kelsci


You lucky devil, The Living Daylights was realised in optical Dolby stereo A type during 1987, no 70mm prints where made, except the brilliant Graham V. Hartstone did on the Dolby mix.

Fair play to mate looks like you’ve been hooked slightly longer than I.

Indiana Jones and the Last Crusade 70mm six-track Dolby stereo SR was WOW nothing but total WOW! I have never felt or heard such clear and easy dialogue along with loads of dialogue panning moving around the screen and surrounds that made my look behind when the German airplane fly’s off screen down the right side surrounds and over to a phantom surround and then heard on the left side array WOW!

So much detail I can talk about this film so much.

All Star Trek films at the Empire from Star Trek The Motion Picture Dolby Stereo A type sounded like nothing I heard before the (wormhole) had me moving from side to side with a high frequency sounds appearing to move around the cinema, and granted I was sat where the sound engineers calibrate the cinema it was out of this world.

I also have the film of NTSC laserdisc where I transferred it to DVD-RW and belaive it or not it gets played more than the directors cut, surrounds on the opening where a Klingon battle cruiser fires a photon torpedo comes from behind with a blast in the room, just like it did in the Empire.

Star Trek II The Wrath of Khan 70mm six-track Dolby Stereo A type was fantastic, with each film playing during Sunday October 8th 1989 it just got more dynamic feeling Kahn lifting Chekov off the floor got my attention WOW! Now that’s a sound system that reproduced even the tiniest of sounds even during quite moments.

The attack on the U.S.S. Enterprise was a like some slamming there hand on my chest! Threatening it was “threatening” and very realistic I found myself looking around the cinema during the confusion and focusing to pin point screen channel sound.

When Genesis exploded it felt like the floor was going to give way! Even the James Horner score was hard hitting towards the end where each instrument was felt with deep depth magical, truly magical.

Star Trek III The Search for Spock 70mm six-track Dolby stereo A type, was even more deeper that Star Trek II, the opening alone was very moving, it had warmth and rich energy coming from the screen array. Mind you its magic is partly to do with the THX baffle wall and the THX 3417 crossover. When the Klingon bird of pray blew that small spaceship up dear god it erupted big time debars was flying all over the surrounds and while ducking thinking something gone crash into me made it all the more believable.

Hearing voices over the surrounds when Enterprise was docking was very neat I was looking above me as too see where the voices where coming from with such clear detail, this happened a few times in the film.

Leaving the space dock or more rather stealing the Enterprise without orders was thrilling that James Horner score was pounding me in the chest and going down very deep. When space dock doors opened it was like WHAM! Feeling Enterprise going from impulse power to warp speed jolted the Empire I Kidd you not while streaming down the right surround arrays!

When poor ole Enterprise was a dead stick floating in space with no option to destroy her, and when that ship went up it was like some just kicked me in the face!

When the planet finally gave it was HUGE, but feeling captain Kirk kicking Kruge, in the face with the cinema applauding “I have had enough of you” YEAH!!!

So when the planet exploded it was like nothing I felt before!

Star Trek IV The Voyage Home 70mm six-track Dolby stereo SR type was a chill out film was lots of humour and plenty of surprises. When the Bird of pray was travailing towards the sun, mad if you say, that I was on the edge of my seat gripping the rocker chair as if I where riding along with them, vibrations where pounding and when she passed down the surrounds with a leap of courage and faith was moving.

Towards the end when we see Enterprise the music by Leonard Rosenman just slammed straight into me, with Enterprise finally blasting off into warp speed made the cinema rock!

Oh note that there was print damage on the film with a brief 15 seconds there about where the mag tracks where muted due to flaking I guess of the oxide coating.

Star Trek V The Final Frontier 70mm six-track Dolby stereo SR It was the first film that used the THX (Cimarron) was used in 70mm six-track Dolby stereo just pashed me back in the seat with force!

Jerry Goldsmith one of the finest film score composers bless him, just liked slamming the score into the audience. Sound effects and dialogue panning lots of “dialogue panning” was going on in this mix.

Cape Fear 35mm Dolby stereo SR wow I sat right at the very front for this and Max Caddy was most defiantly off his trolley, granted I missed around 3/4of the film and was in Leicester square that day I managed to get in for free, courtesy for projectionists who have worked for UCI in the past.

Depth was great on this with sub bass extension, I liked the moment where Max was face to face with three guys each punch just knocked me back in the rocker as I’m naturally very jumpy wow, even when Sam Bowden dropped the anchor into the water it was SLAM with depth when it hit the bottom.

The standoff was chilling with each one slugging it out in the mud and lobbing rocks that was felt in the chest!

Star Trek VI The Undiscovered Country 70mm six-track Dolby stereo SR type, now this was the last 70mm presentation I saw at the Empire and one of the best along with Star Trek II and IV, the warmness from the fronts juts had me looking downwards towards the fronts while the choir made me look upwards.

I must have saw Star Trek IV three times that day while having a chat with the chief projectionist at the site Ilker Sherif' you could feel the shockwave from the opening in the coffee room next to the projection booth we both laughed out loud.

Empire even had a backup 35mm Dolby stereo SR print of Star Trek IV for some other purpose I doubt it was for screen 2, could have been after the 70mm exclusive presentation was over in screen 1.

Alive 35mm Dolby stereo SR-D the opening had clear dialogue and hearing the airplane move over the right side surrounds towards the fronts was remarkable I’d never had believed it possible to get six-track Dolby stereo onto 35mm film, which is a huge saving in costs as 70mm prints cost around £16.000 over a second hand 35mm print £1.500.

Timecop 35mm dts sounded great when travelling though time Foley body punches just kicked with bruit impact.

Gladiator 35mm Dolby stereo SR-D lacked the total signature THX impact due to the THX licence being dropped around a year and half before, and the Martin Audio loudspeakers wasn’t winning my applaud one way of the other. Still it had some impact but it just wasn’t JBL.

anamorphic96

(Klipsch) I’ve heard of the name and seen the home cinema loudspeakers. I’ll have a look at the site thanks mate.

18Hz seems good enough for deep extension of the sub bass array. Some screens do place the sub bass arrays spaced below the screen channels to give greater depth.

But after seeing the Empire JBL 4645C array 13 feet wide and 8 feet high, that would seriously damage a home with structural damage, you know roof tiles dropping off get the picture!