[arande2]

Two things, one being ULF movie bass and the second being bass in produced music.


I'm aware it has been discussed somewhat.


1. How/why do the sound engineers working on a project even add these frequencies when mixing theaters don't have the capability?

I don't think they use walls of infra-woofers in mixing theaters nor do they use rotary designs (???). The sounds in the samples library probably contain these frequencies, but even then, I don't see how mix engineers would know how loud to make these frequencies in the mix without being to produce them acoustically. I can see their use being intended for tactile transducers, but not for that rare home theater enthusiast who is actually able to produce them as sound waves.


2. Based on the previous, is flat response below generally accepted hearing limits something to strive for, and if so, why?

 

[Mrkazador]



Quote:
So, okay, as a hardware matter, how did the engineers at Todd-AO who snagged an Academy Award for Best Sound for Black Hawk Down monitor all that gut-twisting infrasonic content—all those rumblings I've mentioned that lie just beyond the reach of even refrigerator-sized subs? They used big Bag End subwoofers—22 of 'em.

http://www.hometheater.com/content/way-down-deep-ii-bag-end-s21e

 

[arande2]

Ah yes. I remember reading that somewhere. Okay. That makes the inclusion of ULF in high budget movies reasonable.

I'd guess flat response is reasonable at these freqs assuming the mixing theater is flat there too...


That leaves the possibility of extra LFE channels for tactile use or soundfield recreation...


And also the importance of stereo bass in music for soundfield recreaton...


I really should've titled this thread soundfield recreation.