The Onkyo and Integra receivers have Midnight Theater mode to tone it down a bit. Someone else mentioned compression that some DVD players enable thru their menu. I can't remember if I've seen that in a cable box menu or sat receiver menu but it's worth a look.

I used to spend quite a bit of time on the range and have had the chance to play with a couple of things that go boom. The solution that we used was earplugs or hearing protection. I have attempted to have a system that can reproduce the experience of hearing live fire, but have not yet suceeded.

My plan on aleviating this problem is to increase the number of subs I use from 2 to 4 and to replace the left and right mains with an array.

Compression, what is that? What did you say? I can't hear you, my right ear don't hear so good...

To address multi channel dynamics processing...

There are plenty of good 2ch dynamics processors out there. They aren't too expensive. There are even some units that have 4 channels for an even tighter budget. I'm not sure if compression is for everyone, although it sure would be the right solution for certain people.

I have a Meridian processor that spits out 7.1 in the digital domain. Although I haven't converted all channels yet, the mains I am running to a Behringer DEQ2496. It accepts EIAJ or AES digital input (coax SPDIF works with an adapter). This unit does not have compression, but it does have "dynamic EQ". That is you can specify EQ curves that change with the input level. I have some pretty crappy JBL speakers hung on my wall (for the theater I prefer output level over sound quality... see my earlier post), so the dynamic EQ can help by taming the frequencies that the JBLs don't reproduce so well. This might be the more important factor to consider. Most consumer speakers just don't do that good of a job with high SPL material and the distorted output of certain frequencies at high SPL may be causing more ear fatigue than the actual SPL level itself. The unit also has 24/96 DACs, graphic EQ, parametric EQ, reference mic input (great for room correction), plus analyzers. All in all it is a great little box that can do wonders if it is given the appropriate attention in setup. Best of all, all of this processing is done in the digital domain (thanks to Meridian and Behringer) and the output is balanced.

-Tom

Instead of coming up with all these clever bandaids to compress the dynamic range and butcher the sound that people pay us big bucks to provide. Wouldn't the simple soulution to this problem be doing what we are paid for in the first place by our clients. To educate them on purchasing a system that not only performs to there standards but completing the whole package with a properly calibrated monitor, properly calibrated audio package, and a properly calibrated room. It is amazing how all these compression problems go away when proper acoustic situations are addressed. If the client doesn't want the full package, well at least he has been educated and will have to deal with this issue.

The new 2496 ultracurves are sweet. I have been using them on all my jobs from pro audio to high end home theatre since Bheringer released them. low cost, and a great display for those that appreciate knob for dollar value. The predecessor (8024) was a great unit also, larger 2U chasis with less features and no data knob. The DEQ2496 is a huge improvement.

I use 2496's to do two things. #1) provide detailed equalization. You can dial in a very pleasing sound with a 32 band stereo graphic EQ and almost unlimited parametric filters. #2) to limit the system from abuse by others. If you put a limiter on the output of a know problem music source or even the DVD player, you can prevent system clipping and fried voice coils. since the user can't adjust the limiter, he can't damage the system. I have never run into a scenario where a client has asked me to limit the dynamic range of a home theatre system. But I'm sure it's happened

Your absolutely right digit. Those things that you mention are the most important factors to consider, for those that have the budget to heed our advice. I think that active electronic processing does have a place in our systems though. The truth of the matter is that our electronics and speakers are not perfect devices and it is impossible to design THE PERFECT room. I think that the electronics are close, but speakers are so poor at doing what they are supposed to do (relative statement here... otherwise one would not be able to differentiate live performance from playback) There is always going to be something that needs corrected. Active electronic processing can aid us in getting closer to the goal. Active electronic processing can also cause a big mess if not used correctly.

I use 2 systems at home, because I haven't been able to get satisfactory results from any single setup.

1) turntable, analog pre, single ended amp, sub, monitors.

2) digital front end, active eq, class H amps, cinema 7.2 transducers.

For those that are trying to combine both cinema and music systems into a single system, processing can help tame the weaknesses of any single setup.

...but to get back to the main point of this thread. You have some person that doesn't care that dynamics are supposed to be explosive and doesn't necessarily want to experience the immersive effect of cinema. They are probably the same people that can enjoy the music coming out of an elevator speaker... or has real world issues such as neighbors, kids, spouse, etc... give them what they want, dulled down audio to match the dulled down requirements.

In a perfect world. For instance. The Matrix was produced and mixed using Mackie HR626 powered studio monitors and the 15" Mackie sub. So, what they heard in the studio is what you should hear in your theatre if you purchase some 626's? Not unless you replicate the room complete with live end dead end, acoustical treatment and the same high end playback equipment. The room of course will be the critical factor, doesn't have to be exact, but should be designed so as to mitigate standing waves, and offer good diffusion and absorption characteristics. I personally don't believe that audiophile amplifiers make or break the final product. I don't even use them. I use pro audio amplifiers such as the Crown K2 or Brystons that provide rock solid performance, plenty of horsepower and actually look OK. Most recievers will take you to a certain SPL, and then clipping. Some people demand high SPL in their theatre. For an extra 3Db of SPL after about 110Db, you pretty much have to double the power. Of course your speakers have to be able to handle it also. Most home theatre speakers aren't designed to take that kind of punishment. The louder it gets, the more reverberation and comb filtering will occur in a room without good absorption and diffusion characteristics. High SPL comes with it's problems. If the client doesn't require high SPL, I optimize the system for high fidelity at lower levels and select the equipment accordingly. Most importantly, have the discussion before designing the final system so that there aren't any false expectations.

Sorry Tvisser that I wasn't completely clear on my point. You are corrrect, I was trying to imply what you said about proper audio caliration. This is the peice I use.

[Link: audiocontrol.com]

As far as the original post goes, I was intending to explain that if the client is properly qualified and educated on what will happen if you don't take the proper methods of calibration, he should not have a gripe and this isn't considered a problem. This is how we sell acoustic design, intellagible dialogue and improved dynamic range.