Craig, thank you for the kind words.
You state your room should be used for monitoring of LF/LFE (jokingly or not),...it would do the industry professional good to take a finished mix, and check to hear how it translates over a capable, calibrated system,...in an HT environment that possesses adequate bottom octave resolution and capability at reference levels, w/ample headroom to facilitate a low distortion rendering across the entire spec.
This translation check is oft mentioned in the music studio/mastering world, whereby the engineer listens to the creation in the car, the home, over a boom-box, clock radio, etc., why not employ such a technique with HT releases? Perhaps they do employ such checks, as it doesn't make sense otherwise. Then again, making a mistake by cutting out the fantastically realistic ULF/LF wallops that accompany the artillery scenes in M&C, certainly doesn't make sense either. Clearly, in my opinion, if the dubbing stage LF system possessed ample capability for playback of the intended effect, I would think they could've heard the difference in ULF/LF energy.
All said, I know very little regarding their standards and best practices etc.
Originally Posted by bossobass
How much content below 20 Hz? Irrelevant.
Is it noticeable to 'most'? Irrelevant.
Percentage of systems that can reproduce that content? Irrelevant.
The only question worth addressing is; Is the system accurately reproducing the content? If not, opinions on the 1st 3 octaves of content are as silly as it gets. It's exactly like if a blind member continually posted why the color red isn't necessary because it would be least favorite color if he could see and because he believed most things aren't red anyway.
Very nice Bosso
We enjoyed the release entitled "In Time
", last night. Enjoyable, and the sound was really nice. Very sparse ULF usage, but well executed. However, similar to Open Range, the soundtrack gunfire is truly superb
. The various shots have different characteristics, but some of them are really nicely done. They have a quick, tight, concussive wavefront, and a nice component of LF that's just bad-ass. Very effective.
Sound Design, Supervising Editor, and Re-Recording Mixer, are all Michael Babcock. I mention this because upon determining if I like the over-all soundtrack/sound design/effects, I typically determine who had their hand in on the effort. I learned Babcock has been involved with, in a more ancillary manner, The Dark Knight, War of the Worlds, and Transformers. For me,...I like restraint, or judicious use of the big effects. So was the effort in this release. I did detect some harshness/clipping maybe in the CC. Whether that was on the disc, or not I can't say for sure. Returned the disc after we viewed it so no second look.
I would enjoy seeing the spectral content of the handgun shots. Anyone have the opportunity to check this out? Did you like the gun-fire?