THX cinema with pro cinema audio gear

[Andysu]

snow white 1937 , mono cav

not seen since early 1970's , its too scary to put this on the pioneer , i mean too scary so not even viewed it yet maybe i won't its too scary

 

[Andysu]

stay tuned 1992 , Dolby Stereo , lucasfilm ltd THX sound system

 

[Andysu]

the lady and the tramp 1955 , Dolby AC-3 , lucasfilm ltd THX sound system

seen it mid 1970's and again now i didn't like it

 

[Andysu]

phantom of the opera 1943 , mono , lucasfilm ltd THX sound system

sealed new not opened it

 

[Andysu]

gallipoli 1981 , mono , lucasfilm ltd THX sound system

 

[Andysu]

lethal weapon 1987 THX/TAP , Dolby Stereo , lucasfilm ltd THX sound system

 

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the pink panther strikes again 1976 , mono , lucasfilm ltd THX sound system

 

[Andysu]

paperhouse 1988 , Dolby Stereo SR , lucasfilm ltd THX sound system

 

[Andysu]

tron 1982 , THX , Dolby Stereo scope 2.20:1 lucasfilm ltd THX sound system
cav

i view it later not like i seen it before see what it looks and sounds like

 

[Andysu]

Bear cat sniffs tron scrapes and scratches tron

 

[Andysu]

@Jim Taylor

trinnov altitude 32 , SR-71 black magic processor

 

[Andysu]

Magic

 

[Andysu]

created new Dolby Stereo mode five screen multi surround arrays
sounds great with alien 1979 six track Dolby Stereo

 

[Andysu]

adding a long delay to the right surround arrays creates a simulated stereo effect with alien 1979 Dolby Stereo ( discrete mono surrounds ) i applied 70m/s this be only used with mono discrete or can be with mono matrix surrounds , while stereo surrounds will have the delay switched off

 

[Andysu]

created an alien 1979 threatre mode mostly for alien which can be EQ modified , channel level ( readjusted ) or time delay to create simulated stereo effect with the mono discrete surrounds

 

[Andysu]

• _____________front wall_________________
• sub1 sub2
• mic1 mic2 mic3 mic4
• mic5 mic6 mic7 mic8
• mic9 mic10 mic11 mic12
• mic13 mic14 mic15 mic16
• _______________back wall_________________

place mics around the room to pick up the pink noise to sine wave tones and frequency sweeps

each calibration microphone connected to mixing console XLR with pan posts set for far left and right pan posts left/righ for middle microphones ( experiment with pan pots set a little to left/right or set at the centre position ) this will ether or not satisfy my curiosity or not ? inputs connected and output sent to computer as stereo output , two REW will be opened on the computer ,

REW one for left channel
REW one for right channel

this way i can visualise what the frequency range of the subs are doing or shouldn't be doing based on the rooms size which will emphasise with some subtraction of frequency , room mode dips/peaks or room gain and doing some thinking while using the Eq to adjust or maybe leave the frequency alone ( pause think ) and maybe repositioning one of the microphones as it is a tricky complicated time consuming procedure which can ether take hours or days

ideally electronically the amp sees a good signal so does the sub driver to certain electrical acoustical point before it spreads out within the enclosure/box and does similar of adding/subtracting and then out of the enclosure/box to spread around the room instantly at speed of sound
reflections from boundary surfaces floor , back wall since frequencies are and will be omni-directional ( some frequencies depending if its the upper low frequencies maybe directional ) , reflections from sidewalls , ceiling and a lot more to this

surfaces within the room what are they made of ? as low frequencies depending on the amplitude will or maybe not pass though walls , brick walls , plasterboard walls , ceiling mainly made of plasterboard , windows/glass , door , all these play a part and factor in bass wave frequencies that then return back to the microphone arrays to the REW and also what we hear as our ears to mind can map the sound a bit so accurate and also inaccurate as some tone low frequencies can trick us into thinking the sound is behind/ besides us or in front of us ?

do you use the sub array as dual mono or stereo ?

maybe stereo for sending fronts left centre right and surrounds left and right , overheads left and right set at lower crossover range depending on if the speaker can reproduce lower frequencies without strain ( that depends on fader volume dB level ? )
LFE.1 would typically be sent to both subs since it is a mono single channel for effects or music or dialog for supporting extra extension to a soundtrack as and when it's called for in a mix ?

also i would look at the closer frequency response of the subs with nearest microphone , it is possible to place microphone inside the enclosure/box the gain levels on mixing console would have to be reduced since it would be far louder if one can be inside the subwoofer box ? it would also show other results that may or may not be useful ? while looking at the frequency crossover curve ?

there are many more details some-which i forget it's really only a matter of Eq adjusting the sub/s for each room's shape volume size
can take hours or days

testing it with movies , cinema auditoriums are larger rooms than that of the home therefore those rooms don't have many too many of the same issues have in the home but they are still a pretty much a room with boundary surfaces , subs are typically up front and may have lesser room modes than that of small room at residential homes where need more of same subs placed/spread around the room to reduce room mode dips/voids and some peaks depending on the room

voltage to some active powered subs are or may not be accurate
some assume because it looks the same sub may or not be necessarily accurately identical , volt multi meter/s can be useful or careful placement of microphone ( or open the
subs up connect short cable + - wires to terminals which will be connected to dummy load or can be + lead only connected to a cinema booth monitor ) this way checking each
amplifier/sub has same frequency sine wave level on REW RTA

also doing a direct electrical frequency sweep of the active sub or separates though DSP crossover to sub/s will determine if amps or are spot on the same
the variable volume dial on active subs has to be checked

if other test gear can be used to check the current on the amplifier transformer

subwoofer excursion cone moving at silly rate to show-off is just plain not a good system unless its all seriously been checked though
port chuffing noise ? it shouldn't be heard or least when a soundtrack is playing other speakers may frequency mask it , but when a soundtrack has lower lows used for some dramatic effect often highs mids rare lowered and if sub is heard making any other noises other than that of the soundtrack then isn't part of the soundtrack
sealed subs can also make noises if levels or room isn't sufficiently large enough some low frequencies may be in a dip ( which why 2nd sub at back of the room may solve the issue where its frequency is higher thus will hear/feel that frequency in the soundtrack

subs and screen channels should be within a few dB , the subs LFE.1 shouldn't overwhelm the stage channels otherwise audio frequency masking effects happen , LFE.1 is an only often as and when used in the film soundtrack , most of the stage channels can produce/reproduce sufficient bass output as well as surrounds depending on speaker type
used and mixing for the surrounds frequency isn't reduced or limited since all full-range channels now have range from 5Hz to 20,000KHz and sub/LFE.1 5Hz to 120 ( where
70mm was limited in its day and still is if older magnetic prints are shown and datasat maybe be a bit lower )
i may add some edit more to this when i can think of something else to add ?

 

[Andysu]

additional laserdisc rare , technidisc pressings

 

[Andysu]

Melanie likes climbing to high spots and a little chin rub

 

[Andysu]

 

[Andysu]