Originally Posted by Jsin_N
Seems dangerous to pass these low frequencies on to consumers systems without knowing what's going through then. Why not just filter it out to be sure?
Also, it still goes back to cost. Take a look at the theater 4645c JBL sub measurements and tell me you cant do better elsewhere for cheaper. I'm guessing the 137db max output for the sub18 is also around 80-100 hertz.
Great subs, and I would like to have all JBL, but that price/performance ratio though...
More power to anyone that can afford them, but I want 4 and that price is insane.
More and more often we are seeing pretty steep filtering in movie soundtracks, but there are still some gems coming out that have the goods all the way down to the single digits.
Originally Posted by John Schuermann
I know exactly what you speak of. Often when I'm doing dialogue editing on a film, one of the first things I do is filter out all the low bass frequencies, as they are just "slop" and take up an awful lot of energy. Usually they are exactly the types of sounds you mention - traffic, HVAC, etc. Door slams create HUGE peaks that need to be tamed.
SLOP? C'mon. At least in your case with dialogue
parts of editing, I can certainly see filtering out the very lows that were unintentionally
recorded, but when it comes to the SFX part of the soundtrack, I think it's a complete sin to do such a thing. Do a spectral analysis of a door slamming or someone walking around on the floor above you. You will clearly see content in that all the way down to 4-5hz with a rig capable of recording it. Do you think a gun blast or mortar explosion doesn't have content below 20hz? Do you walk around with headphones everyday that filter out all the sub 20hz material from your everyday life? No? Then it shouldn't be done in movies either.
Perhaps people are concerned about using too much amp to dig into the single digits, but if I am easily able to accomplish just that in my mid-sized HT, why in the world would a professional mixing stage not attempt to do the same thing, especially with a much higher budget than one little HT enthusiast would have? The answer should not be, "Because 99% of people who will watch this move will not have that capability." But hey, doing effects down to say 9hz may take more work or time, time is money, so let's just not worry about it, right? WRONG.
I built what I believe to be an uncompromising HT for the maximum experience available, only to more often than not now getting the mixes chopped off at the knees. It kinda stinks.