Originally Posted by Ricci
I can hear them at normal volumes as well. What I meant was that being that you can never get higher than 0dbfs in the recording that greater dynamic range necessitates that the average volume and lower level sounds will be much quieter. There is a standard for playback of movie soundtracks, but there is none for music or other media and the standard for movie theaters is mostly to ensure consistency as far as I know. Most volume knobs will go well past where movie reference level is set. If a person chooses to use the rest of that potential and their system can handle it, there is nothing wrong with that. Realistic reproduction of some sounds would require much more than movie reference level settings.
The one thing wrong with it is the distinct probability of permanent hearing damage. I'll tell ya with 100% certainty there's no way I could watch WOTW above ref level to a point of 130dB+ peaks without immediate and extreme discomfort.
The average peak-to-average difference is 20dB in movie soundtracks. As JPC pointed out, they are quite consistent.
Yes, you can bump the MVL, or, as most people opt for, bump the SW trim, but, this was the point I was trying to make with Tom; there is a big difference between peak-to-average at RL and running the SW channel +15dB hot.
It's an established fact that people perceive the loudest of a group as the best sounding. That's why it's imperative to level the SPL when judging things like dynamic tracking and other SQ issues.
I doubt anything auditioned at the GTG exceeded a peak-to-average greater than 20dB, which is not very difficult to acommodate, except with those pieces that contained sub 20Hz material, which the TH50 is incapable of handling, especially if a 20Hz HP is inserted on top of a 4th order roll off.
My suggestion was that the TH50 was judged the best of show for its monstrous output capability above 20Hz vs the other subs auditioned, not its ability to track transient peaks in the source material.
I use 8-15s, MK uses 8-18s. Sensitivity is irrelevant. We have no issues with transient peaks (or compression, or non linear distortions) at reference level down to below 5Hz.
Out of current fascination with SL and partially because JPC was breakin' my onions about HD, I decided to tweak my subs in-room response to +/- 2.5dB at the mic position and calibrated SL and ran my own direct-from-SW output vs subs mic'd spectrographs of a dozen soundtrack scenes.
You can visually detect differences to within 2 or 3dB from 3-120Hz, as well as spot harmonic distortion, compression and other possible shortcomings of the subwoofer system.
Since the digital graph was taken off the SW output only, I ran the mic'd copy with the sats all off and only the subs on. Here's the Irene scene at '00' MVL. Note the absence of 2HD at 12.3Hz. There is some harmonic distortion at 24.6Hz and at 36.75Hz, each around 3% (down -30dB from the fundamental), but when you consider that this effect is made up of 10 simultaneous tones, that's fairly remarkable, IMO.
Now, can I run the SW trim at +15dB hot and get as clean a reproduction? Who cares? I certainly would have no reason to attempt such an exercise.
Again, brutally loud above 20Hz is a fun experience and a laudable feat by any standards, but it has little to do with the ability to track transient peaks or accuracy in general. The -20dB hole at 60Hz and the +8dB peak at 90Hz at the mic, shown in the GTG graphs, would seem to me to be at least as important to accuracy as effortless SPL capacity.