Originally Posted by wth718
I understand running subs hot, as I've done it plenty of times. But I take issue with a couple points. Even running it 30 dbs hot won't change the extension one bit. Secondly, you can't really give it kudos for "bass balance" when you've completely changed the balance by running it very hot.
That said, whatever it takes for you to enjoy it more is fine. But that shouldn't change it from what you initially saw as a 3.5. star movie. If you run all other movies just as hot, it would relegate PR
back down to your original rating, would it not?
As the poster you comment on mentions bumping the SW trim to +11dB, I wanted to add:
If your master volume level is anywhere near 0dBRL and you bump the SW trim to +11dB, you're over driving the SW system.
After having measured various AVR and PrePro SW out signals with worst case scenario discs, voltage out can easily hit >10v and the signal is most likely clipping at the peaks and over driving your sub amplifier.
I wish people would attach data to these sorts of comments like "run it 'x'dB hot and all is well", or "WOTW @ +6dB hot is awesome", etc. Any data would do, even if it were just an uncorrected RS SPL meter peak reading of a scene showing that the peak is indeed rising equal to the sub trim or MVL increase with no compression.
The correct method is to carefully match your SW out signal to your sub amps input sensitivity and, after calibration, if you wish to run the sub hot, do it with the SW amps gain attenuator knob. Once you lazily use the AVR SW trim to run hot, you change the whole system playback dynamic. If the sub amps limiters kick in and the amp is boosting a clipped signal, that most certainly does not describe a "no problems" scenario.
As far as filtering the low end to allow headroom to boost the low freq effects during the re-recording mix process goes, this is purely for loudness in cinemas. We can always bump the level of the low end to our liking, as you noted, if we prefer a bumped low end, but we can't add 3 missing octaves.
Folks say (and it really started to heat up with Avengers) "Who cares if it was filtered, it's still 'A' quality sound. Only the ULF fanatics say otherwise, which is ridiculous...", etc, etc. They're like frogs in the water that's slowly heating up. They don't see the trend and won't complain until the low end has been neutered to the point of not even needing a subwoofer and loudness wars have resulted in clipping and dynamic range of 5dB being the norm, just like the recorded music industry has devolved into.
There are several effects in PR
that originally went to single digits, before being filtered. Even with the filter, you can clearly see them if running accurate measurement hardware into SpecLab in real time while watching the movie. Had they left those several effects in with full bandwidth, the sound would have instantly jumped to world class. Those would have been the scenes and timestamps folks would be talking about (notice how there are no specific "Pods Emerge" or "Grenade" scenes being mentioned for PR
?). That's my opinion, FWIW, YMMV.