stumpcity

stumpcity t1_iu0fl7b wrote

The quote we're talking about says "more than 15 years old" which is older than 10 years, you're correct.

the phenomenon I'm talking about (people spending money on stuff like soundbars thinking it's as good as an actual five-or-seven-speaker surround setup, and then refusing to use the stereo mix when provided because of that) is relatively new, though. And is also often why people can't hear shit.

A lot of home theater stuff/TV stuff now is less about actually knowing what stuff is supposed to look/sound like, and knowing how to USE the stuff you paid money for to get the best picture/sound for your setup. It's about getting light up logos to pop up on the TV or the soundbar so you can feel like you're getting your money's worth.

A whole bunch of folks literally refuse to use the better-sounding for their situation stereo mix for no other reason than its stereo, and they paid so they can get 5.1 surround (on a setup that can't actually DO 5.1 surround). And then they wonder why a bunch of auto-processed stuff sounds bad.

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stumpcity t1_iu0dn6f wrote

>Unless you're watching stuff more than 15 years old, where almost everything sounds clear and comprehensible on regular home sound systens.

Because you're probably listening to the stereo mix made specifically for the film.

Whereas a lot of people at home refuse to select that mix despite the fact they have shit speakers. Or don't even have 5 speakers.

Trying to listen to something intended to be sent to five discrete speakers at decent volume with a soundbar and a sub with the tv or the soundbar doing not only its own automated downmixing, but then it's own weird "surround" processing to fake the other 3 channels it's already fucking up is a recipe for disaster.

But a ton of people keep doing it.

Nolan is an outlier - his films are notorious for being weirdly mixed because he demands that weird mixing. If you're watching a film IN the theater ON a theatrical multichannel system, that sound is going to come through well.

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