work, which carries a nice deep punch to the hits. Sooty like his, snake toy.
The medical thingy used in the transporter room pans along the HF smoothly centre to right.
Violent stresses of the black hole pulling the enterprise as she tries desperately to pull away, wow tense moment.
The shaking and buckling of the bridge, reaches its breaking point, as the ceiling starts to crack around room it’s like being there. The sound moves over fronts to surrounds then followed by the glass splintering across the LCR.
Push it! Push it!
I’m given it all she’s got, captain!
All she’s got is not good enough what else she got?
Good use of the LCR with music over LCR at different levels as, Snake gets into his, gear the snap of the belt buckle sounds cool. Stereo surrounds carry a softer ambient level.
Looks like Captain Nemo’s $62,500 leagues over the budget that, I don’t have.Originally Posted by Wagner
I’ve managed to elevate some of the loudness of left/right with chapter 13, but the Hans Zimmer score is still intrusive offending at masking centre channel.
Its not the best Dolby mix I mean dtsHD master audio mix of 2011. In normal Joe’s home cinema they wouldn’t know that the centre had some rare soft subtle moments as they’d be drowned out by Hans Zimmer!
The point of best sound is what? Drowning audiences in NOISE because that is not sound the use of LCR is poorly mixed. They should have mixed this in monaural because its pain the ass to short the levels out, with a bit of audio limiting to reduce Zimmer’s noisy score!
I’ve had to cut the levels on the left and right amps LF and HF. Now if I had matching EQ Technics SH-8055 I could monitor the frequency response of each LCR at the same time.
I could feed left and centre into the SH-8055 to monitor some scenes to get an idea of what is happening.
They’re have been far better Dolby film mixes of the past which have won for best sound, but Inception is taking up my time to sort this out because I like to hear everything that is on the LCRS full spectrum not have, my ears drowned out.
I though Alien (1979) Heat (1995) and The Fast and Furious (2001) was complex Inception (2010) takes the biscuit!
I’ve added some HP to left/right and reduced the level as most of the midrange sounds are aggressively masking centre but, at some point centre will mask the left/right! SIGH
Why do, mixes mix to these silly levels? A straightforward monaural mix would have been far easier for us to listen too.
I’m having lighting issues with camera as it doesn’t like high brightness/contrast.
This can take all day long to suss this out. I can’t use the dynamicEQ as several EQ bands on the LCR LF/HF have taken up percentage space and I’m down to 9% not enough, hmm, maybe I can trade off a few EQ bands that might give me enough for the ABC dynamicEQ thou that’s going to eat-up percentage space in next to know time. SIGH
Also the levels if I reduce the fade level and levels fall below -24db the audio limiters won’t kick in.
This is going to take me all day if not the whole weekend to suss this out.
I should get myself around to buying x2 SRS MyVolume for the LCR maybe they can sort the mess out!
I’m also monitoring while looking and listen to the output levels of LCR on channels on the DCX2496
1 left LF
2 left HF
3 centre LF
4 centre HF
5 right LF
6 right HF
I think I’m making some (small progress) after going back and forth many times, over listening and re-listening while looking at the DCX2496 but I can’t see the tiny differences in the frequency response and that is what counts the most. Certain frequencies will make it very hard listen to the softer sounds over LCR.
(Thinking out) I guessing I might have to set a standard of some kind, a kinder format setting for different films because I don’t know what mess its going to make of Indiana Jones and the Last Crusade with current settings. Like, I said a “format setting”.
I monitored on headphones the scene son and farther in chapter 13, and I can only pick out a few wet sounds of the son sobbing and dialogue “father” but the softer ambient sounds are totally, back of the box! That’s a CB term when the voice is so distant faint sounding amongst the radio (noise or hash).
Right at the very end of Non, Je Ne Regrette Rien the centre fades right out, but not before a musical echo upper mid sound kicks in then centre fades to mute, while the sound pans out to left to right and onto the stereo surrounds with Edith Piaf.
Before the left and right front was grossly TOO HIGH I can now listen to Non, Je Ne Regrette Rien sounding on the centre rather than left and right drowning it out.
The bluray dts 5.1 was originally recoded re-mixed in Dolby digital for the reissue of the shows. There is duel mono original mono mix that I would set to Dolby digital so it outputs to centre but the show sounds brilliant over 3” TV speaker from 36 years on Bush colour 26”.
The Behringer GEQ3102 arrived early this week. It’s a discontented model replaced with the current new model that I’ll be buying next at least x4 over the coming few months FBQ3102.
EQ only set me back about £75.00 with P&P it has one piece of the plaster slider that covers the LED on the 20KHz band missing I can handle it that’s why its second/hand and in good nick as well the EQ bands all work including HP and LP filters -6db and -12db cut filter settings.
The EQ is only used on centre channel at the moment with no filters added as I’m waiting till I have BFQ3102 for left and right then I’ll reduce the EQ for LCR with 31 band 1/3 finally!
Channel 2 is being ran on the JBL sub with few bands here and there cut to give a smooth response on the RTA. I might have to buy a much, much later date Samson 31 RTA analyzer the cost is over £250 pounds!
I can then slowly dismantle the other EQ, I’ll keep them for some kinder use when needed?
19” racks I should have got years ago but slowly with 19” rack pro equipment being installed I’d have to get a few racks as its looking rather untidily.
Since the JBL sub doesn’t have crossover filter its just passing out as normal to the amp. Hiss can be heard when amp level is at full so I cut back on the EQ filters to reduce the hiss, until I get around to buying a second DCX2496?
The low pass filter comes in handy on some LFE.1 mixes that are too damn loud! I EQ the sub with SPL placed with a few inches from the sub and did the same over LCR LF and set in filters that corresponded to the Technics frequency response on the RTA and made a few adjustments and left it alone.
I did the same for the subs placed behind the JBL control 5 I placed the SH-8055 onto sub left and right timed the level s it reads flat as possible.
The boom is a bit less annoying.
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