Originally Posted by digler84
im dumbfounded by this as well. i have yet to hear of ANYONE with tv speakers or a soundbar that even gives a crap. there is no way for them to hear any difference. on the other hand of that...do you know how many times i have bought or rented a movie solely based on the fact that someone said it was an awesome mix or had incredible bass moments? how many movies have one scene that rocks the house, then it becomes a 5 star bass film, and next thing people in this forum are running out to buy it or put it in there que to rent. i'm sorry, but it you have a more complex track those that have a good system will hear it, brag about it, and cause more sales. why cater to a crowd that doesn't even have the ability to hear such things. it's hard to ruin someone's system if it's not even capable of producing the track. i just think it's absurd to ruin a perfectly good disc by castrating the low end or dynamic range. its funny, disc makers put 15 different crap tracks on a bluray....for what? why not put a full reference track on a bluray, then put one stereo, dolby or dts track for people that don't want to "hurt" their speakers. sorry for the rant but i just can't stand this trend and i think the boat is being missed. the crowd being catered to should be the fanatics that care about sound....people with tv speakers are going to buy the movie because they want to see the movie, not hear it. if they did, they wouldn't be using tv speakers.
Originally Posted by Bassment
I'm not sure how you guys have never heard people complain about blu-ray and DVD audio, I ALWAYS hear people complain about movies having really quiet voices and loud action.
It's an extremely common problem people have (who listen on crappy speakers/tv/laptops), and of course always the solution is "go buy a receiver and surround sound so you can hear voices in the center channel".
Just take a look at the CATWS review thread. On the one hand, you get folks who enjoyed the audio and on the other, folks complaining that the dialogue was too soft and the explosions\LFE too loud.
One of the things with the theatrical mixes is that they're meant to be played at Reference. As such, the dialogue is recorded with that in mind and they can mix it for great dynamics i.e. the dialogue is perfectly audible at Reference, but explosions etc. have much greater volume that adds to the impact of the scene.
These dynamic swings are appreciated by the folks who've specifically invested in reproducing them in their HTs and like being able to play at (or near) Reference.
Unfortunately, the masses tend to listen with their TV speakers or HTIB setups that might not be capable of handling the levels of extreme dynamics.
Even odder is the fact that some folks might have the equipment to handle it, but odd as it may seem, while they shun the idea of using dynamic compression like Dolby Late Night or Audyssey Dynamic Volume, they expect the studios to do it for them with home release nearfield mixes and complain about mixes that AREN'T dynamically compressed.
In the studios eyes, money is king, so marketing to the masses tends to be the norm.
If it's a choice between having 5% (a generous estimate) of the purchasers extolling the dynamics/quality of the soundtrack vs 65% complaining that the dialogue was way too soft at the low levels on their non-calibrated setups coupled with the explosions being way too loud (potentially causing 'bad sounds' from their speakers) when the volume is turned up to hear the dialogue, guess which way the studios would rather go?
What's commendable is the numerous mixers who manage to walk the fine line between the camps to produce a home/nearfield version of the mix that sounds good to the vast majority from both sides. THAT takes considerable skill and talent.