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post #1 of 114 Old 07-18-2016, 10:09 AM - Thread Starter
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An Evening With Rob Hahn

On Saturday I had one of those experiences of a lifetime when Angela and I spent the evening with Rob Hahn and his wife Claudia at their home in Connecticut. I want to start by saying I couldn't have possibly been made to feel more welcome with their warmth when we were there and I want to thank them both for the time and energy they spent with us !


I also want to preface this with a few comments which may seem strange but ones I feel are necessary. First, I had prepared myself mentally for what I was going to see but when I got "the tour" I quickly realized that there wouldn't have been a way for me to have prepared with things simply being so far from my own experiences to date. Secondly, and unfortunately, I personally do not have an adequate vocabulary to describe what I experienced there.


When we arrived we came up onto Rob's drive and were met with a gate which opened for us as we approached a gorgeous site really, with the home built on a grade and in a handsome wooded lot. When we parked we were along the side of his home next to the garage above which were several beautiful shuttered windows. As I told Rob later, I fully expected these to swing open and have him say come on up. Later we were told that these were faux windows and shutters since this was actually where the theater was located. We immediately could see that the front door was ahead as we passed under a long stone area with archways overhead hanging lighting and a conservatory of large glass panels and many plants within just beautiful. Incredible stonework and woodwork within as we went along this hall toward the front door. There the archway closed this area and opened to the stairs up to the front entrance


Rob and Claudia greeted us at the front door and immediately I could see that this was a place where attention to detail was important, this ,in fact ,represents one of if not the biggest understatement of my life !
We were immediately offered a drink as we talked a bit about the first time I met Rob eight years before when he was beginning his research for his home theater design. Then he had gone around the country to visit several theaters to see what he did and did not like. When he was here he met Mark Seaton who recommended Keith Yates for his future design and ultimately was his choice. I can only say that after experiencing the theater itself one could simply say that he unquestionably made the right decision.


We soon began a tour of Rob's home as Claudia prepared dinner. Rob has seen to it that his home has been designed and built as a place to stay, a place to love. The home is beautiful functional ,welcoming, and incredibly interesting. Angela and I commented afterwards that each room wasn't some sort of useless showpiece but instead each had a specific function for and a lot of thought had gone into each. The home is quite large yet each room feels intimate as they intended . I cant overemphasize how interesting his home is.
The tour as I began to realize really was necessary for us to get any kind of grip on what went into the theater itself from the lowest part of the basement and garage to the highest point above theater the various aspects of the theater and their contribution were exposed prior to actually seeing the theater itself.


The theater was many years in both planning and construction and the results speak for themselves! Large balanced power systems , HVAC that makes the room so quiet ones feels as if they are in an almost infinite space when the two 400lb doors close at the entrance. The room itself at first does not appear nearly as large as it actually is. First the architectural features clearly show a desire to make the room interesting (not an audio/video laboratory ) yet perform at an optimal level.


When finally were brought up to the theater we entered an anteroom with fabric panels at chair rail height ,wood raised panels and lighting to accent black and white photos that Rob told us will ultimately adorn the walls around. When we walked into the theater we both just said wow! I didn't feel like this was pearls before swine yet ,as now, I did not have words. One enters from the back and you soon realize that you are standing at a great height, each of the three riser having three steps. As you step down into the room you then begin to see and feel the real size of the space. Most of us have built our rooms within some existing space but this room is a full two story height which really dwarfs you when you walk down to the front of the room and stand next to the 19' screen and then look back up to the seating.


At the front is the very, very large Directors Choice Stewart screen . For those who don't know this is a four way masking system that allows Rob to optimize the projection area for each film. As he said to me this allows Jurassic Park to open up and be as large as a scope film vertically for the dinosaurs as the director intended and Gone with the Wind to be large despite the 4x3 aspect ratio. He said that he believes that this is how it was intended since this was the canvas they had at the time and each was never intended to be larger or smaller than the others.


I walked around felt things sat in various seats to the look at the screen experience the complete silence of this incredible room. At this point things start to get interesting as we checked in on Claudia and talked about dinner and poured a glass of wine. Rob has a large climate controlled wine cellar that is automated as is his entire house with Crestron.


We went into the theater to look again I think it gets confusing since I experienced so much that day we sat down and Rob turned the lights down. This I will say was one of the most incredible things I've ever experienced, it took a few seconds to grasp what I was seeing and when I did all I could say was an emphatic awesome ! All of the surrounds fronts and ceiling speakers and acoustic treatment were lighted. All had been totally invisible prior to this. The room was now even much larger as the true size behind the acoustic treatments was now exposed. I thought that the ceiling was flat black drywall or something but instead was black fabric with the speakers and elaborate acoustic treatments behind. This was still just stunning. The true now even larger size of the room in every direction became apparent. This simply is one of those things that can't be described . As you sit there looking around ,now knowing all of this was completely hidden to produce the beautiful architectural features when the lights are up ,the unobtrusive room around when the movie plays, but yet, is there and performing.


The first thing was War of the Worlds. Here as in the rest of the evening Rob did something different than I'm used to. He has presets for each film that correspond to his own tastes including many video settings such as gamma ,noise reduction contrast and many others. This particular clip started with the storm and lightening strikes. Nothing like I've ever experienced. It went on to the machine coming out of the ground glass breaking crushing metal and the vaporization beam all without harshness of the high frequency even at this level. Bass coming from everywhere. At one point I had to consciously open my mouth more since my back teeth started to chatter ! The bass is so tight and clean yet beyond any power I personally have experienced, despite having been in some rooms, including my own ,which previously set the bar quite high indeed.


Next we watched Gravity in it's entirety. This film looked absolutely spectacular on the 1.0 gain 19' wide directors choice and the Sony 5000es. More than enough light ,depth and blacks very very nice. This film has dialog coming from everywhere , as many of you know, simultaneous to all of the effects and bass that almost never stops for an hour and a half. Always easy to distinguish each and, at the same time, as the film takes you on a ride. Just great, great performance from the Trinnov, custom uber subs and all of the entire Atmos set up.


I firmly believe that I just experienced the greatest home theater in the world !


I want to thank Rob and Claudia for letting us into their home and making us feel so incredibly welcome. This was truly an experience of a lifetime for me. I told Rob that it would be very very easy to hate him but yet, instead, because of the kind of guy he is, I felt incredibly happy for him and proud of the effort he has invested to achieve this.


Best of luck Rob and thanks again for such a great day.


Art

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iRule rules my theater
" Complaining makes you the victim.Change the situation, leave the situation or accept the situation, all else is madness"

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post #2 of 114 Old 07-18-2016, 12:44 PM
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Wow! That is a bucket list adventure... I can only imagine the excellence..

Nice write up!

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post #3 of 114 Old 07-18-2016, 12:54 PM
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Thank you Art! That's so nice of you. I was anxious to show you what we had come up with after being so gracious in letting me spend an afternoon with you 8 years ago, pumping you full of questions. Needless to say, when I entered your theater, I also said "Wow!" I am planning on uploading some pictures of the theater very soon. The lighting is a little tricky to capture, as you can imagine.

Thanks again for steering me in Keith Yates' direction. As you experienced, he _really_ knows what he's doing. I'm extremely picky, and I couldn't be happier with the way it came out! Keith is the real deal... I should also give props to Geoff Franklin who designed the video portion of the theater and did all the incredible wiring. He & Keith are a great team!

Pictures to come...

-Rob
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post #4 of 114 Old 07-18-2016, 01:16 PM - Thread Starter
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Quote:
Originally Posted by thebland View Post
Wow! That is a bucket list adventure... I can only imagine the excellence..

Ah yea ! I'd say the bucket stops here .


Art

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" Complaining makes you the victim.Change the situation, leave the situation or accept the situation, all else is madness"
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post #5 of 114 Old 07-18-2016, 01:18 PM - Thread Starter
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Quote:
Originally Posted by Rob Hahn View Post
Thank you Art! That's so nice of you. I was anxious to show you what we had come up with after being so gracious in letting me spend an afternoon with you 8 years ago, pumping you full of questions. Needless to say, when I entered your theater, I also said "Wow!" I am planning on uploading some pictures of the theater very soon. The lighting is a little tricky to capture, as you can imagine.

Thanks again for steering me in Keith Yates' direction. As you experienced, he _really_ knows what he's doing. I'm extremely picky, and I couldn't be happier with the way it came out! Keith is the real deal... I should also give props to Geoff Franklin who designed the video portion of the theater and did all the incredible wiring. He & Keith are a great team!

Pictures to come...

-Rob

Yes, please post some pictures,you could easily replace my thousand words with one.


Thanks again Rob !


Art

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" Complaining makes you the victim.Change the situation, leave the situation or accept the situation, all else is madness"

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post #6 of 114 Old 07-18-2016, 04:04 PM
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Sounds like an awesome adventure. I hope Rob posts some pics of his theatre (and house!) but I completely understand if he doesn't.

I have seen a picture somewhere that shows the backlit room treatments in a Keith Yates room, I wonder if this is Rob's room?

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post #7 of 114 Old 07-18-2016, 04:08 PM - Thread Starter
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Originally Posted by The Bogg View Post
Sounds like an awesome adventure. I hope Rob posts some pics of his theatre (and house!) but I completely understand if he doesn't.

I have seen a picture somewhere that shows the backlit room treatments in a Keith Yates room, I wonder if this is Rob's room?

I don't know if the pictures of Rob's theater but trust me this puts the domed IMAX to shame in impact. I hate to say it but even pictures probably won't cut it but at least could give a general idea. I did something similar in front but the amount ,the sides and ceiling and the implementation are just top notch.


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post #8 of 114 Old 07-18-2016, 06:37 PM
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It sounds like you had a really good time, Art.

A Keith Yates designed room is something most of us can aspire to own.

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Wow! Having seen the evolution of your theater upgrades over the years and the wonderful demos that you've put on, it must of been a treat for you to get to experience your own "wow" moment. I can only imagine the detail that Rob has put into his theater. I'm absolutely intrigued by the idea of preset settings per film as seen through the eyes of a cinematographer. The theater sounds like a wonderful space to get lost in film. Thanks for sharing your evening.

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care to share an equipment listing? or more details?
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Art said:

"Here as in the rest of the evening Rob did something different than I'm used to. He has presets for each film that correspond to his own tastes including many video settings such as gamma ,noise reduction contrast and many others."

Kudos to Rob, that is the way it should be done.

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Quote:
Originally Posted by CINERAMAX View Post
Art said:

"Here as in the rest of the evening Rob did something different than I'm used to. He has presets for each film that correspond to his own tastes including many video settings such as gamma ,noise reduction contrast and many others."

Kudos to Rob, that is the way it should be done.
And how is this technically done?
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Is this Rob's theater?

http://keithyates.com/cinema-at-the-edge/
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post #14 of 114 Old 07-20-2016, 06:03 PM - Thread Starter
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Yes, that be it. I hope at some point Rob can post some nice photos those don't do it justice. The seats ultimately had custom wedge arms to produce the radius of curve Rob wanted (not shown)


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post #15 of 114 Old 07-20-2016, 09:46 PM
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The people in the pictures look like midgets! Those are some tall ceilings! Love the "death-star" woofer device, must be to find room modes or something I'm guessing.

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post #16 of 114 Old 07-20-2016, 11:35 PM
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Quote:
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care to share an equipment listing? or more details?
Here's a list of some of the equipment in another thread I posted (sorry for the repeat here):

Subwoofers:

JBL Pro M2s (3 of them) behind the screen.
Also behind the screen - 12 24" UberSubs (custom designed). There is also a 24" UberSub below each center seat in row 2 & 3 (there are 3 rows of 5 seats each). More subs - 8 JL SHOC-24 subs behind the side & rear walls. So 22 Subwoofers total...

It is an Atmos system.

Speakers:

10 JBL Pro SCS 8 speakers in the ceiling
JBL Pro AC28/26 (4 of these, 2 front left, 2 front right)
JBL Pro 8340A (6 of these, 2 side left, 2 side right, 2 rear)

I never thought I'd _ever_ use JBLs in any capacity, but I flew to Milwaukee with Keith Yates to hear an installation of these (behind a 19' Stewart) and was duly impressed. So here we are! JBLs? Who woulda thunk?

Room size:

31' long
28' wide
13' high (but it's really 16' high - see below)

It's a floating room so there's room outside the theater proper. Above the ceiling height there's another 3' (for speakers acoustic treatment). So above the 16' height, there's a full attic above for all the HVAC stuff, sound dampening, duct silencers, etc. We have huge supplies & returns in the theater to move a lot of air slowly.

There's also another 2 1/2' on either side of the theater for speakers, acoustic materials and sound deadening.

We have 2 airlocks in the back of the theater, a little under 4' feet deep. Each airlock has 400lb. 3" doors

Projection Room:

15 1/2' long
9 1/2' wide with an extra 3' for the projection stand & port

There's full rack room in the basement that houses all the Kaleidescape servers and vaults and Crestron control. The wiring alone in the house is insane but we were able to do it cause we gutted the entire place.
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post #17 of 114 Old 07-20-2016, 11:39 PM
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Yes, it is. I'm traveling now, but when I get back I plan to upload some pics I've taken that will hopefully show the theater in a better light than those pictures do. Even though I've been lurking for years and occassionally post, I actually don't know how to imbed photos properly into a thread, which is why I've put off doing a theater build. But I guess I could just do thumbnails that expand when clicked...

Anyway, stay tuned...

-Rob
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post #18 of 114 Old 07-21-2016, 12:14 AM
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And how is this technically done?
The old fashioned way _ I write 'em down! :-)

So I watch each film and look at the black level, white color, saturation, etc. I adjust each parameter until it looks right to my eyes, then I write down all the settings on a note app on my phone. That's it. How do I know what settings to use? I don't. It's just a taste thing. Being a cinematographer, I have my opinions about picture quality and adjust to my liking. I've done a lot of telecine myself so I know the leeway a DP uses when doing the transfer with a colorist. You sit there with the guy, and say "Hey this needs some contrast, but you know it's a little green, so let's just add some red, so we'll kill two birds..."

Meaning that instead of just increasing the contrast, you learn that if you add red, the picture automatically gets a little contrastier. Also, when you add red, you find you may have to back off on the overall color saturation a bit... There are tons of tricks like this - the point being when you do a transfer you're constantly bending the rules. There's no 'right' way.

So I take artistic license when I adjust the settings on my pj. Of course, I have no idea what the DP intended when he did his transfer. Usually my reference settings work for many movies - I _always_ start with the calibrated reference settings. But if the image looks a little milky, or the white level is too hot, I'll fiddle with it until it feels right to me. It's actually a fair amount of work, but it's worth it...

I've seen many prints struck off the original negative and that's something you never forget. I remember specific films, the way they looked when they first came out, like 2001 or Close Encounters. Being a DP, I'm attuned to the way these films looked - not just the way they were shot (lit) but what the prints looked like. They're kind of seared into my eyes - I use those memories as my reference for settings on the pj. Probably not accurate, but I've never heard anyone complain about the way a movie looks on my screen. :-)

-Rob
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post #19 of 114 Old 07-21-2016, 12:23 AM
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Originally Posted by The Bogg View Post
The people in the pictures look like midgets! Those are some tall ceilings! Love the "death-star" woofer device, must be to find room modes or something I'm guessing.
Actually that's a dodecahedron speaker that generates _enormously_ loud white noise decibels (high frequency). We used it to test the noise level outside the theater (specifically in our bedroom). We also ran all the UberSubs at the same time. In fact it's so loud, no one can be in the room during the test.

I wanted to make sure I could watch "Apocalypse Now" at 2am at reference levels and that doing so would not wake up my wife...

Spoiler Alert: I can, and she doesn't.

-Rob

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what type of frequency curve do you prefer in your theater? and any tips on getting the subs working together in your home? biggest sound challenge?
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post #21 of 114 Old 07-21-2016, 05:17 AM
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Cool

Quote:
Originally Posted by Rob Hahn View Post
The old fashioned way _ I write 'em down! :-)

So I watch each film and look at the black level, white color, saturation, etc. I adjust each parameter until it looks right to my eyes, then I write down all the settings on a note app on my phone. That's it. How do I know what settings to use? I don't. It's just a taste thing. Being a cinematographer, I have my opinions about picture quality and adjust to my liking. I've done a lot of telecine myself so I know the leeway a DP uses when doing the transfer with a colorist. You sit there with the guy, and say "Hey this needs some contrast, but you know it's a little green, so let's just add some red, so we'll kill two birds..." You can even separate these settings based on the viweing room ambient light settings. This tweaks cataloguing system I tongue in cheek dubbed CINERAMAX INSIDE, because essentially it is like having me acting as the projectionist performing the above described adjustments in bespoke fashion.

Meaning that instead of just increasing the contrast, you learn that if you add red, the picture automatically gets a little contrastier. Also, when you add red, you find you may have to back off on the overall color saturation a bit... There are tons of tricks like this - the point being when you do a transfer you're constantly bending the rules. There's no 'right' way.

So I take artistic license when I adjust the settings on my pj. Of course, I have no idea what the DP intended when he did his transfer. Usually my reference settings work for many movies - I _always_ start with the calibrated reference settings. But if the image looks a little milky, or the white level is too hot, I'll fiddle with it until it feels right to me. It's actually a fair amount of work, but it's worth it...

I've seen many prints struck off the original negative and that's something you never forget. I remember specific films, the way they looked when they first came out, like 2001 or Close Encounters. Being a DP, I'm attuned to the way these films looked - not just the way they were shot (lit) but what the prints looked like. They're kind of seared into my eyes - I use those memories as my reference for settings on the pj. Probably not accurate, but I've never heard anyone complain about the way a movie looks on my screen. :-)

-Rob
Again Kudos!

I was going to answer: One of 2 ways.

The old fashioned way( as explained by Rob).

Or by exploiting the Kaleidescape data mining functions.

You can create playlists to catalogue similarly benefitable by like-adjustments movies into groups. The system then tells the display how to display the preset according to these tweaked settings. Is it as good as the overkil approach above? I find it so 98% of the time. But the ease of use factor is night and day. You should need no more than 6-8 presets to cover most libraries.

With all respect to Rob being a DP, and all the considerations and study that goes into it, everyone that sees my settings is always very impressed how I can make a movie look better than in every other presentations they have experienced. Mine is the photorealistic approach and quite frankly to me is the correct immersive approach. I even change the aspect ratio just to be more immersive 2.0. Like Vitorio storaro recommends.

In my systems all of this process is automated with Kaleidescape and Crestron and it has been honed in on several multimillion dollar top flight systems over a decade. But how about the Content Cretors intentions? Everytime I have had an a list actor, producer, director sample one of my moon of Saturn presentations they always comment they have never seen such image and sound quality even in Hollywood. I even have a letter from Brian Grazer complementing one of my systems performance.

So it works. During the NAB future of cinema conference I pretty much told the content creators that they need to start making creative decisions not based on the least commion denominator (cinemas) that they should be optimizing the masters for the very best presentation in Dolby Cinema theaters and other high end 6p laser systems, whcih of course translate nearly into a perfec master for large screen OLED's.

Bad Robot's Ben Rosenblatt took a liking to my comments and after a show of hands admonished 200plus movie theater execs that they needed to start exhibiting my level of passion for the presentation so that he could sleep better at night knowing that his films be shown in their best light.

SO YOU DON'T have to take the way a movie looks or sounds sitting down, if it is not exploiting the limits of our high end systems, the creative community LOVES TO HEAR FROM US and take into serious consideration for their next projects. With high end home cienmas becoming so sophisticated, this feedback loop on quality exhibition best practices is an essential comunication line through SMPTE symposiums to keep the content getting better and better. At least technically.

So I am thrilled that Rob is relying on his golden eyes to conduct artistic licensed improvements, as i said IT IS THE ONLY WAY.

For those that sit through a movie relying on a coldly calibrated display device a la ISF settings untouched, I like Rob, pity the fool.
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rAVe Best ATMOS DEMO CEDIA 2016. HOARDS AWARDS, ACCOLADES, 1ST ART CREDS.,WLD. RECORDS, & HI PERFORMANCE 16-24-32-48 CH. MIDI-PLF CINEMAS WW. - CUSTODIAN HIGH END IMMERSIVE CINEMAS TO SMPTE & ADV. IMAGING SOC. HELP Combat Channel Insufficiency with Altitude 48!*GC = GANGSTA C. genus: cineramus maximus. GC Twitter (Now staging Humanitarian Relief Aide to Great Bel-Air Circuit B-chain & 6P/HDR Projection Famine of 2017)

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post #22 of 114 Old 07-21-2016, 12:05 PM
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Actually that's a dodecagon speaker that generates _enormously_ loud white noise decibels (high frequency). We used it to test the noise level outside the theater (specifically in our bedroom). We also ran all the UberSubs at the same time. In fact it's so loud, no one can be in the room during the test.

I wanted to make sure I could watch "Apocalypse Now" at 2am at reference levels and that doing so would not wake up my wife...

Spoiler Alert: I can, and she doesn't.

-Rob
That's pretty impressive sound isolation. We went to some lengths to keep the sound contained in my own theatre but I know I couldn't play at reference without rattling the dishes etc...


What are UberSubs? awesome name, lol.

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post #23 of 114 Old 07-21-2016, 12:14 PM
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Thank you Art! That's so nice of you. I was anxious to show you what we had come up with after being so gracious in letting me spend an afternoon with you 8 years ago, pumping you full of questions. Needless to say, when I entered your theater, I also said "Wow!" I am planning on uploading some pictures of the theater very soon. The lighting is a little tricky to capture, as you can imagine.

Thanks again for steering me in Keith Yates' direction. As you experienced, he _really_ knows what he's doing. I'm extremely picky, and I couldn't be happier with the way it came out! Keith is the real deal... I should also give props to Geoff Franklin who designed the video portion of the theater and did all the incredible wiring. He & Keith are a great team!

Pictures to come...

-Rob
Hello Rob,

Awesome to see a report on what you have pulled together in your home from someone like Art who has experienced some great theaters while owning a drool-worthy system of his own. It is even more fun to see what that Sunday afternoon meeting, now 8 years ago, payed some small role in setting things in motion. Letting Keith Yates and Geoff Franklin have their way with a space is sure to yield an impressive result, while it's still very clear there is a lot of input from your vision and priorities for the space. Congrats on an awesome creation!
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post #24 of 114 Old 07-21-2016, 11:38 PM
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what type of frequency curve do you prefer in your theater? and any tips on getting the subs working together in your home? biggest sound challenge?
I'm extremely sensitive to upper midrange peaks, so when Keith & I started this process, I made sure I impressed upon him that whatever speaker system we chose, it couldn't be bright in this area. I also told him I liked a warm sound, specifically that I was a mid-bass fan. We had lots of discussions about this - his only concern was that in giving me what I wanted, he didn't want to compromise dialog intelligibility.

It was a delicate balancing act, achieved through extensive acoustic treatment in the room. In the 125Hz to 500Hz band, the treatment made this area slightly less reverberant than the 3 octaves above (1-4Hz bands), drier than I would normally like, but the installation of carpet & pad softened the 1kHz room energy a moderate amount, and even more in the 2k and above bands. With carpet, chairs and fabric in place, the room generates a beautifully neutral, enveloping glow - all the warmth I asked for, but not at the expense of lower midrange/upper bass sloshing around the room, obscuring detail. And with the Lakes & Trinnov, we were able to fine tune the system balance a decibel at a time. As Keith said: "All the warmth and glow you dreamed of, without the mud!"

As for the subs, this is Keith's forté. The JBL M2's are quite capable of handling mid-bass & bass to about 60Hz at peak levels. The 14 custom UberSubs do the bass down to 10Hz and 8 custom JLs smooth the transition. In the computer modeling of the room, Keith figured the best placement for all the subs to provide consistent bass levels & quality of bass throughout the room. Low-frequency decay is very well controlled and balanced in relation to the average mid-frequency reverberation time. There really are no bad seats...

The biggest sound challenge was giving me a warm, enveloping sound yet still providing good dialog coverage for every seat. I'd also say that my main directive (referencing my desire to eliminate upper midrange energy) was - NO LISTENER FATIGUE!! I _can't stand_ systems that play so loud your ears bleed. We used the cars smashing and laser attacks in "War of the Worlds" to determine high frequency issues when we chose the speakers and balanced the system. On too many 'state of the art' sound systems, those scenes, when played at high volume, are just painful. We also used "Close Encounters" and "2001" because they aren't fantastically recorded, figuring if we can get those films to sound great, then most everything else should sound pretty good.

I have to say, the results have been spectacular. Like the different video settings I have for each film, I also have different audio presets for different movies (and different presets depending on whether we're watching in Row 2 or Row 3). I have about 8 presets in the Trinnov for each row, which covers most films.

-Rob

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post #25 of 114 Old 07-22-2016, 12:26 AM
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That's pretty impressive sound isolation. We went to some lengths to keep the sound contained in my own theatre but I know I couldn't play at reference without rattling the dishes etc...

What are UberSubs? awesome name, lol.
I should say that the house does shake like an earthquake in other parts of the house, but not in the bedroom. We spent _a lot_ of design time on this. We use these 400lb Supa doors (7 of them) which help contain the pathway of low frequencies to the bedroom. The room is also floating (a room within a room) and carefully tuned so as not to transmit certain frequencies.

But we also wanted to keep extraneous sound from entering the theater. The HVAC system is _extremely_ quiet - very large ducts, low moving air. And a constant flow of fresh air - the exchange rate is very high. The room smells differently than the rest of the house (in a good way - not that the rest of the house smells funny )

What I wasn't expecting was how profoundly the silence in the room affects the movie experience. Keith and his team were even blown away by the rating we got when we tested the noise level: NC -1! (that's minus 1). The noise floor is so low that extremely delicate sound effects are as impressive as when all the subs are going to town at once.

Ubers can take different shapes - rotary fans, tapped horns, etc. Our UberSubs are custom designed units with 24" drivers. There are 12 behind the screen, and one under each center seat in Rows 2 & 3. They can play at 130 decibels down to 10Hz, under 3% distortion, using only 2" of the drivers' 3+" rated excursion. They can go lower - to 3Hz. This level of energy at and below 10 Hz was new territory for everybody. We had to do extensive testing to see how much the walls, ceilings and floor moved under the high infrasonic sound pressure. Completely effortless low, very deep, infrasonic awesome bass!

-Rob

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post #26 of 114 Old 07-22-2016, 12:36 AM
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Hello Rob,

Awesome to see a report on what you have pulled together in your home from someone like Art who has experienced some great theaters while owning a drool-worthy system of his own. It is even more fun to see what that Sunday afternoon meeting, now 8 years ago, payed some small role in setting things in motion. Letting Keith Yates and Geoff Franklin have their way with a space is sure to yield an impressive result, while it's still very clear there is a lot of input from your vision and priorities for the space. Congrats on an awesome creation!
Mark, thanks for giving me Keith's name - you literally changed my life with that one suggestion!

-Rob
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post #27 of 114 Old 07-22-2016, 03:22 AM
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Art (and everyone), I just started a build thread in the Dedicated Theater Design & Construction forum...

Here's the link: Rob Hahn Theater build
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post #28 of 114 Old 07-22-2016, 04:59 AM
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Rob, Try the movie SHOOT THEM UP, it is a great demo for the rotary fan. There are many others War of the World is in there. Subsonic information is occasionally captured in many movies by omission, most movies are limited you will find. Bruce Thigpen has compiled a list of these movies. Surprisingly you will find that on regular television many times significant low frequencies will pop out of nowhere, it is a totally random thing though. The realism provided by the rotary subs/ubers is something that significantly enhances the movie experience, kudos on that as well.

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post #29 of 114 Old 07-22-2016, 11:15 AM
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Wow, no wonder Art was impressed!!! That's a lot of subwooferage!!!

10 years ago when I had the "dungeon" built I had considered Keith Yates for the job but I didn't have the kind of space available to make use of his level of expertise. I ended up doing a "level 3" build by Rives. If I ever build a custom home I will definitely consider getting Keith to be part of the project because it sounds like his priorities are in synch with mine. Congrats on being the lucky owner of an amaaazing theatre. I look forward to checking out your build thread.
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post #30 of 114 Old 07-22-2016, 02:02 PM
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How do you like the JBLs compared to other speakers you have listened to?
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