Originally Posted by Big Brad
Loved the sound design and soundtrack as well, and I never felt there was bass just to have bass. Very even mix.
I understand that the movie isn't for everyone, though some people in this thread just like to thread-crap lately.
I think I would agree that the sound design did not reflect a bass for bass' sake orientation or objective, but at least in this particular case, I feel I am not inclined to denegrate nor disparage this effort for that aspect. The low end that is there is so powerful, so nuanced, and "correct", I think it can be forgiven that these movie makers did not seem to focus in on it to exclusion. And so the mix does end up pretty "even handed" in pursuit of its brand of audio excellence -- but if the track sits right there at the top of the food chain, I'll gladly overlook that the LFE subsided here and there.
While I'm at it, something I posted over at reviews:
This was GOLD. PURE GOLD. The new gold standard. This is a meticulously crafted, supremely well thought-out film, with evocative visuals and a virtually unmatched reference demo soundtrack. Possibly the best use of LFE I've ever heard -- there is a reality, a rightness, a depth, spacial accuracy, and authority to this presentation that has few, if any, peers. The story unfolded with rare intuitiveness of pacing -- measured sequences of beguiling perplexity were punctuated with awe-inspiring vistas, stellar production values and lavish visual effects, but just as one might begin to question whether some critical plot point had been missed in all that sensory delight, intriguing revelations manifested at just the correct moment to coil into your field of focus and sustain a fascination with the central mysteries.
Just a personal note on M83 -- I watch a good deal of TV, always watch Leno and Fallon, through the years awards shows here and there, reality TV results shows. Seen alot of bands and musical acts present their stuff on TV. It is not for me. I always fast forward through the acts at the end of talk shows, or in any of these venues-- or give a literal two or three seconds to -- whether the act is known or unknown to me. So much of whatever it is, or is trying to be, fits into such numbing predictability that it has just about zero interest for me. Also too, even if it were worthy, to listen to music on TV speakers is just not the way of doing it justice. BUT one night Carson Daly featured M83 doing a song known as STEVE MCQUEEN -- never heard of them, never heard the song, but this one I stuck around for and not only listened to, but was extraordinarily moved by, then somewhat obsessed by. This was a very rare experience indeed. I tucked the band and song away, later looked the song up, and never forgot that emotional impact, the band or that song and was happy to see them on another excellent film track to THE ART OF FLIGHT.
Now this isolated track. Watched the movie first, and at the end was the title song. Had the film playing at -13.5 volume -- my standard listening level. For the song, jacked it up to pure zero. Then came the MENU again, and it showed the isolated track. Brought volume back down to -13.5 and started in -- now here was the track elevated to just as loud as the end song at zero! SWEEEET! This was full-force purity and ultra-dynamic domination of my listening space -- I might have paid my twenty dollars for this music alone, but you get to buy it with the movie and get to watch all the pretty pictures while the music alternately seduces, agitates, even batters you with thick LOW END. Such a fantastic added value extra. I must tell you that on the spot I spent another two hours with this movie watching it this way, and before the weekend is out, may very well listen to the commentary.
GOLD. PURE GOLD.