So then the industry accepted and endorsed THX post processing will also hinders percived artistic intentions as well? No. The truth is that no home theater will sound like commercial cinemas which was the original venue that the mix was intented. Also the video comparison isn't all that valid, for simple reason. The video even on BD is still compressed, and video just doesen't look like film no matter what.The sound however now can be master quality with no alteration at all depending on the studio's parctices, but the venue differences will be there just like I said earlier, so the so called artistic intents will be compromised regardless. Room correction software is useful just like room treatment to deal with each individual rooms, and have very little to do with artistic intentions.

THX' stated purpose for being is to ensure that the audio quality as it is produced by the artists is translated as accurately as possible. THX simply certifies that equipment is capable of fulfilling that goal. I would find it strange if we have any THX certified room correction equipment out there as that equipments goals is to do exactly the oposite of what THX wants.

That is correct. THX, either professional or consumer, has nothing to do with a film's production or post production cycle, and certainly has absolutely no involvement in any creative decisions made on a dubbing stage.

THX was created solely to create a "standard" for the playback chain in theaters. Later, those THX standards were made available for implementation into dubbing stage acoustics and equipment. Still, no processing of a creative nature is performed with the THX name on it.

All THX does is certify that certain equipments meet the technical standards which THX deems necessary.

THX has certified most of the Onkyo receivers and preamps that have Audyssey room correction installed.

Room correction equipment does not run counter to THX's stated goals as if done correctly will actually help a user's system properly reproduce what the director and sound engineers created.

I would expect that THX can certify the receiver without taking the Audyssey into account because it can be turned OFF. THX won't care as to what processing you do downstream of the signal once it is generated from the player thru the SSP. THX appears to certify the output after the DTS/Dolby logics are applied but not beyond that because the codecs are used to process the original soundtracks in the editing phase and as such are part of the sound.

That is incorrect. These are all DSP based signal manipulations, that is part of the current THX Ultra 2 processing.


http://www.thx.com/technologies/index.html

Movie soundtracks are edited/mixed in it's original PCM form. The lossy codecs are not part of that, those are simply "delivery" formats for theatrical or home versions.

How so? THX commecial cinemas are built from the ground up to achive certain requirements, that is not what's going on with HT's, nor there is such requirement and THX realizes that so a digital manipulation is the only way for them. I would actually be surprised if THX itself wouldn't have come up with it's own Room correction system soon. If you look at some their current processing like RE-EQ and boundary compensation, they are already doing some of that.

Yes, DSP processing can be part of the THX spec for consumer playback, but I'm totally missing the point of your post. My original point was that THX had no input on the creative side of the dubbing process - it's only standard having to do with a soundtrack's playback (and kind of an unnecessary one at that).

Your original point was about more then that and you quoted the part I was responding to. The point is that people tend to think that THX is nothing more then the old TAP standards originally it was created for. A lot happened since for the HT market which has something to do with this thread don't you think?