Revisiting X-Curve

X-Curve is the name given to the frequency response curve applied in all cinemas today. In an era where relatively cheap real time analyzers (RTAs) arrived in the hands of not-always-well-trained technicians, X-Curve was applauded. Aligning a cinema to X-Curve on an RTA produced far better results than when an inexperienced technician attempted to align to a flat line. (If you ever have the ability to try this, you will quickly understand what I mean.) But as time passed, X-Curve became a target curve, whether needed or not. It once was the case that cinema sound mixes were presumed to be flat, without spectral coloration. But today, the evidence is mounting that this is no longer the case, separating cinema sound, which is now considered colored by a growing cadre of experts, from the body of other media sound, which no one would object to saying is intended to be uncolored, or flat. Several studies were published over the past year and a half on cinema sound and X-Curve, providing an opportunity to review this subject yet again.

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