CinematicCinematic

Cinematic Frequency Spectrum vs. Pink Noise

Five Cinematic records measured against pink noise, every track gain-matched to -14 LUFS:

  • Ludwig Göransson “Can You Hear The Music”
  • Hans Zimmer “A Time of Quiet Between the Storms”
  • Daniel Pemberton “Spider-Woman (Gwen Stacy)”
  • Michael Giacchino “The Batman (from "The Batman")”
  • Bear McCreary “God of War Ragnarök (From "God of War Ragnarök" Soundtrack) (feat. Eivør)”

Cinematic scores sit near pink through the low end and midrange (bass +5 dB, low mids +3, midrange on it) and then fall away faster than any other set: presence 7 dB and air 12 dB under pink, with the five cues spread widely. The stereo image is almost fully wide from the bass up.

Cinematic average frequency spectrum compared to pink noise, five reference tracks overlaid
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Cinematic frequency spectrum vs. other genres

The same pink-noise comparison for two related genres and three very different ones.

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Cinematic Mixing Guide: instrument frequency ranges and levels

No sub, kick or snare is outlined in these cues. The supporting layer spans 293 Hz to 6 kHz and the prominent layer, where the orchestral leads sit, runs from about 360 Hz up to 6 kHz.

Cinematic PARTS breakdown: sub, kick, snare, support, prominence, air and splash regions across 5 reference tracks
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REFFREY // Cinematic Parts Breakdown
PartLevel vs loudestPeak frequency
Foundations
SUB——
KICK——
SNARE——
Mids
SUPPORT−24 to −12 dB293 Hz – 6 kHz
PROMINENCE0 dB363 Hz – 6 kHz
Highs
AIR−45 to −31 dB6–22 kHz
SPLASH−27 to −19 dB6–22 kHz
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How loud each part peaks compared with the song’s loudest part (0 dB). Not a fader setting. Each range covers all five tracks, every one gain-matched to -14 LUFS, so the balance compares across tracks and across genres.

Cinematic parts vs. other genres

Where Cinematic’s sub, kick, snare and mid layers sit next to five other genres.

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Cinematic Full Reference Stack: Peak, Average, and Stereo Width curves

Average (filled) and peak (dashed) spectra of every reference, with the stereo width strip below. Width is the side-to-mid level per frequency, averaged over the analyzed section: 0 dB means the sides are as loud as the centre, MONO means there is no difference between left and right at all.

Cinematic average, peak and stereo width spectra for 5 reference tracks
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Reference tracks and sections analyzed

The 5 Cinematic tracks behind this RefMap and the section of each that was analyzed. This is the Cinematic set that ships inside REFFREY.

  1. Ludwig GöranssonCan You Hear The Music
    Ludwig Göransson — Can You Hear The Music: waveform with the analyzed section 1:23–1:41 marked
  2. Hans ZimmerA Time of Quiet Between the Storms
    Hans Zimmer — A Time of Quiet Between the Storms: waveform with the analyzed section 3:24–3:44 marked
  3. Daniel PembertonSpider-Woman (Gwen Stacy)
    Daniel Pemberton — Spider-Woman (Gwen Stacy): waveform with the analyzed section 1:57–2:07 marked
  4. Michael GiacchinoThe Batman (from "The Batman")
    Michael Giacchino — The Batman (from "The Batman"): waveform with the analyzed section 6:07–6:23 marked
  5. Bear McCrearyGod of War Ragnarök (From "God of War Ragnarök" Soundtrack) (feat. Eivør)
    Bear McCreary — God of War Ragnarök (From "God of War Ragnarök" Soundtrack) (feat. Eivør): waveform with the analyzed section 3:42–4:13 marked

Captured September 2026 from the REFFREY default set “Cinematic”. Analysis only — no audio is included.

Mix like the Pros with REFFREY

This Cinematic set ships inside REFFREY. Load it, drop your mix on top, and DIFF and PARTS show exactly where yours differs — in real time from your DAW.

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Tested in: Ableton • Reaper • Logic Pro • FL Studio

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