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Author Topic: AMC Theaters sound system Justin Bacon Film Handler Posts: 12 From: Orlando FL USA Registered: Oct 2018 posted 10-17-2018 04:22 PM                     Lately I've been noticing AMC Theaters has been installing QSC dcp300s in their theaters lately and the sound is super addicting. I don't know if anyone knows how they are getting those speakers to sound that good but I first noticed it in Houston and now Orlando at the West oaks Mall. I don't know if it's simply and eq or it's there way the qsc system shapes the sound. Maybe someone on here knows so now I personally want to own a qsc dcp100 and bring that sound home. I own a Dolby CP650 currently  |  IP: Logged Marcel Birgelen Film God Posts: 3357 From: Maastricht, Limburg, Netherlands Registered: Feb 2012 posted 10-17-2018 07:39 PM                     The DCP 300 is a cinema processor, while you're specifically mentioning the sound of speakers. Maybe you can try to explain what you mean with "addictive" sound? Maybe somebody just did a fresh EQ on the room after they swapped e.g. the cinema processor and ever since it sounds like it should?  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 10-17-2018 09:41 PM                     Likely, they are also pairing the DCP series processors with QSC SC series speakers (especially the SC-424 or SC-423 or a variant based on the room size and LF demands). Those speakers are VERY easy on the ears. I typically find that the fader levels tend to run higher when those speakers are used. As such, if the fader is run closer to 7.0 (0.0dB) you'll also find that the surround speakers also have better presence since they are not being attenuated and likewise on the subwoofers. Another suspicion is that QSC has developed "intrinsic correction." This is a process where they have measured the speaker's response in precise detail and then puts those measurements into a file such that their cinema processors can provide a complimentary response that should, effectively, make the speaker "flat" before you begin tuning. Now the room itself will have a huge effect on this but presuming reasonable acoustics, little in-theatre tuning should be required. Officially, the DCP line has not incorporated intrinsic correction yet though it wouldn't surprise me if AMC does not have versions that have it (they are a pretty major circuit). The DPM series (100 and 300) have intrinsic correction as does the QSYS system. The NEW DCM100/300 monitor/crossovers also have intrinsic correction.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 10-19-2018 06:23 AM                     There is a brand new AMC just a mile down the road from me. I was not impressed at all by it. Teeny auditoriums for such a populated area. I will drive further to the nearest Cinemark for some sort of actual cinema experience. Mark  |  IP: Logged Justin Bacon Film Handler Posts: 12 From: Orlando FL USA Registered: Oct 2018 posted 10-20-2018 03:45 PM                     Thanks for the responses and no I can't explain the sound unfortunately, btw AMC is keeping their old speakers from 20 something odd years ago but the sub bass still slams and they run flat down to 20htz as well. The theaters besides Katy Mills has new JBL speakers in the 5732 and 3732 screen arrays not really a jbl fan anymore but the sound incredible  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 10-20-2018 04:28 PM                     I haven't heard the 5732 myself so I cannot comment on its sound. I can say, the components that it uses are some of the most impressive out there. The 2226 is one of the best 15" woofers, particularly for cinema (great frequency and power handling). The differential drive series woofers are pretty incredible things and two of them are used for the midrange. The HF is the 2452SL. Again, it is one of the best compression drivers on the market. The 2452SL is a 1.5" exit driver but uses a 4" titanium diaphragm (and a neodymium magnet). That driver finds its way into high-end systems though some use a beryllium of the diaphragm. I could easily believe it is a good sounding speaker...it has all of the right components. It should be substantially better than the 4000 series screen array speakers. I'm happy they improved the 4732 because the 4632 was a "difficult" speaker though I'm not sold on their mid-range "shading" scheme they use on the speaker. It has never been pleasing to me. If they are still using "old" 4675s...then those are VERY good and some of the best ever for cinema use...particularly in the bass-reflex 2-way category. I'd put those up against most 3-ways (which is often a non-solution in search of a non-existent problem. Without a doubt, the best speakers I've ever heard are 2-ways and they are far easier to pull-off successfully.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 10-21-2018 12:43 PM                     The very best dialog I have ever heard out of the two way double woofer systems was at The Stag Theater where they incorporated JBL 46xx series cabinets and the big EV horns with JBL HF drivers on them. They actually encouraged me to install that exact system in the field and would supply x-over cards if I did. I stuck with all JBL based systems though. Mark  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 10-21-2018 02:35 PM                     They were always messing with that system, to a degree...seeking a better and better system. Honestly, it wasn't my most favorite theatre. I was actually put off by their lack of a curtain in a theatre like that...made it 2nd rate right off the bat. They didn't put LC/RC in their proper places too (and it was evident on the movie I heard there). But I can't judge a room by one movie...too many variables there in the mix. The fact is, a JBL 4675 is a pretty good meat and potatoes speaker. It has a great and predictable frequency response, great power handling with very few downsides (a bit of turbulence in the throat area). I don't think I've ever pulled one from a typical cinema. Where they don't do well is in free-air (4-Pi space) as no direct-radiator speaker will.  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 10-21-2018 04:15 PM                     I still prefer the Altec A6 cabinet or even better A4  |  IP: Logged Sascha F. Roll Expert Film Handler Posts: 140 From: Berlin, Berlin / Germany Registered: Sep 2015 posted 10-21-2018 04:52 PM                     JBL 4676... usable with a replaced HF driver (I prefer BMS Coax) and driven in Tri-Amp. The original HF driver imho lacks HF response, especially if used with a mini-/ microperf Screen (which is common here in Germany). I converted a former THX certified system in Berlin from the original Layout (JBL 4676, Bi-Amp via THX crossover) to JBL 4675 with a BMS 4590 Coax Compression Driver (http://www.bmsspeakers.com/index.php?id=bms_4590), Tri-Amped with Crossovers at around 500Hz and 6 KHz. The staff could almost not believe how much better the HF section sounded. I like the horn construction of the 4676 itself a lot, especially compared to the dreadfull 4675 which always screams at you.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 10-21-2018 05:28 PM                     No. The A6 LF section is a bit flawed and definitely doesn't go low enough (not much below 50Hz). It's fine in its passband but insufficient for full cinema frequency response and was no match for power. As for the A4, it was an awesome speaker. Many 3-way speakers try to achieve what it and the A5 did as a 2-way...50 years earlier. The 4676 was JBL answer to the A4 but used a horizontal cabinet (like the Altec 211) the 4560. The HF section of the 4675 and 4676 were identical on any given year so I don't know what you are referring to. Perhaps a different model.  |  IP: Logged Sascha F. Roll Expert Film Handler Posts: 140 From: Berlin, Berlin / Germany Registered: Sep 2015 posted 10-21-2018 05:39 PM                     Sorry for the typo, I was of course talking about the horn of the 4670 speaker that I absolutely don‘t like... never sounds right to me. Unfortunately very common over here... though there are (and were) better speakers for the same money or even less. (HF wise KCS stuff built in Spain was way better than the JBL stuff, using Beyma drivers.) Were KCS speakers ever sold in the US?  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 10-21-2018 07:26 PM                     The 2380, as used on the 4670 was indeed a rough sounding horn. It has no real pattern control below 1K and it's response drops like a rock below 800Hz. In the US, one could get most anything but people often buy based on momentum or what the big boys buy (often a mistake). In the US Altec dominated until about 1983, then JBL...which still remains dominant. The other big player in the 80s and 90s was EV. I never liked the EV sound and absolutely detested the DH1A driver. EAW made a stab at cinema in the late 90s early 2000s. Peavey made a stab at cinema in the 80s/90s. Klipsch has its fans but for real numbers now, it is JBL and QSC...who is a relative late comer to cinema speakers but they jumped in with both feet and have made some really nice sounding speakers. The SC-424 is my go to speaker now. If you like the beyma, you'll love the MH-1090 used on the SC-424 system and other 4-ways. It's a coax compression driver too. It does VERY well.  |  IP: Logged Sascha F. Roll Expert Film Handler Posts: 140 From: Berlin, Berlin / Germany Registered: Sep 2015 posted 10-21-2018 08:14 PM                     To the last part of your post: very good guess, I installed plenty of QSC SC speakers in the last years, just recently finished a small 90 seat room using SC323C, 16x SR1030 and 2x SB7218. Front Triamped and always 2 Surrounds parallel on one Amp Channel. Amazing sound, absolutely clear, high levels without distortion. (Unfortunately the baffle wall was removed from the project due to exploding costs with the roof or something... real life.)  |  IP: Logged Sam D. Chavez Film God Posts: 2153 From: Martinez, CA USA Registered: Aug 2003 posted 10-21-2018 11:44 PM                       That's a lot of surrounds. Gordon mentioned the Altec A6. Beginning of the end that model. Had a horrid passive crossover and cheesy slide switches.  |  IP: Logged

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