What AlHanley wrote about Tomlinson is right on the money. If you want to know about Tomlinson, you should be looking at Audyssey, not at THX.
I agree. In fact at any meeting of audio professionals, raising Tom Holman's name generates
Eals of laughter and/or catcalls of derision. He's a sad old man who should be retired and yet spends his days trying to defend his years of bad science.
I agree. In fact at any meeting of audio professionals, raising Tom Holman's name generates
Eals of laughter and/or catcalls of derision. He's a sad old man who should be retired and yet spends his days trying to defend his years of bad science.
Because certainly the Lucas people are completely clueless when it comes to sound and their work to sharply improve the quality of the theater sound experience was completely baseless and had no payoff.
The fact that you saw it necessary to register to heap abuse on Mr. Holman is a tad bizarre. Did he do something to you personally?
And I have to laugh at the idea of "any meeting of audio professionals" as a made up metric. I honestly don't think you have any idea what your'e talking about.
You don't know much about him, or what he's done then. THx is alive and well. 10.2 is just another scheme. There are many. This was meant for demonstration of psychoacoustic principles more than intended as an actual product. He's received some major awards for his work, including an Academy Award.
So, how's it going in proving you actually do audio engineering?
Quote:
Dear sprockkets,
You have received an infraction at AppleInsider.
Reason: Insult/Ad Hominem Attack
-------
-------
This infraction is worth 1 point(s) and may result in restricted access until it expires. Serious infractions will never expire.
You are so full of it. If this is all you got to say in reply, you know jack squat.
Because certainly the Lucas people are completely clueless when it comes to sound and their work to sharply improve the quality of the theater sound experience was completely baseless and had no payoff.
The fact that you saw it necessary to register to heap abuse on Mr. Holman is a tad bizarre. Did he do something to you personally?
And I have to laugh at the idea of "any meeting of audio professionals" as a made up metric. I honestly don't think you have any idea what your'e talking about.
Quite honestly the most important improvement THX bragged about was making sure the sound wasn't too loud so that people wouldn't go deaf for movies like Twister.
Lucas may have had to invent his own effects company, but his own Star Wars movies (aside from number 5 since he didn't write the dialog for it) shows he knows nothing about making good movies that don't rely on just special effects.
Quite honestly the most important improvement THX bragged about was making sure the sound wasn't too loud so that people wouldn't go deaf for movies like Twister.
Lucas may have had to invent his own effects company, but his own Star Wars movies (aside from number 5 since he didn't write the dialog for it) shows he knows nothing about making good movies that don't rely on just special effects.
No. Lucas (and his generation of filmmakers including Coppola and Spielberg) were much more focused on sound as a part of the storytelling than their predecessors. When they started making movies, film sound had barely evolved from the 30s. While people like Walter Murch (The Conversation, Apocalypse Now, et al) were creating the idea of a "sound designer", the average theater was completely incapable of playing back, with any real fidelity, the sophisticated, multi-layered mixes that these filmmakers were creating to support their vision.
THX certification was a direct response to the primitive audio in most theaters. By using the carrot of some of the biggest films by the biggest filmmakers of the day, they were able to coerce theater owners to upgrade their systems and train the audience to expect and demand better sound as a matter of course. In this area of digital multitrack it's easy to forget how shitty sound really was in most theaters at the time of, say, "American Graffiti." Lucas deserves a lot of credit for being instrumental in the drive to put sound on equal footing with image.
Man, sorry I didn't get into this discussion earlier. Certainly, high quality audio from tiny drivers (i.e. speakers for you non-audio types) is a problem and clearly we all experience the limitations. Of course there are things you can do to improve the sound and this is why I think it's a good addition to have someone like Holman a great addition to Apple. Apple is rumored to be looking at higher resolution streaming in iTunes plus improving the sound in their portables (Holman can drive the Class D chip companies to provide better PEQ capability in their solutions). A big problem today is sound quality in flat panel HDTVs so if Apple does produce a product, I'm sure they will do their best to provide decent sound from the limitations of tiny drivers that can't move any air mass. And Holman's knowledge and experience at Audyssey will certainly help. Dynamic Volume and Dynamic EQ are both very useful.
In February, it was alleged that Apple is looking to offer higher quality music on its iTunes Music Store. The company is said to be in negotiations with studios to offer tracks in a 24-bit high-fidelity format, which would be higher quality than the 16 bit currently available on iTunes or with a compact disc.
Many Macs and some PCs already support 24-bit sound, and the iTunes media player software supports 24-bit files. Audio tracks are also recorded in 24 bits by artists in the studio, but they are downgraded to 16 bits when they are pressed to CD or made available to iTunes.
It is Beats By Dre which is driving the industry wide push for improving audio quality on online stores including Apple's move from 16bit to 24bit.
Comments
What AlHanley wrote about Tomlinson is right on the money. If you want to know about Tomlinson, you should be looking at Audyssey, not at THX.
I agree. In fact at any meeting of audio professionals, raising Tom Holman's name generates
Eals of laughter and/or catcalls of derision. He's a sad old man who should be retired and yet spends his days trying to defend his years of bad science.
I agree. In fact at any meeting of audio professionals, raising Tom Holman's name generates
Eals of laughter and/or catcalls of derision. He's a sad old man who should be retired and yet spends his days trying to defend his years of bad science.
Because certainly the Lucas people are completely clueless when it comes to sound and their work to sharply improve the quality of the theater sound experience was completely baseless and had no payoff.
The fact that you saw it necessary to register to heap abuse on Mr. Holman is a tad bizarre. Did he do something to you personally?
And I have to laugh at the idea of "any meeting of audio professionals" as a made up metric. I honestly don't think you have any idea what your'e talking about.
You don't know much about him, or what he's done then. THx is alive and well. 10.2 is just another scheme. There are many. This was meant for demonstration of psychoacoustic principles more than intended as an actual product. He's received some major awards for his work, including an Academy Award.
So, how's it going in proving you actually do audio engineering?
Dear sprockkets,
You have received an infraction at AppleInsider.
Reason: Insult/Ad Hominem Attack
-------
-------
This infraction is worth 1 point(s) and may result in restricted access until it expires. Serious infractions will never expire.
You are so full of it. If this is all you got to say in reply, you know jack squat.
Because certainly the Lucas people are completely clueless when it comes to sound and their work to sharply improve the quality of the theater sound experience was completely baseless and had no payoff.
The fact that you saw it necessary to register to heap abuse on Mr. Holman is a tad bizarre. Did he do something to you personally?
And I have to laugh at the idea of "any meeting of audio professionals" as a made up metric. I honestly don't think you have any idea what your'e talking about.
Quite honestly the most important improvement THX bragged about was making sure the sound wasn't too loud so that people wouldn't go deaf for movies like Twister.
Lucas may have had to invent his own effects company, but his own Star Wars movies (aside from number 5 since he didn't write the dialog for it) shows he knows nothing about making good movies that don't rely on just special effects.
Quite honestly the most important improvement THX bragged about was making sure the sound wasn't too loud so that people wouldn't go deaf for movies like Twister.
Lucas may have had to invent his own effects company, but his own Star Wars movies (aside from number 5 since he didn't write the dialog for it) shows he knows nothing about making good movies that don't rely on just special effects.
No. Lucas (and his generation of filmmakers including Coppola and Spielberg) were much more focused on sound as a part of the storytelling than their predecessors. When they started making movies, film sound had barely evolved from the 30s. While people like Walter Murch (The Conversation, Apocalypse Now, et al) were creating the idea of a "sound designer", the average theater was completely incapable of playing back, with any real fidelity, the sophisticated, multi-layered mixes that these filmmakers were creating to support their vision.
THX certification was a direct response to the primitive audio in most theaters. By using the carrot of some of the biggest films by the biggest filmmakers of the day, they were able to coerce theater owners to upgrade their systems and train the audience to expect and demand better sound as a matter of course. In this area of digital multitrack it's easy to forget how shitty sound really was in most theaters at the time of, say, "American Graffiti." Lucas deserves a lot of credit for being instrumental in the drive to put sound on equal footing with image.
<snip>
In February, it was alleged that Apple is looking to offer higher quality music on its iTunes Music Store. The company is said to be in negotiations with studios to offer tracks in a 24-bit high-fidelity format, which would be higher quality than the 16 bit currently available on iTunes or with a compact disc.
Many Macs and some PCs already support 24-bit sound, and the iTunes media player software supports 24-bit files. Audio tracks are also recorded in 24 bits by artists in the studio, but they are downgraded to 16 bits when they are pressed to CD or made available to iTunes.
It is Beats By Dre which is driving the industry wide push for improving audio quality on online stores including Apple's move from 16bit to 24bit.