Anyone familiar with the film series knows the music—and Arnie.
The T2 sound is absolutely killer. It comes across brilliantly on my system, with plenty of effects and superb bass.
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Yes, the recording is indeed interesting. There are a lot of layers, everything moves from one speaker to the other, and it creates a really cool three-dimensional image and soundstage.
However, I have the feeling that it lacks just a little bit of resolution, especially dynamic resolution, if I compare it, for example, with Hans Zimmer’s The Dark Knight or Eric Serra’s The Fifth Element, although all of those soundtracks were written much later.
It also sounds great on my system!
But try the album Pitch Black on your setup and tell me how it sounds there.
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Absolutely correct, VIK.
I can never quite express myself that well.
Since I’m currently a bit into film soundtracks—well, “into” might be an overstatement; I listen to them, but there are certainly better things out there—Hans Zimmer is an absolute master of the craft. The Dark Knight is played at many Hi-Fi demonstrations, just like Blade Runner 2049.
The Fifth Element is awesome. I really liked the movie back when it came out, too.
I have actually seen Pitch Black, but thanks to your tip just now, I’m going to give the soundtrack a listen.
By the way, this soundtrack by Steve Jablonsky is unexpectedly good, especially memorable for its unusual guitar riffs.
I have it in my collection, but for some reason I underestimated his Transformers scores. They never really did anything for me.
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Why so serious?
Starting at 3:27, the bass really kicks in—or maybe it’s just my subs bringing it across really well. It must certainly be an extremely deep bass during that quiet passage in the track.
Yes, exactly, this is where the ultra-low parts start. But at the same time, you should clearly hear what sounds like someone hitting the O-Zone Crash with their palms, creating that rustling sound.
Because of that, it feels as if the bass is making the air move strongly somewhere in the room. It is a really cool moment, and the bass should not dominate it.
But yes, the ears definitely start moving. 
- Unterground Army
There is also very strong and very low bass here. A classic test track.
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I only listened in briefly last night, and again this morning before work; however, when that specific passage came up, I was in the kitchen getting myself some tea. But tomorrow is the weekend, and I’m going to listen to that passage again—in peace, first thing in the morning after I get up. My ears will be wide open then, fully refreshed after a night’s rest. That’s when I’ll find out if I can hear the “O-Zone Crash.” If I can’t, I’m going to toss everything out the window and buy myself some new equipment.
Why don’t you provide more details?
That’s surely why someone flagged you! Why does it always have to be Boris? I told you—you’re so fixated on Boris that it could actually turn into an addiction.
- The famous helicopter scene in Apocalypse Now (1979) is underscored by Richard Wagner’s “Ride of the Valkyries.”
- Not to be confused with the scene in Alien: Covenant (2017), where the android David, plays Richard Wagner’s piece “Entrance of the Gods into Valhalla”—from Das Rheingold—on the piano.
I’m leaning more towards point 2.
If you ever feel like listening to some proper music, you can hear both pieces in Richard Wagner’s opera cycle, Der Ring des Nibelungen.
Unfortunately, I couldn’t find it on the film’s soundtrack.
But here, in all its beauty. 
PS:
May all classical music connoisseurs punish me for my incorrect information!
At least he’s not as fixated on my as he’s on Amir. If he were, I’d be calling cops by now.
Are you cheating on Amir with me now?
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Lol…
You two are like cat and dog. 
From 3:27 to 3:55, all I hear is abyssal bass—and one other element (is that called a chord? I’m not sure). I’m no musician, after all—unlike your son. Then, starting at 3:55, other segments join in—such as the “O-Zone Crash” you mentioned.
And the bass itself comes in waves (that’s my own term for it); it fills the room—or at least to my ears, it comes across as if it’s rolling right through the space. Sometimes from the front, then the back, then left, then right. Just the pure bass—it sounds like a heartbeat; I suppose that’s the best comparison I can make.
Starting at 6:01, the extreme bass is once again brought prominently to the fore—though mixed with other elements—until 6:45. Then, from 6:45 to 7:13, I can clearly hear the drummer brushing solely across the “O-Zone Crash”; this could be done with brushes, or perhaps he is using his drumsticks. I’m not sure—sorry, I’m not a musician.
From 8:20 to 9:14 onwards, it really comes together—it sounds so spacious. Or as people say these days: “holographic.” I just call it a beautiful soundstage.
All of this, of course, in reference to—well, you know:
Why so serious?
Oh yes, Tom, exactly.
If you connected your Lyngdorf with a Hurricane High Current cable, the magical neutrinos would definitely roll all the way into the kitchen, penetrate your brain, and somehow enhance not only your enjoyment of those “trash crashes”, but also your enjoyment of tea.
Yes, yes, it works.
My wife can confirm this from the kitchen.
Good morning, VIK.
Fair enough, if you say so. I can’t comment on that because I have no comparison.
But what exactly do you mean by the “trash crashes”?
Yes, exactly. What should be clearly audible there is the bass, but at the same time that slap-like element keeps increasing, basically up to around 4:00.
And during that whole section there is also playing in the midrange. You should be able to hear those very light hits on the small cymbals with holes in them. They are called O-Zone Crashes. The sound is a bit like lightly tapping several thin sheets of metal stacked on top of each other.
That is exactly the detail that should come through very clearly. Maybe you hear it as short little rustling sounds.
On my previous Epicon 8, this exact moment tended to blend into a bit of a mess, although the bass itself was very physical and definitely pleased the body.
By the way, I am listening to a different version of this album. So maybe the recordings are slightly different, although I am not completely sure. 
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To my ears, it really comes across quite clearly, but it is quieter relative to the bass or the overall volume of the track—which is likely intentional.
Alright, VIK. I’ve already listened to it, too. I just wanted to stick with this album version because that’s how I started the post above.
Sorry mickey, but really we do not want to hear about any of your perversions.
One day I should actually drop by ASR and tell Amir that you are not being faithful.
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