Originally Posted by bossobass
I'm only attempting to address the incorrect notion that because cinemas don't use BM, studios that encode for DVD and BR releases don't use BM. The Dolby guidelines also address the reason for finding significant low end in the main channels, instead of exclusively in the LFE channel.
That is your spin on what was written. Infra is never mentioned. Audio that can be heard in mentioned.
The Grammy Paper is at times a more detailed and a somewhat better read than that Dolby encoding guideline. The Dolby guidelines does give much more encoder detail that is not seen in the Grammy recommendations.
Quoted from Grammy recommendations.
"2.2 Professional Mixing Environment
A professional mixing environment is, by definition, an acoustically tuned room that optimally provides flat frequency response across the full bandwidth. Of course, no room is perfect, and compromises can and often are made, but the goal is to provide the mixing engineer with an accurate picture of the sound that has been recorded and to allow a balanced blend between envelopment and localization. To that end, the monitoring system must deliver the full range of audible
frequencies, and it must be positioned and calibrated correctly. (See sections 3.3 and 3.6)
All main speakers should be identical, of the same brand and model. Only full range direct radiator speakers should be used; satellite and dipole speakers have no place in the professional mixing environment (see section 3-2).
Mid-field monitoring is usually preferred for surround mixing. (Unlike nearfield monitors, mid-field monitors are designed to be used free-standing and not placed on top of a console meter bridge.) In the interest of uniform frequency response, all main speakers should be placed on speaker stands; the front speakers should not be placed on top of the console meter bridge. The use of movable speaker stands can be helpful if the rear speakers are to be shifted or angled differently from project to project because of genre-specific considerations (see section 3.3.1).
At least one subwoofer must be used, ideally positioned along a boundary wall in front of the mix position (see section 3.3.2). Bass management in the professional mixing environment is optional and at the discretion of the engineer; however, depending upon the specific monitoring system being used and the room design, it may prove to be unsatisfactory and yield inaccurate results.
We do, however, recommend that there be a separate bass-managed consumer system available (optimally installed in a room that emulates the home theater environment — see section 2.3) to check mixes on."