Gravity - did you notice the "overhead flies" sequence? Wow - stunning sound engineering and a worthy test of our "ultra" systems! - Page 19 - AVS Forum
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post #541 of 800 Old 08-07-2014, 10:20 AM
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Hey check out the maiden Quested Home Install in the USA at Jeff's, it is coming along impressively.


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post #542 of 800 Old 08-07-2014, 12:10 PM
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Looking great. Is that Mr Seaton i see?
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post #543 of 800 Old 08-07-2014, 12:22 PM
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Looking great. Is that Mr Seaton i see?
That's him... after a full day of pre-calibration and set up (check connections, phase, terminating, positioning of speakers (those AMTs have great horizontal dispersion but limited vertical) - this was a critical step that we used software for as well as standing up and sitting down to see where the high frequencies were lost.

Thanks, Peter! Like the equipment!

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There are more than a handful of [op amps] that sound so good that most designers want to be using them as opposed to discreet transistors. Dave Reich, Theta 2009
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post #544 of 800 Old 08-07-2014, 12:29 PM
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Nice overhead positioning this time.

My Dual 18" LLT subs 120dB down to 10hz

 

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post #545 of 800 Old 08-07-2014, 08:23 PM
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Great thread; really enjoy perusing over it. And that room is comin' up awesomely professional.
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post #546 of 800 Old 08-09-2014, 08:38 AM - Thread Starter
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Originally Posted by RUR View Post
My mains have 2x15" drivers each in a dipole config. Even so, when played pretty loud, those drum whacks sent the speakers into distress and I had to cut if off PDQ. When I add a competent sub crossed @ 70Hz, it's no problem even at considerable volume.

I picked up the album when a recording engineer claimed it had the highest dynamic range he'd ever seen in a commercial recording @ ~30dB.
^^^I believe this, and sounded like you had fun too. This CD has come as a complete surprise to me - so very little has been mentioned of it in audiophile rags, and now resides near the top of the demo list for drum whacks that could clean one's ear drum. :-)

It's not just the powerful sound, although the power *is* simply incredible, but the very "spacious" quality of this recording. I played it in my M3's car Dirac system and boy it felt good there too. Once again, very highly recommended for those who want to show off their Ultra system: La Bamba The Ozone Percussion Group, track 10, Jazz Variants: http://www.amazon.com/gp/product/B00...?ie=UTF8&psc=1

Regards, Can
Theta: Stunning 3D soundstage, sublime details, unlimited dynamics and low end response - the processor for music lovers. My system & CBIII HD review & setup help - Post # 3913 and Diagrams & Surround Speaker Rec. Here
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post #547 of 800 Old 08-09-2014, 09:17 AM - Thread Starter
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Last night we saw visually, and of course, sonically, one of THE most stirring endings of any TV episode ever: The closing of Game of Thrones' third season, fourth episode: And Now His Watch Has Ended. This is the one that ends with Daenerys marching out of Astapor with the Unsullied army. On screen, as rows upon rows of soldiers leave the city, the sound "exploded" with beautiful music and marching drum whacks. Overhead, the 3 dragons fly, screeching and huge wings flapping. What a treat for sore eyes and ears - I got goosebumps!

BTW, while Game of Thrones is for me not quite the level of Gravity or Desolation of Smaug as far as details of sound effects, it is pretty darn close and is about the best sonics that a television series has ever had (multiple Oscars for sound). Sound field is relatively a lot more from the front 3 LCR speakers (make sure you have BIG boys up front :-)), less in the surrounds. But... there is no question about its overall quality, frequency range, and resolution.

Up to now, my favorite TV series is Band of Brothers, and favorite opening TV intro is original Star Trek, both might be replaced by Game of Thrones', I think. The series should be old news for everyone here by now, but if you are not yet watching it, I would extremely highly recommend it, at least for the sound demo of your system. The theme song with cello (allegedly digitally modified - no space around this instrument like my best vinyl) of the opening intro is a great start, but the endings of many episodes have great sound and music as well! Just remember this is not exactly Thanksgiving family dinner type material. :-)

Regards, Can
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post #548 of 800 Old 08-10-2014, 08:22 PM
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Quote:
Originally Posted by cannga View Post
^^^I believe this, and sounded like you had fun too. This CD has come as a complete surprise to me - so very little has been mentioned of it in audiophile rags, and now resides near the top of the demo list for drum whacks that could clean one's ear drum. :-)

It's not just the powerful sound, although the power *is* simply incredible, but the very "spacious" quality of this recording. I played it in my M3's car Dirac system and boy it felt good there too. Once again, very highly recommended for those who want to show off their Ultra system: La Bamba The Ozone Percussion Group, track 10, Jazz Variants: http://www.amazon.com/gp/product/B00...?ie=UTF8&psc=1


Thanks for that link. Nothing like quality percussion recordings played through a system with exceptional dynamic range.


Some great speakers discussed in this thread. I'm curious if anyone has had the opportunity to listen to the JBL M2? I got a chance to listen quite extensively and was extremely impressed. Certainly the best pair of speakers I've ever had the opportunity to listen. Nothing like any compression driver design I've ever heard. On a whole other level of sound reproduction IMO. I think I found the speakers I've been looking for, but if their is something better, I'm all ears. I try to hunt down and listen to all potential candidates and I think I need to find some questeds to listen to before I place my JBL order.


My room is 28X13X8 and it looks like the LT10 would be appropriate. I'm leaning towards full range capability for 2-channel but I'd be willing to bass manage for the right speaker. Music is as high a priority as HT for me and my system has to play dual roles for now. I can see they are clearly excellent HT speakers, but any impressions of the questeds for music?
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post #549 of 800 Old 08-11-2014, 05:16 AM
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ht speaker. Music is as high a priority as HT for me and my system has to play dual roles for now. I can see they are clearly excellent HT speakers, but any impressions of the questeds for music?
HI

I have my LT-10s installed in my baffle wall but have done no serious listening as we are still cabling, etc.

I had my friend Itai from iRule over and I have moved completely away from RTI and am all iRule with an old ipad. The amount of feedback on components is great! Except, the Datasat is really limited in serial commands and feedback. I'll post screen shots.

I ordered a Oppo 103 Darbee as my primary BD player.

In the next 1.5 weeks, Carl Huff and Mark Seaton will come out and calibrate my RS-20i, then I can give impressions. Frankly, since I demo'd the smaller LT-8s with their ribbon tweeter, I don't know what to expect from the LT-10 ATM driver but assumed it will be even better.I will certainly post my thoughts. I have had compression driver speakers for years and really enjoy what they can do but wanted a change this time.

I bought 6 Seaton Submersives from Mark, 4 up front and 2 in the rear and our preliminary bass response is pretty flat before any outboard EQ has been added. I expect to get to 5 Hz ! DUringa demo (bass), I elected to disconnect my Butt Kickers as the chairs had enough resonance!

One thing I have noticed is the vertical dispersion limit of the high freq drivers of both speakers. If I stand up in my main listening area, while running pink noise, I can hear some high frequencies drop out. It was a challenge to get good vertical coverage over three rows. I had to make some compromises in the first row so as to insure the other rows were good. With 12 speakers to position, it took some time. However, since 99% of all movie watching is the in the main (2nd) row, I made sure all was ideal there. I'll be curious to see how the other rows sound with real Blu Ray sound tracks. Horizontal dispersion has not been any issue and all speakers can just about reach all seats in the theater.




For the 6 Submersive subs, Mark made this post (below) in the sub forum:



The red curve is simply turning both subs on with the same signal applied, just as many do in their rooms. The level reduces over much of the range, and we have a ~20dB hole around 45Hz. Through some experimentation that I'll get into with later posts, we settled on applying a delay of 7ms to the rear stack of F2's which results in the much more impressive cyan (light blue) response. Important to note is that we now see gain over each individual response across most of the frequency range (a maximum of +6dB is possible).

Yellow - 4 subs at front wall
Green - 2 subs at rear wall
Red - all subs simultaneously
Cyan - All subs simultaneously with a 7 ms delay to the rear subs

We will be well below 10 HZ with strong output when done.

My Home Theater of the Month- Le Petit Trianon

There are more than a handful of [op amps] that sound so good that most designers want to be using them as opposed to discreet transistors. Dave Reich, Theta 2009

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post #550 of 800 Old 08-11-2014, 08:45 AM
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Finally get a pic of the LS-10s in their vertical configuration. Interesting that the woofer and AMT don't line up. I thought they wouldn't from looking at the design but never got a good answer. I guess that doesn't matter?
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post #551 of 800 Old 08-11-2014, 09:10 AM
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Quote:
Originally Posted by thebland View Post
The red curve is simply turning both subs on with the same signal applied, just as many do in their rooms. The level reduces over much of the range, and we have a ~20dB hole around 45Hz. Through some experimentation that I'll get into with later posts, we settled on applying a delay of 7ms to the rear stack of F2's which results in the much more impressive cyan (light blue) response. Important to note is that we now see gain over each individual response across most of the frequency range (a maximum of +6dB is possible).

Yellow - 4 subs at front wall
Green - 2 subs at rear wall
Red - all subs simultaneously
Cyan - All subs simultaneously with a 7 ms delay to the rear subs

We will be well below 10 HZ with strong output when done.
While the Cyan curve is impressive, the Yellow is not bad and with the possible exception to the dip at 80HZ could probably be EQ'd to flat.

What is Mark using to create the delay of 7ms?

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post #552 of 800 Old 08-11-2014, 10:07 AM
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Originally Posted by audioguy View Post
While the Cyan curve is impressive, the Yellow is not bad and with the possible exception to the dip at 80HZ could probably be EQ'd to flat.

What is Mark using to create the delay of 7ms?
Hi. I think he was doibng such through his test software. We have not calibrated these through the Datasat yet. Just cursory tests to make sure our placement of all six subs put us in the ballpark for a good freq response.

Stacking the rears made a good difference as well.


My Home Theater of the Month- Le Petit Trianon

There are more than a handful of [op amps] that sound so good that most designers want to be using them as opposed to discreet transistors. Dave Reich, Theta 2009
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post #553 of 800 Old 08-11-2014, 10:09 AM
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Originally Posted by hifiaudio2 View Post
Finally get a pic of the LS-10s in their vertical configuration. Interesting that the woofer and AMT don't line up. I thought they wouldn't from looking at the design but never got a good answer. I guess that doesn't matter?
I don't think it will be significant at all but we'll see. They are vertically off only an inch or two.. If there's an issue, I can run them actively and time align each driver. That wasn't a major concern.Thanks!

My Home Theater of the Month- Le Petit Trianon

There are more than a handful of [op amps] that sound so good that most designers want to be using them as opposed to discreet transistors. Dave Reich, Theta 2009
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post #554 of 800 Old 08-11-2014, 11:02 AM
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... I have had compression driver speakers for years and really enjoy what they can do but wanted a change this time.

One thing I have noticed is the vertical dispersion limit of the high freq drivers of both speaker...
It will be interested to see if you miss the better power response of CD speakers, though the deader your room the less it will matter.

Noah
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post #555 of 800 Old 08-11-2014, 11:53 AM
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Real nice system there Bland. Great choice going with Seaton. I've met him several times and he's a great guy but most importantly he's very knowledgeable and you can't beat his support of his products. Subs and a personal calibration, can't beat that! .

I'm assuming the FR plots are from a single second row seat and not averaged? Just curious, are the other rows fairly good? The final Cyan plot looks excellent and I'm sure you'll really enjoy the output and headroom of those subs.

Please dont take this wrong as I think your system is awesome, but I think the vertical dispersion issue would bother me a bit. That's not a criticism, just a comment. I am certain your theater will sound excellent as you have exceptional tuners on the issue. I would guess you moved away from compression drivers looking for that "air" and "clarity" of a good diaphragm tweeter or ribbon? If so, I am also in that boat and until I heard the M2's I was becoming convinced I would need an alternative as well. The M2's are not like any 2 way compression driver design I've ever heard though. They reproduce with a clarity and realism that is remarkable not just for a compression driver, but simply remarkable without qualification. But the other reason I bring them up is that the listening window is crazy with them. The combined consistency of SPL and timbre in the vertical and horizontal planes exceed any design to which I've listened. This broad directivity is very different from say, Danley, and I admit the experience of the M2 was far more enjoyable than the Danley approach imo, at least in a small-medium size room.

But anyhow, I don't really want to focus on the M2's. I'm more interested in reading the impressions of your system and those Questeds. I want to be sure I'm not missing anything before I commit to such a large purchase and the Questeds look to be exceptional speakers. The narrow vertical coverage is concerning to me, but not a deal breaker in the bigger picture.

I wish you the best of luck as you wrap things up and fire up the first movie. That will be a real treat with the system you've built . Congratulations.

Regards
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post #556 of 800 Old 08-11-2014, 12:22 PM
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Real nice system there Bland. Great choice going with Seaton. I've met him several times and he's a great guy but most importantly he's very knowledgeable and you can't beat his support of his products. Subs and a personal calibration, can't beat that! .

I'm assuming the FR plots are from a single second row seat and not averaged? Just curious, are the other rows fairly good? The final Cyan plot looks excellent and I'm sure you'll really enjoy the output and headroom of those subs.

Please dont take this wrong as I think your system is awesome, but I think the vertical dispersion issue would bother me a bit. That's not a criticism, just a comment. I am certain your theater will sound excellent as you have exceptional tuners on the issue. I would guess you moved away from compression drivers looking for that "air" and "clarity" of a good diaphragm tweeter or ribbon? If so, I am also in that boat and until I heard the M2's I was becoming convinced I would need an alternative as well. The M2's are not like any 2 way compression driver design I've ever heard though. They reproduce with a clarity and realism that is remarkable not just for a compression driver, but simply remarkable without qualification. But the other reason I bring them up is that the listening window is crazy with them. The combined consistency of SPL and timbre in the vertical and horizontal planes exceed any design to which I've listened. This broad directivity is very different from say, Danley, and I admit the experience of the M2 was far more enjoyable than the Danley approach imo, at least in a small-medium size room.

But anyhow, I don't really want to focus on the M2's. I'm more interested in reading the impressions of your system and those Questeds. I want to be sure I'm not missing anything before I commit to such a large purchase and the Questeds look to be exceptional speakers. The narrow vertical coverage is concerning to me, but not a deal breaker in the bigger picture.

I wish you the best of luck as you wrap things up and fire up the first movie. That will be a real treat with the system you've built . Congratulations.

Regards
Thanks for the thoughtful response.

Yes that cyan curve is the best average over 3 rows for bass. The demos were crazy. Having Mark there for set up was great. And the final calibration of the DATASAT with Carl Huff is also real value.

Regarding the limited vertical dispersion of the AMTs, every speaker has its disadvantages. I'm aware if the compression driver disadvantages and domes rarely have the output I desire. As long as I am seated, all will be great. Mark pointed out during testing that pink noise exacerbates this phenomenon more than real world material... But truth be told, I'm rarely watching while standing. We aimed al 6 pairs of speakers for maximal coverage while making the center row the sweet spot. 95% of all movies are my wife and I, so I'm ok.

It's a bit of a leap for me with these speakers. Ribbons are not the norm but I did like the LT-8s for the 3 months I had them.

That said Peter is a friend and I value his thoughts and he is big fan. But really, I've always liked ribbons and it was fully my choice to commit. They have the sound and the output.

We'll see...
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post #557 of 800 Old 08-11-2014, 12:35 PM
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That's a great curve for an average over the rows. Should be a great base for RC. Looking forward to your listening impressions.

If you're anywhere near NJ and need a body to fill a seat at The Bland Theater grand opening, I'm available. Just sayin'

Edit: Just saw you're in Michigan. Darn.

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post #558 of 800 Old 08-11-2014, 01:37 PM
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The M2's are not like any 2 way compression driver design I've ever heard though.
Have you heard the Geddes Summa or Abbey?

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post #559 of 800 Old 08-11-2014, 03:35 PM
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Have you heard the Geddes Summa or Abbey?
No, not had the pleasure. My comment stems from the fact that I've never experienced a horn that I could roll around anywhere between the speakers (about a 10-12 ft. spread) on an office chair and kneel down on my knees and stand up, yet not find a single position I preferred over another because the timbre and SPL was subjectively the same everywhere. Not different but also good, but the same. I'm sure it just couldn't have been true by measurement, but subjectively it was true. Didn't matter where I sat it was awesome. Not sure how it pulls that off.

As well, they did things I've personally never experienced from a speaker. I'm not saying there is no other speaker at this level of performance, because I have no way to know that. All I can say is it is on another level from any speaker I've personally heard.
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post #560 of 800 Old 08-11-2014, 04:12 PM
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While the Cyan curve is impressive, the Yellow is not bad and with the possible exception to the dip at 80HZ could probably be EQ'd to flat.

What is Mark using to create the delay of 7ms?
Check the thread on the subwoofer system for more graphs I posted up today. The visit being discussed purposely left the Datasat out of the loop as we wanted to know everything was working as it should before playing with all the flexibility of the RS20i. I made sure Jeff hadn't yet sold his DSP-30 from the previous setup so I could use it for this quick setup and evaluation. All I did was use the second channel for delay in all graphs posted so far. No level or EQ adjustments. Before we gave a quick listen to the LCR & subs I did throw 3-4 filters at the input, but as you note, it's a very desirable starting point.

So far as if the rear sub locations are needed, I would say it's optional if we only had 1 row. For multiple rows it made for a huge advantage across the 3 rows. Most will also overlook how efficient the rear location is above 20Hz. The rear stack of SubMersive F2's are exactly 1/2 of what is at the front wall, but equal signal to each produces similar or more output in the 20-35Hz range from 1/2 the number of subwoofers. Here is a quick comparison of 2 subs front center vs. 2 at the rear corner. This makes it more clear as to the benefit of each location:


I also just posted this to the other thread showing the center seats of each of the 3 rows...
Quote:
What I found the most interesting was what we were able to achieve by comparing the "preferred/workable" range of responses in the other 3 rows. I know many have 2 rows, but I think many don't realize just how difficult it can be to get acceptable response and coverage from speakers and subwoofers across 3 rows of seating. I'll later post some of the further comparison of what helped us settle on 7ms of delay for the rear subs, but if anyone's ever measured across 3 rows of seating, this is an exceptional response with no EQ where we have the middle seats of all 3 rows at +/-3.6dB below 65Hz. These are high resolution measurements of only the subwoofers using my TEF25 with no smoothing with magenta/purple showing the back row, green the middle row, and yellow the front row:

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post #561 of 800 Old 08-11-2014, 05:47 PM
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not to detract from Mark's fascinatingly insightful post, but as this is the off topic thread I just read this powerful commentary on 3d film making. This director is going to exploit James Franco 3D acting values(also 3d in Oz great and powerful)

from THR

Berlin: Wim Wenders on How 3D is Drowning 'in a Lack of Imagination' (Q&A)

Donata Wenders
Wim Wenders
"We have all come to the terrible and totally wrong conclusion that 3D is strictly related to action and special effects," says the auteur, whose 3D film "Cathedrals of Culture" will premiere at the fest.


But while digital tech quickly was adopted, the 3D revolution in documentary filmmaking hasn’t arrived just yet. Undeterred and with the conviction of the converted, Wenders continues to push the boundaries of the much-maligned format. His ambitious documentary project Cathedrals of Culture, which will have its world premiere at the Berlin Film Festival, has six directors — Wenders, Robert Redford, Austrian auteur Michael Glawogger, Denmark's Michael Madsen, Brazilian director Karim Ainouz and Norway's Margreth Olin -- using 3D to tell the stories of iconic buildings.

THR reached the director on the Canadian set of his latest project, Every Thing Will Be Fine, a live-action, art house drama -- in 3D -- starring James Franco.
Every Thing Will Be Fine is your first live-action 3D drama. What have you found most difficult and most surprising about doing a drama in 3D?

Wenders: I’d need hours to elaborate on that! I don’t even know where to start … I guess the key is the actors’ “presence”… James Franco has screen presence galore. He knows what it is, he knows how to “turn it on.” Does it make a difference in 3D? Do we understand the character better? Are we closer to him and more involved in his inner life? I’m very much aware, all of the time, that we’re working on new territory. We might gain something: intensity, identification, immersion. But also, every now and then, it’ll probably mean we lose something of the old movie rules, of the convention established between audiences and filmmakers. I have given a lot of thought to the question of how 3D might become a necessary element of our film, not only an ingredient. But I would have to reveal our story in order to explain that. All I can say: It’s exciting to do a drama in 3D! It is all new for me, for us, and hopefully that excitement will translate to the viewer as well.

It’s hard for the average cinema fan to understand why you would shoot a traditional non-action, non-special-effects-driven drama in 3D.

Wenders: We have all come to the terrible and totally wrong conclusion -- and your question is insinuating it, too -- that 3D is strictly related to action and special effects. No, it’s not! It might have been used first in the realm of action- and special-effects-driven movies, but that does not mean it was made for that. These movies do not own 3D. Nobody owns it. It’s a medium that belongs to everybody who wants to use it. And hopefully it will be used with more imagination in the future, because right now this fantastic language is about to drown in a lack of imagination.
3D has a built-in capacity to involve you in a different way than “flat cinema” does. It even involves different areas of your brain! So one can certainly tell a story differently. In 3D, I come up with different shots, I edit differently, I look at my actors differently. We are involved differently, myself as well as my audience, so don’t you think an intimate drama could also come out differently? I am convinced it will. But in order to find out [and prove it] I have to do it. Theory and concepts have never made a good film -- only guts do. And if filmmaking cannot be about discovering things anymore, I’ll give up being a director.

Is this film a first? Are there any other 3D films that have done something similar to what you are attempting on Every Thing Will Be Fine?

Not that I know of. When I shot Pina, I caught a glimpse of what 3D could do in a fictional context, when we were doing the "silent portraits" of each of the dancers. These were just close-ups, but they felt like I had never seen (or shot) a close-up before. They were "face-landscapes" that gave me goose pimples. I felt I would want to start telling a story with each of these characters. They were so close, so human, so real, so powerful! I was convinced that the stories told with this new language would go straight to your heart, could concern you in a deeply existential way.

Does shooting in 3D change your grammar of cinema? Rapid editing and close-ups, for example, aren’t as effective (and can be nausea-inducing) in 3D.

Wenders: True. All true. But sometimes I feel that nobody knows anymore what “grammar” means in contemporary cinema. The very notion that there is a language we can all accept and agree on has disappeared. Those were the old days of cinema, when such conventions were valid. “Anything goes” is not exactly a grammatical rule, is it? Together with my DP, Benoit Debie, we are trying to define a “grammar” that might allow us to capture an intimate and epic story in singular moments in space. It all boils down to using two or three lenses, to be inspired by a handful of painters -- like Andrew Wyeth in our case -- and to learn how to constantly move your camera, not shakily, not hastily, but steadily and slowly. And you’re right: We’re trying to edit a bit less rapidly.

You’ve been an outspoken critic of the Hollywood studios using 3D mainly as a tool for spectacle. What do you dislike about this approach and what do you think the studios are missing?

Wenders: It’s a very basic thing that they don’t get or rather that they get wrong: 3D is utterly “human.” Most of us have two eyes, so we see the world and our lives in three dimensions. Now we can finally see movies with that same perception, except that these [3D movies being made] have nothing to do with our own lives whatsoever. That is what they are missing. I know this is a bit of an exaggeration, but I feel they are spoiling our right to a human experience in 3D. Their kind of 3D does not look like anything we see with our own eyes. It is an artificial fabrication.

How much do you think the success of films such as Gravity and Life of Pi -- commercial hits that also were critically praised -- will change attitudes about what is possible in 3D?

Wenders: I’m so thankful for both of these films you just named because they finally raised the bar again. It seemed like James Cameron had put up that bar to begin with -- and very high, indeed. And then for years nobody even tried to jump over it. It drove me crazy to see that there had been one masterpiece, Avatar, and afterward it looked like there was a conspiracy in Hollywood to leave that film alone and be content with less, for years. It gave 3D a bad reputation. And I’m just hoping that this absolutely fantastic tool isn’t just hollowed out from within, so that it eventually will disappear again by the sheer lack of quality and conviction that got invested into it.

On Cathedrals of Culture you worked with a group of directors who had never used 3D before. How did the different filmmakers approach the format?
Wenders: For Cathedrals of Culture we invited five directors to shoot a film about a building that inspired them, exploring what we called “the soul of the building.” Only Michael Madsen [and I] had actually worked in 3D before. The six of us have all used the medium in a different way. Everybody developed his or her own 3D handwriting, which was one of the aims of the project: to bring an interesting group of filmmakers together in order to explore and challenge the possibilities of 3D in a way it had not been done before. The six approaches were as different as the six filmmakers, but the stereography of all six films is based on [Pina stereographer] Alain Derobe’s “Natural Depth Method” and implemented in the entire project by the director of stereography, [Alain’s daughter] Josephine Derobe.

Do you still believe in the power of 3D to change cinema?

Wenders: Yes! But first it has to become a more democratic language. It needs to be used in documentaries and independent films, in education just as well as for ecological or nature projects. If 3D as a tool, as technology, as language, as medium, doesn’t come into its own, but keeps that stamp of “effect-driven blockbuster attraction,” then it will indeed vanish and eventually be obsolete.
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post #562 of 800 Old 08-11-2014, 06:18 PM
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Hi. I think he was doibng such through his test software. We have not calibrated these through the Datasat yet. Just cursory tests to make sure our placement of all six subs put us in the ballpark for a good freq response.

Stacking the rears made a good difference as well.

[img]http://www.avsforum.com/forum/attachment.php?

attachmentid=201633&stc=1&d=1407445005[/img]
are those 8 woofers on back of room?!2 per side or just 4 stack?
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post #563 of 800 Old 08-11-2014, 06:43 PM
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are those 8 woofers on back of room?!2 per side or just 4 stack?
Each subwoofer has 2, 15" drivers powered with 1000W per woofer. There is one stack of 2 cabinets (4x15" drivers) in the rear right corner, and 4 cabinets (8x15" drivers) under/behind the baffle wall for a total of 12 drivers and 12,000W continuous power.

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Each subwoofer has 2, 15" drivers powered with 1000W per woofer. There is one stack of 2 cabinets (4x15" drivers) in the rear right corner, and 4 cabinets (8x15" drivers) under/behind the baffle wall for a total of 12 drivers and 12,000W continuous power.
Mark,


When dealing with three rows, how do you prevent ending up with a FR that is bass heavy in the 3rd row. The HF may be 6 dB down when compared to the LF going from the 1st to the 3rd row. Is it even possible to do anything about it?


BTW, that is a fantastic raw FR across those rows. That will be a great substrate for the RC. Kudos.
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I can see they are clearly excellent HT speakers, but any impressions of the questeds for music?


incredible audio experience at unrestrained 125 decibel peaks,intimate venue spatial nuance,hollosonic, you heard the instruments whether electronic (fender amps) or percussive, female voices realistic, the crowd around you had a distinctly realistic immediacy, i have not heard with meridian, dynaudio esotar, meyer etc etc.

Its like being there... Also played from iphone lounge techno, each track sounded as being played by a different system, no coloration whatsoever across recordings. Fatigue free after high spl weeklong 16-20 hour sessions.

Jeff can you get Jeff Beck at Ronnie scotts, Oz the great and powerful, star trek 2013, ironman 3.

Your impressions on those would validate or invalidate what I experienced at Moscow.

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post #566 of 800 Old 08-13-2014, 02:04 PM
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Cats out of bag Jeff has Americas first AURO, and the world's first premier-rank AURO Quested system, with better transient response behaviour (and less fatiguing) speakers than AURO's own labs which use Meyers (cough-gag) Meyer (like steinway lingdorf)leaves a lot of information ricochetting behind the Microperf, Quested punches through transparently.
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post #567 of 800 Old 08-14-2014, 12:04 PM - Thread Starter
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For those of us who don't venture out of the Ultra forum: some interesting new info regarding home theater Atmos. Following is a summary of the channels of home theater Atmos, based on information posted by Sanjay/sdurani, on another thread.

1. Commercial cinema Atmos: 7.1 bed channels or 9.1 bed channels + objects. With 9.1, there is height info in 2 of the 9.1 bed channels.
2. Home theater Atmos on Blu-ray: 7.1 bed channels or 9.1 bed channels (matching the cinema mix) + objects. Same as above: with 9.1, there is height info in 2 of the 9.1 bed channels. The 4th substream carries both channel and object info.

As commercial theaters produce height bed channels in the 2 overhead arrays, this seems to *imply* that in a home Atmos system of 7.1.4 speakers (not channel), the 4 ceiling speakers would best be the 4 yellow dots in the diagram sdurani posted a while ago, if one is to duplicate the Atmos intended setup/mix as close as possible. If you have more than 4, then the other positions, top middle and so on, follow.


Regards, Can
Theta: Stunning 3D soundstage, sublime details, unlimited dynamics and low end response - the processor for music lovers. My system & CBIII HD review & setup help - Post # 3913 and Diagrams & Surround Speaker Rec. Here
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post #568 of 800 Old 08-14-2014, 09:54 PM
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Hi. I think he was doibng such through his test software. We have not calibrated these through the Datasat yet. Just cursory tests to make sure our placement of all six subs put us in the ballpark for a good freq response.

Stacking the rears made a good difference as well.

Just tell me you got some bi-amp going there. I can't sleep if you tell me your running them on one amp.

And the payoff is never certain: Some observers contend that a generation has already been trained to be content with the small screen.
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post #569 of 800 Old 08-14-2014, 10:07 PM
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Originally Posted by cannga View Post
For those of us who don't venture out of the Ultra forum: some interesting new info regarding home theater Atmos. Following is a summary of the channels of home theater Atmos, based on information posted by Sanjay/sdurani, on another thread.

1. Commercial cinema Atmos: 7.1 bed channels or 9.1 bed channels + objects. With 9.1, there is height info in 2 of the 9.1 bed channels.
2. Home theater Atmos on Blu-ray: 7.1 bed channels or 9.1 bed channels (matching the cinema mix) + objects. Same as above: with 9.1, there is height info in 2 of the 9.1 bed channels. The 4th substream carries both channel and object info.

As commercial theaters produce height bed channels in the 2 overhead arrays, this seems to *imply* that in a home Atmos system of 7.1.4 speakers (not channel), the 4 ceiling speakers would best be the 4 yellow dots in the diagram sdurani posted a while ago, if one is to duplicate the Atmos intended setup/mix as close as possible. If you have more than 4, then the other positions, top middle and so on, follow.

This is something you have stated previously, I believe that the 45 degrre front and rears are better due to angle of dispersion providing way better coverage, well see.
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post #570 of 800 Old 08-15-2014, 05:16 AM
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Just tell me you got some bi-amp going there. I can't sleep if you tell me your running them on one amp.
Yep, one amp powers both... as designed for such. According to Mark, the more drivers, the more efficient to power.

Mark was using my old DSP-30 to apply delays, etc - but no EQ. I have only powered on the Datasat to be sure it was not dead out of the box. I've still got a lot to do before Carl and Mark arrive for final calibration on Wednesday.

In fact, I am ending my week long vacation up in Northern Michigan (Charlevoix) a day early so as to get back, install bass traps, clean up equipment room, re-install screen, reassemble chairs, etc and complete this, now, 8 month process. As much as I love being at our place up north and beautiful Lake Michigan, I have to get home!

My Home Theater of the Month- Le Petit Trianon

There are more than a handful of [op amps] that sound so good that most designers want to be using them as opposed to discreet transistors. Dave Reich, Theta 2009

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