Exploring Billboard for Quadraphonic Information

[Old Quad Guy]

January 29, 1977

Mail-Order Sales
Of 'Q' Brisk

LOS ANGELES
Tony Phipps has turned a mail-order business dealing in quad records and tapes— Sound Concepts in Peoria, Ill.--into a thriving operation catering to some 13,000 hi fi buffs who can’t find quad records in their local stores.
His first catalog was issued about the end of 1973 and, like current issues, was advertised in hi fi magazines. “There's a tremendous interest in quad records —at least from the people who get our lists. But there seems to be an apathy or lack of interest from others." He believes that record companies are essentially at fault because they've failed to educate customers to quad and even retail clerks seldom know the difference between matrix and discrete quad.
“People who've got quad equipment tell me they'll never go back to sterco.”
Sound Concepts operates with an inventory of about $10,000 in quad records and tapes. He concentrates his inventory on hard-to-get product because Galgano Distributors and Sound Unlimited in the Chicago area can get him overnight shipment on almost everything else. Occasionally, he has to go direct to the record label to obtain product, especially reel-to-reel quad tapes.
The catalog has a complete description of both matrix and discrete quad recard systems on the inside front cover. It lists all kinds of prod let, from pop to country and soul to classical.

 

[JonUrban]

January 29, 1977

Mail-Order Sales
Of 'Q' Brisk

LOS ANGELES
Tony Phipps has turned a mail-order business dealing in quad records and tapes— Sound Concepts in Peoria, Ill.--into a thriving operation catering to some 13,000 hi fi buffs who can’t find quad records in their local stores.
His first catalog was issued about the end of 1973 and, like current issues, was advertised in hi fi magazines. “There's a tremendous interest in quad records —at least from the people who get our lists. But there seems to be an apathy or lack of interest from others." He believes that record companies are essentially at fault because they've failed to educate customers to quad and even retail clerks seldom know the difference between matrix and discrete quad.
“People who've got quad equipment tell me they'll never go back to sterco.”
Sound Concepts operates with an inventory of about $10,000 in quad records and tapes. He concentrates his inventory on hard-to-get product because Galgano Distributors and Sound Unlimited in the Chicago area can get him overnight shipment on almost everything else. Occasionally, he has to go direct to the record label to obtain product, especially reel-to-reel quad tapes.
The catalog has a complete description of both matrix and discrete quad recard systems on the inside front cover. It lists all kinds of prod let, from pop to country and soul to classical.

I loved getting that catalog. I still have one or two badly worn out copies. Even got them sent to me on the ship in the Med! Lusting over quad equipment and quad titles got me through that cruise

 

[Old Quad Guy]

August 4, 1973

When your customer asks
about 4-channel car stereo,
answer him.

With Panasonic 4-channel car stereo, model CX-601.
It's not just stereo through 4 speakers, it's something new. It's the step up from stereo your custo mers have been waiting for. It surrounds them with music from 4 separate channels. In front and in back. For a musical effect that's incomparable.
The new CX-601 uses the advanced discrete 4-channel for-mat. To bring your car stereo customers closer to the true sound of live performance than they've ever been before. It puts them right in the middle of the sound. Even while they're driving through the middle of nowhere.
And the CX-601 can even do its stuff in the middle of the living

room. Because its lock-tight under-dash bracket unlocks, and the unit travels home. To its optional home mounting cabinet and good-look-ing high performance speakers.
What's more, the CX-601 plays standard 2-channel as well as the special 4-channel tapes. So your customers can keep on enjoying the tapes they already have. Maybe enjoy them more. Because they'll have four speakers instead.of just two.
The CX-601 has everything. All the controls needed to adjust the fantastic 4-channel sound precisely to taste. Sliding controls for tone. balance and volume. Push-button and automatic channel changers. Pushbutton ejection.
And automatic repeat. It's all tran-

sistor. Solid state. Designed to last.
Best of all, the CX-601 comes from Panasonic. The name your customers know for excellent home entertainment. The name they know for quality. The name they trust.
Find out about selling the Panasonic CX-601. Start telling your customers about it now. Its the answer you've both been looking for.

 

[Old Quad Guy]

August 4, 1973

The quadrasonic scene

Studio Personnel
Find Mixing Time
Is Becoming Less
Time-Consuming

4-channel recordings are losing their 'novelty' designation.

By Sam Sutherland

QUADRASONIC MIXING TIME is clearly easing back from the long and intense sessions first needed to explore the quite awesome creative potential of 4-channel sound. And techniques for mixing and recording in 4-channel alike are being developed in studios around the country to the point where 4-channel work is no longer a novelty but now business as usual.
Equally important, and one of the keys to the emergence of consistent quadrasonic techniques, is the impact of 4-channel sound on studio design. Many studios which first began installing quadrasonic equipment a year back have now had the time to refine and redesign their facilities for optimum 4 channel monitoring and mixing flexibility.
And, concurrent with the discovery of the sophisticated demands of 4-channel work, sophisticated electronic tone control devices have been unveiled that may well prove vital in 4 channel work.
At RCA's New York studio complex, Bill Dearborn has overseen the emergence of quadrasonic studio techniques there. Dearborn can provide a fascinating schematic history of those techniques by simply walking through RCA's three 4-channel mixing rooms, which reflect the evolution of the quadrasonic question from its earliest form, discrete tapes first mixed in 1968.
Thus, the earliest RCA mixing room reflects the need for maximum monitoring flexibility, a key to the use of quadrasonic sound's added directional element. RCA's earliest console is a rebuilt 16-tracker that was trimmed down by eliminating much of its equalization and limiting capability to make room for the necessary monitoring controls.
Each track had a quickly reached monitoring control area that provided enough flexibility to accurately posi tion elements in the mix. The first quadrasonic "joy-sticks” were also employed here.
With the second mixing console, control surfaces were reorganized to permit the inclusion of equalization on every channel and a full range of limiting capabilities as weil. Another important monitoring function-busses permitting direct switching from mono, 2-track and 4-track modes for quick reference to compatibility-were added. Succeeded, in turn, by RCA's most re. cent 4-channel room, which offers a console further refined and additional electronic devices such as Delta T digital delay lines, which Dearborn notes have proven vital in filling acoustic "holes" in the 360 degree quadrasonic array.
RCA's rooms also show the evolution of speaker placement--another critical factor in monitoring. Indeed; apart from console modification, and the frequent addition of delay lines, phasers, additional limiting and equalization, speaker placement is the most recurrent problem area in quadrasonic rooms. Virtually every studio with quadrasonic mixing facilities has varied its placement over the past year, in efforts to provide the most convenient yet effective monitoring setup.
Thus, at Elektra Recorders, the Village Recorder, Columbia studios and other rooms, both independent and label-owned, the ques. tion of speaker placement continues to be examined.
Individual control rooms have posed differ ent problems, ranging from individual producer's tastes (a studio perennial) to more concrete aspects of 4-channel monitoring such as the need for monitors to be placed at ear level, which often conflicts with the need for space around the console area, and the problem of acoustic reflection from the control room windows. Different solutions to the question of rear speaker placement have been posed, and doubtless will continue to be offered.
Console design is also slightly but significantly altered by the onset of quadrasonic systems. RCA's complement of mixing rooms underscores this point, with monitoring controls there evolving just as they have elsewhere. Columbia's New York studios, for example, have also undergone necessary console changes. Engineer Larry Keyes, a vet.
eran of quadrasonic remixing ses. sions with 4-channel production manager Al Lawrence, notes that Columbia has moved from standard consoles, slightly modified, to their own 4-channel mixing boards.
Keyes says that all quadrasonic work there is remixing from 16-track masters. Actual live recordings are all handled with basically the same techniques, regardless of their future as quadrasonic SQ re-leases. When those tapes are mixed for SQ encoding. Keyes notes that his whole approach must be geared to directionality. So Columbia's consoles, like those at other studios handling quadrasonic work, now have more flexible bussing to permit efficient track placement and quick checks for compatibility in all formats.
His comments do point up another area in 4-channel sound-that being live recording.
Most product to date represents 4-channel mixes from 16-track masters initially designed for stereo. While all engineers agree that quadrasonic sound poses different prob. lems due to the emphasis on directionality and motion, rather than "color" or texture of combined elements, as in stereo, there is some disagreement about how that final goal affects initial recording.
At the Village Recorder in Los Angeles, engineer Rob Fraboni emphasizes the need to use several tracks for solo instruments slated to figure prominently in the mix. With musical movement a prime goal, that requirement seems obvious, but, as Fraboni quickly points out, the producer and engineer are faced with the problem of track assignments.
Thus, Fraboni notes that additional pre-production work is needed, a view echoed by Dearborn and John Pudwell of RCA, who emphasize quadrasonic sound's demand for careful track assignment and microphone isolation prior to actual recording.
The shortage of tracks created by multiple. tracking on individual instruments would seem to force that hand, as would the dangers set up by leakage between tracks that may not be placed in a natural spatial configuration during mixing.
Yet CBS' Larry Keyes feels that isolation doesn't really pose an additional problem.
Pre-production demands have always been important, suggest other engineers, while multiple tracking of individual voices or instruments has been common for years.
Still, the creative potential of quadrasonic sound remains one of the largest questions, and nearly every engineer is both eager to see what quadrasonic sound can do and wary of its possible excesses. Fraboni is among those excited by the prospects, but he notes that compatibility continues to be a problem during his QS matrix sessions; Bill Dearborn and John Pudwell note that most established artists are worried that quadrasonic directionality may be overemphasized, resulting in the 4-channel equivalent of those ping-ponging stereo spectaculars first recorded to demonstrate that medium; Tom Dowd, Atlantic's production man in Miami and a veteran of 4-channel work at Criteria Studios there, has spent enough time dealing with the conflict of formats and the specific demands of each that leads him to describe quadrasonic sound as "a very delicate engineering toy that in the course of a year or two of practice will change."
Mastering continues to change as rapidly as recording techniques did at the outset of quadrasonic sound. The rate of changes there is indeed dramatic, with Dearborn noting that third speed mastering is being phased out to accommodate half-speed mastering with a new Neumann cutting head.
Yet, as long as speed differences must be uti lized to master quadrasonic disks, engineers and mastering engineers must adjust equalization and limiting accordingly. With the development of real time mastering-which some figures claim may be only a year or two away--the rate of change in mastering techniques and equipment may also be expected to level off somewhat, letting the engineer catch his breath and really refine his methodology.
As engineers learn how to work quickly and comfortably with 4-channel sound, we may even see the onset of what many engineers feel will be not only valid, exciting 4-channel product, but clearer stereo product as well.
Technically, the phase problems and critical parameters for distortion involved in 4-channel sound lend some support in that direction. And sessions are already getting shorter, with Keith Holman of Elektra noting that quadrasonic mixes may even end up taking less time, due to pre-production.

 

[Old Quad Guy]

 

[Old Quad Guy]

August 4, 1973

The quadrasonic scene

Universal Systems:
One Method Of
Making Incompatible
Systems Compatible
The newest development
in hardware allows you to play discrete and matrix modes.

By Rob Kirsch

COMPATIBILITY in the incompatible world of quadrasonic. This is what the "universal systems" hardware units with their ability to play and receive both discrete and matrix modes in what is probably the most exciting and important development in 4-channel equipment in the past year.
What does the advent of the universal system indicate? For one thing, the buyer of 4-channel tape equipment generally need not concern himself with the discrete-matrix "battle,” as most quadrasonic tape units are discrete. For the buyer wishing to play 4-channel disks today or receive what quadrasonic radio broadcasts are available the meanings are several fold.
The major advantage of the universal system go to the consumer. Purchasing one of these units means he can play discrete disks or matrix records and receive effective results through the flick of a switch. Though many of the universal units do not feature separate switches for CBS's SQ matrix system and Sansui's QS or regular matrix, they do include a circuit which the manufacturer feels is capable of handling both modes. And universal units often include a built-in CD-4 or discrete demodulator. So the consumer can purchase a receiver today and play virtually all quadrasonic disk material available.
The universal systems are also felt by many in the industry to be a bonus to the retailer. He does not have to worry about selling a customer an obsolete product.
For the consumer wishing to receive 4-channel radio broadcasts, the universal system is also an important step. At this moment, none of the seven or eight quadrasonic broadcasting systems have managed to find a dominant and permanent niche in radio.
Matrix broadcasting is, however, by far the most common and the most regular. If a consumer wishes to listen to quadrasonic radio and also listen to discrete disks, the universal unit will allow him to do so.
Perhaps the most important signal being relayed by the advent of universal systems is a kind of unannounced admission by the hardware industry that the three currently popular forms of quadrasonic reproduction are going to be around together for some time to come. Co-existence it not simply a kind word used in trade meetings nor a quote used to prevent in-fighting in the hardware and software business.
It is a fact, and manufacturers and consumers are recog nizing this fact. Discrete, SQ and QS 4-channel systems are all viable systems for the moment and the general feeling is that they will continue to be viable for several years. Many feel it will be far more than several years, and the conversation of one system beating out another system has taken a back seat in many cases to the cause of letting the retailer and the public know that 4-channel is a new dimension in sound and is available now.
What do some of the leading manufacturers have to say about universal 4-channel systems and why are they including them in their lines? What are some of the differences between the universal units? Should the consumer buy one of the "lower end' units retailing at around $300 or is he better off with a unit selling at $800?
Panasonic offers several versions of universal units under its Series 44 line. Some models feature a built-in CD-4 demodulator and all have switches called Quadraplex which are meant to handle both SQ and QS matrix. "Some of our mod els have the CD•4 built in," says assistant general manager of the merchandising division Jeff Berkowitz, "and some are adaptable for this. To us, however, some form of compatibility between the systems is becoming a trend.
"Nobody is looking to or is in a position to force the market and no manufacturer can ignore the outside world. All three types of quadrasonic are available and the consumer has the right to have access to them. There is plenty of software available for both systems and while we back discrete, there is no doubt that matrix is here, both in disk and in broadcasting.
For the moment, we are looking at a dual distribution situation."
Jerry Kaplan, who heads up Technics (Panasonic's hi fi line), agrees with Berkowitz. "We have a unit with built in CD-4 as well as matrix devices. All of us in the industry know what's been going on between discrete and matrix. A year ago, I might have said there was a battle going on. But after looking at the Consumer Electronics Show this year, the topic I saw was how to sell merchandise in 4-channel, not which system was best.
"With a system encompassing discrete and matrix," Kaplan continues, “the dealer can do business today. There is no such thing as obsolescence. If everyone wants to keep talking about a battle then the dealer stands a good chance of losing both stereo and quadrasonic sales. Now he can say to the consumer, 'here's something with discrete and matrix, play what you like on it.' "
Kaplan feels that what he is doing and what many other manufacturers are doing is "taking the doubt away from the consumer. We're telling him that he can have stereo or whatever form of 4-channel he needs. Why penalize the consumer until one system is settled upon? The discrete and matrix systems could ride along together for years."
Bernie Mitchell, president of Pioneer Electronics, agrees with much of what Berkowitz and Kaplan have to say. "We have three units with CD-4, SQ and QS built in," he says, "and we look at the systems with the same eyes as we look at the 33 and 45 disks. Both disks serve different functions and both have been around for years. Maybe the 4-channel systems will follow that same path. I don't know many people who would buy a turntable missing one of these speeds, and I don't really know why a consumer or dealer at this stage of the game would buy a receiver missing a viable capability. These quadrasonic forms could co-exist for years and years and I think the universal systems are the only usable ones.
Pioneer has three models currently on the market which are universal and is planning a fourth, more powerful unit.
"This is the trend as I see it now," Mitchell says. "And to be honest, I'm not going to say that things will ever be completely settled when it comes to one system dominating the others.
SQ is certainly a viable system. They have a lot of records on the market and have shown that SQ broadcasting works. By the same token, CD-4 is gaining more and more strength.
With matrix and discrete we may be looking at two sources that are going to live together for a long time."
Stan Kavan, vice president of planning and diversification for CBS, disagrees somewhat with the need for three systems in a single unit, but does feel the universal concept is a good idea. "In this country, manufacturers don't seem to have the quality problem in matrix," Kavan says.
"Most manufacturers showing all three systems in a single unit are based in the Orient, because there were at one time a series of meetings in Japan in which three decoding characteristics were adapted.
"At the high-end, however, I do feel that universality is a good idea. But the mass market may find they can't accom modate both systems because they can't hold the price points. The fact does remain, however, that both SQ and discrete are viable systems now."
Howard Ladd, who heads up Sanyo's consumer electronic division, believes that "the universal systems importance will depend on the viability of CD-4. At the present, we are placing CD-4 demodulators into one high-end receivers for the man who wants something guaranteed not to be obsolete. But the matrix and discrete systems could either merge or co-exist indefinitely. While I happen to feel that matrix is the best system, I do think it's a good marketing technique to offer all of the systems. I think you will see a lot more companies coming out with universal product."
JVC vice president Bill Kist says his firm offers universal receivers "because this will be the big thing this year with all of the quadrasonic systems viable. The rest of the industry is offering their forms of universality as well, and I think we can take this as an indicator that all 4-channel formats will be around for sometime. I equate the whole thing with the introduction of stereo records followed by FM broadcasting. With the growth of quadrasonic disks, I think you will see a definite evolution into 4-channel broadcasting. Matrix is the dominant form of this type of broadcasting now, though I certainly see a trend to CD-4 which we back.
Steve Perpich, assistant product manager for Marantz marketing, feels that "Marantz has a different approach than the rest of the industry, but we are still offering what we feel is a universal series of systems. All of our receivers are discrete with four amplifiers which can be bridged for stereo. This is our basic concept. Our matrix format is called Vari matrix, which is a synthesizer which synthesizes ambient information off a stereo record and feeds it to the back channels.
"This format decodes both SQ and QS very well as far as we are concerned. What we do have is a pocket on the bottom of the unit connected to a front switch reading SQ decoder.
The consumer can buy this unit and plug it into the bottom of the receiver. He then has vari matrix. It's a universal system but the idea is that the consumer is not locked into two matrix systems.
“When changes come, you can unplug the decoder and put in another one. We don't happen to think that the matrix war is over and we think that in two years you will see product with only one system, be it discrete or a matrix type. If one system wins a race, why have all three in a unit. We are not really universal. We offer more than one system as an option."
The above are not all of the manufacturers offering universal units. Fisher, Harman-Kardon and Onkyo are among others. And all are a bit different in the way the present their universatility. Some offer switches plainly marked CD-4, SQ and QS, some offer just CD-4 and SQ (feeling that SQ can successfully decode QS), some offer a switch marked RM and there are endless variations.
The important point is, however, that systems offering the ability to play more than one type of quadrasonic disk and receive more than one type of quadrasonic broradcast are here.
The ability to play more than one type of disk is becoming increasingly important. Columbia's SQ disks have been on the market for several years now and with Columbia and the various labels using the systems, there are more than 250 SQ records available worldwide. Most of the industry credits CBS with doing a fine job of marketing the 4-channel disk concept to the public and the label and other labels using the system have so much top flight talent on them that the system cannot be shrugged off.
By the same token, discrete disks are gaining strength in number and acceptance everyday. RCA has been releasing Quadradisks at the rate of seven or eight a month, and the WEA group has some 24 disks ready for release. Several other major labels have yet to make a decision, but the mere size of RCA and the WEA group is enough to make discrete an important force in the market.
Not to be ignored is the Sansui QS disk system. A number of labels, including A&M and Ode and Project 3 have product available in QS, and more licensees are continually being signed. The QS system is a viable matrix system there are a number of popular disks available.
The consumer, therefore, might very well have large libraris of music in all three systems. Even if the industry should by some miracle agree on a standard system tomorrow, the consumer would still have this library. The feeling is, why deprive the consumer? Let him play what he has and continue to buy what he wants without fear of obsolescence. Quadrasonic is finally gaining the ground predicted for it several years ago, so why, many in the industry appear to be asking themselves, should we let fighting get in the way?

 

[Old Quad Guy]

 

[Old Quad Guy]

August 4, 1973

The quadrasonic scene

The Automobile.
An Expanding
Breeding Ground For
4-Channel Listening?

IF THERE WAS ONE TREND at the recent Consumer Electronics Show that sneaked up on visitors more than any other, it was the move by virtually every manufacturer involved in 8-track car stereo to include a quadrasonic unit in the line.
The move should not have come as any great surprise. The car has long been the breeding ground of some of the more exciting developments in sound, particularly where tape is concerned.
It was in the automobile, of course, that 4-track and soon after 8-track tape players became common pieces of equipment to the general public. Because of early exposure to tape in the car, many consumers are now purchasing 8-track player recorders for the home. Many consumers are now including a cassette in the car, whether for entertainment or for educational use. And, many young people first learned of the pleasures of FM radio while driving.
Another important factor when talking about car sound equipment is the price factor. In general, a car unit has been less expensive than a home unit of the same configuration.
This can be seen now with 4-channel 8-track players.
So, the car has been a breeding ground for sound. Does the rash of 4-channel 8 track players suddenly appearing on the market mean that 4-channel 8-track decks will soon start to sprout in homes as they did when their stereo counterparts began showing up under dashboards? Does the abundance of auto quadrasonic mean that the marketplace is waiting with open arms for all the auto 4-channel that can be had or does it simply mean that the major manufacturers do not want to be caught empty handed if and when such popularity does appear?
Does the fact that for the first time a number of simulated or matrix car 8-track players appeared mean that manufacturers have decided to try and seduce the consumer with 4-channel soundalikes in hope that he will go after discrete units? Do manufacturers plan big pushes on auto quadra sonic? The answers to all of these questions are a mix of yes and no.
What do some of theWhat do some of the leading manufacturers have to say about quadrasonic in the car? Do their sales in this area warrant the heavy introductions that visitors to the CES saw?
"There has been no really significant jump in sales in 4-channel for the car," says Ed Lucasey, Panasonic's national sales manager for auto products. "I think what we are seeing now," he continues, "is an industry preparation which is a bet on more available software. What concerns me most in this whole field is that nobody has said they are going to cut new music which will be available only in 4-channel tape. This is one of the major reasons we introduced 4-speaker matrix for the car. This is really 4-speaker 2-channel sound. A consumer can buy tape in stereo, so let him play them in stereo but get a taste of what quadrasonic is all about at the same time.
"The reason for all of the introductions," Lucasey feels,
"is that this is an evolving market and nobody wants to be left out. To keep up, you've got to have the material ready." Panasonic does offer discrete 4-channel for the car as well as mat-rix, so Lucasey feels he is covered in all areas.
Returning to the software point, Lucasey says, "Matrix for the car is definitely an interim thing and all it does is enhance the sound. There is a certain amount of surround sound here.
But what we are really doing, and we are certainly not the only hardware people doing this, is waiting on the software manufacturers.”
The software and its availability or lack of it was touched on by almost every hardware manufacturer spoken to in connection with the rash of auto quadrasonic. While no manufacturer said so in so many words, the fact remains that there is some quadrasonic disk material which is coming out only in quadrasonic. The consumer can certainly listen in stereo if he wishes, but the single inventory can be looked upon as an incentive to get involved in quadrasonic. To be fair, the majority of 4-channel material on disk is also in a double inventory situation, but there is no tape available exclusively in quadrasonic.
Another complaint heard from many hardware manufacturers concerning software is that the material is not relevant to the market. The car stereo market has always been a young one, and much of the music available for this market is anything but "young." "Too many marches and symphonies and not enough rock" is a commonly heard complaint.
A spokesman for Motorola, certainly one of the pioneers in car sound, feels that things are starting to hit the upswing in the car quadrasonic market.
"We have two models now," he says, "both discrete, and we think the advent of the discrete disk will help sales. But the real restraining factor as far as we are concerned is the scarc ity of current software appealing to the young buyer. More new things are needed. If the dual inventory in some tapes should ever disappear, then I think the market will really take off.
"The key to success in the tape market is success in the record market. The same problem cropped up in the early days of 8-track and I don't think there's any doubt that disk problems have slowed things down. We will, however, continue to push 4-channel in the car and I don't have any doubt that it will eventually be a very successful product."
Jack Doyle, president of Pioneer Electric Co. of America, says that car 4-channel "looks like about 8 percent of our sales right now and that's up from the past. We now have two units, both discrete and one with FM, and while the price is higher on auto 4-channel than auto stereo, the biggest problem is software. There just aren't enough selections and most of what there is catalog.
This business between hardware and software is almost like a chicken and egg situation and it will eventually work itself out."
Doyle says he plans no extra promotion for his 4-channel units but expects continuing growth nonetheless. "It's almost like the 4-track and 8-track thing when all that came about," Doyle says. "I'm sure stereo will evolve into quadrasonic in much the same manner. The only thing that could additionally delay would be some change in trends, such as cassette gaining more strength than we expect it to.”
Lauren Davies, vice president at Craig Corp., points out that he now has three quadrasonic auto models available, all discrete and all enjoying relatively good sales. One of the mod els has a matrix switch. "I think you'll see a lot more of this, this year," Davies says. "This kind of thing causes an illusion more than anything else, but it is different and there is a place on the market for it. It can introduce some people to quadrasonic.
"As for all of the units," he says, "they are not taking over the market but there is a good steady growth curve. However, the popularity over the past year of in-dash 8-track and cassette is diverting quadrasonic for the car a little bit. We're try. ing to pace these items very carefully. Another problem is software. The scarcity of it is a problem now and more would certainly help.
Craig is also pushing in store demonstration to its dealers as an invaluable tool in selling auto 4-channel, and they are not alone here. Most manufacturers feel some sort of demonstration is needed, just as it is in home units, to push the full impact of the sound to the consumer. In addition, Craig has beefed up its written material on 4-channel and is talking about it more in seminars for distributors, as are other manufacturers.
Car Tapes is offering a discrete auto unit, and Earl Horowitz of the firm says they have recently added "what we call simulated quadrasonic sound. It's a unit with four speakers and FM and in some ways might be called a gimmick," Horowitz says. "But it does enhance sound and gives the listener some idea of what real 4-channel in the car can sound like. As for the discrete unit, we haven't done a great deal with it but we didn't really expect to. It's selling a fair amount and at this time that's all we can really ask for.
Sanyo's Howard Ladd feels that "quadrasonic is just not that important in the car. I think the effect of a discrete tape is negligible because of the confined area. We do have some discrete units, however, and we also have several matrix models.
Neither type are huge sellers yet, but we feel it's important to keep them in the line because there is some demand for them. There is increasing interest and there is no doubt that this is a developing market. As for what will help the market grow, I think a standard price on tape might be some aid and I think matrixing the tape would make a lot more sense.”
Ed Campbell, president of Lear Jet Stereo, believes the auto configuration is an important one and "necessary. But I have a feeling," he adds, "that the main reason so many of the auto tape people are carrying them is that they are afraid not to have one. If anybody's units are moving in any great volume, I would be surprised." Lear Jet does have a quadrasonic unit in its line, and Campbell says that while sales have not been overwhelming, "it's a difficult market to predict." So what can be expected for the future of quadrasonic in the car?
Certainly the market potential is there. The youthful buyer is always looking for something new, but the youthful buyer of today is also looking for something that is not a gimmick. If the WEA group and several other firms come out with the type of tapes (hard rock to a great extent) that they are promising, this may help to answer many of the manufacturers' complaints on this subject.
Whether or not the price will come down on existing tapes remains to be seen. Should quadrasonic catch on in the home the way it is expected to, then it may well follow suit in the car.
The car seems to many to be a natural acoustical chamber and exposure in the home could draw it into the auto market.
There is also the pricing point. Prices on discrete car quadrasonic systems start as low as $60, a lot lower than the home.
Again, this follows the pattern of stereo car players and stereo 8-track decks. The price is reasonable enough in most cases to allow the adventurous to try the system.
As for promotion, more manufacturers are stressing the importance of education in the car market to dealers, distrib utors and reps, and this could potentially help sales.

 

[Old Quad Guy]

August 4, 1973

The quadrasonic scene

U.5. Stations Use
Matrix Made,
But Discrete's
Future Is Still
A Big Question

By Claude Hall

WHILE MORE THAN 200 FM RADIO STATIONS in the U.S. are broadcasting in matrix quadrasonic at least some of the time (several are claiming that they're 24-hour quadrasonic stations, but they're telling tall tales that out tower their antennas), the real question about whether there will ever be quadrasonic radio as we know stereo radio today--that is:
Discrete--is still hanging fire.
Hanging fire after three years? Yes.
There are many reasons.
• First, the Federal Communications Commission, protects quite jealously the public's airwaves and moves slowly in order not to make a mistake. In effect, the FCC is working carefully to insure that the public gets the best broadcast system that technology permits.
• Technology has had to be improved and/or perfected in some instances.
• Third, the so-called "American way of life" got in the way as company after company either thought they'd come up wit a better discrete broadcasting system and/or decided that by throwing their hat (in this case, another type of system for broadcasting) into the ring, they might be able to rake off some of the enormous profits that will come flooding to some company or companies when quadrasonic broadcasting becomes a reality.
In any case, a lot of people came up with "systems" for quadrasonic broadcasting. For example, RCA came up with a 3-channel system and filed a proposal with the FCC while its record wing, RCA Records, was the initial advocate in the U.S. of the CD-4 discrete record system developed in Japan. Thus, division was competing against division.
Historically, the first discrete system that surfaced was invented by Lou Dorren, a young college student then still struggling to earn his bachelor's degree. He'd heard some two-station broadcasts by K101-FM and another station in San Francisco and one day called K101-FM owner James Gabbert and told him he could do it on a single station.
They eventually got together and, with the backing and pushing of Tom Lott, who or. ganized Quadracast Systems Inc., came up with a viable system and applied with the FCC for permission to perform test broadcasts.
Later, Gabbert filed a huge report on the tests.
But the FCC, following the same procedure used for the arrival at the present stereo broadcasting system, turned the problem over to the Electronics Industries Assn., which formed a series of panels to conduct tests.
After these tests are completed, the results will be turned back over to the FCC, who will then make a decision on what quadrasonic radio will be or even if it is to be discrete at all.
Because, of course, the various record companies involved in matrix quadrasonic product, argue that there's no need for a discrete broadcasting system at all, since all an FM radio station has to do is merely play a matrix record on the air and anyone with a matrix decoder at the receiving end can, supposedly, hear the broadcast in quadrasonic.
This is not necessarily so. And there are several reasons:
• First, the encoder/decoder state of the art still leaves a lot to be desired;
• Second, a given matrix decoder does not necessarily interpret product too well encoded in another particular matrix system.. to wit: The CBS SQ decoder doesn't bring out the best of the Sansui QS product and vice versa.
Some ludicrous situations have turned up in the matrix radio field, too. For instance, Pacific Stereo, a chain of equipment stores owned by CBS (which has the SQ matrix system), was sponsoring broadcasts on a Los Angeles FM station in cooperation with Sansui and in the Sansui QS system.
In any case, although several new develop ments in decoders are coming down the pike pretty rapidly (specifically a new Lafayette unit and a new Sony unit), the present state of the art in matrix decoders is not anywhere up to what discrete radio might provide.
Thus, the listener is hearing more than stereo, but a lot less than real quadrasonic.
Make no mistake about it: Matrix radio is making strides . . . and rapidly. The general feeling is that CBS withdrew from the National Quadrasonic Radio Committee of the EIA (which is evaluating quadrasonic radio systems for the FCC) in order to really concentrate activities in swinging more radio stations to their SQ matrix system. CBS stated quite flatly: "Unlike any of the other quadra sonic proposals, SQ is already fully authorized under FCC rules and is not an experimental concept.
"Columbia Records is currently serving some 200 radio stations with SQ programming and believes its action regarding the
NQRC will enhance the understanding within the broadcasting industry as to the dynamic viability of the SQ system as an available and authorized program medium. Previously, Columbia found that some broadcasters were confused by stories which indicated that FCC authorization was required for quadrasonic broadcasts. By standing outside of the NQRC activities, the SQ system's virtue of economy, quality, simplicity and practicality will be more easily communicated to and recognized by the broadcasting industry."
That statement is a little off key, since matrix broadcasts are permitted by the FCC, but they've never been authorized per se.
Now Sansui is also stepping out forward with its matrix system via radio ... for in. stance, working with the ABC-FM Spot Sales Special Projects Department, New York. The ABC group has produced more than 35 live 4-channel broadcasts, encoding a mixed-down 4 channel tape in Sansui's QS system.
Sansui also reports that WCRB-FM in Boston has been producing the Boston Symphony and Boston Pops concerts in QS and these have been broadcast on stations such as WQXR-FM in New York, WFMT-FM in Chi cago, and KKHI-FM in San Francisco.
The Cleveland Orchestra is also available in QS tape form and plans are underway to do the same with radio programs featuring the San Francisco Symphony. WPLJ-FM in New York, WNCR-FM in Cleveland, and others have been broadcasting in OS some of the time.
Among those broadcasting part-time in matrix are KFMS FM in St. Louis, a beautiful music station, and WMST-FM in Mt. Sterling, Ky. So, as you can see, quadrasonic matrix radio is pretty widespread.
So, the question is: Will matrix become so dominant that if and when the FCC does make a decision on discrete radio it'll be too late?
That's difficult to answer.
However, the NQRC is nearing completion of its studies. For example, all of the systems pending before the FCC were tested July 25 in San Francisco, first by the NQRC Fanel and later by the general public. The major systems include the Cooper QVX system which is a combination of matrix and discrete, the Lou Dorren system, the General Electric system, and the Zenith system.
Motorola has proposed a system, but it evidently isn't ready for testing yet and may have to be excluded altogeher if they don't hurry. There was a strong chance at press time that the CBS SQ system would be sneaked into the tests even though they've officially withdrawn from the NQRC.
As of Jan. 1, field test-actual transmissions via the various systems- will begin.
These will be done after midnight on K101-FM and last about 60 days. It's expected that at least 100 executives and engineers from the various companies involved will be on hand throughout the experimental broadcasts.
Supposedly, these test broadcasts will be completed by Feb. 28. To date, the NQRC is pretty much on schedule. So, ostensibly, the ElA would have the results ready to submit to the FCC shortly thereafter. Of course, the out come at that point could already be a moot point, since Harold Kassens, assistant chief of the broadcast bureau of the FC is supposed to be on the scene in San Francisco uring the test broadcasts and may be pretty well aware of what the best system or combination of systems is.

Stations Use Matrix

At least one broadcaster feels that the FCC may try to announce the quadrasonic decision at the next annual convention of the National Association of Broadcasters in Houston next year. Of course, the FCC would then allow various manufacturers to reply and that could take a couple more months.
So?
Well, in any case quadrasonic discrete radio could become a reality next year.
On the software front, labels have been hanging fire to see how the new discrete Quadradisc product being introduced by Warner Bros., Elektra, and Atlantic does in the marketplace. CBS already has an enormous amount of product out in matrix, as do other labels. Ostensibly, a radio station broadcasting in discrete would have to also install a decoder to change the matrix product to discrete, but this would be a simple matter. Most stations are changing to cartridge operations; the decoding could be done in the production studio onto cart and would be a one-time process. So, all of the labels turning out matrix product would still have viable chances for broadcast.

 

[Old Quad Guy]

August 4, 1073

Sansui reports on
the 4-channel scene

Since 1969, when Sansui developed the advanced quadraphonic technique called QS Regular Matrix, 4-channel sound has exploded on the musical scene with a plethora of
4-channel records broadcast by radio stations throughout the world.
With the QS approach incorporated as part of Regular Matrix standards, almost all 4-channel consumer equipment produced today has QS Regular Matrix playback capa-bility. More and more record companies, producers and engineers understand the superiority of Sansui 4-channel sound and the tremendous marketing opportunities the system affords. Dealers all over the country report continual increases in 4-channel record sales.
We are gratified that such famous record companies as Vox, BASF, French Decca and the Longines Symphonette Society, have recently joined the ranks of manufacturers producing QS encoded records. Dozens of new QS discs are scheduled for release before fall on these and other labels.
Sansui continues to lead the industry in new developments. Today, the Sansui QS vario matrix IC chip, which shortly will be available in production quantities, represents the latest refinement of the QS Regular Matrix Decoder for both consumer and professional.
The new vario matrix circuit yields separation indistinguishable from 4-channel master tape. It is included in our full line of QRX receivers and is part of our QSD-4 Studio Decoder.
Over 130 discs now bear the emblem of QS Regular Matrix in the United States. Artists who have recorded with our system include Carole King, B. B. King, Enoch Light, Dick Schory, Joan Baez, and a host of others. Some of America's best known producers have chosen the QS approach. Worldwide QS is represented by over 500 titles on 32 labels.

QS 4-channel compatible albums are available from the following labels and the number is rapidly
increasing. Keep yourself informed.
ABC/A&M/ Audio Treasury/ BASF/Barclay/Black Jazz/
Bluesway/Blue Thumb/Command/Crown/ Decca (France)/Impulse/Jockey/ Kilmarnock/
King/Longines Symphonette Society/
Minoruphone/Nippon Columbia/ Ode/Ovation/ PCA-Recar/Polydor (Japan)/ Project 3/Pye/ Quad Spectrum/RTV Era/Teichiku/Toho/ Toshiba/Tumbleweed/Vox/Warner Pioneer

 

[Sonik Wiz]

View attachment 95047

August 4, 1073

Sansui reports on
the 4-channel scene

Since 1969, when Sansui developed the advanced quadraphonic technique called QS Regular Matrix, 4-channel sound has exploded on the musical scene with a plethora of
4-channel records broadcast by radio stations throughout the world.
With the QS approach incorporated as part of Regular Matrix standards, almost all 4-channel consumer equipment produced today has QS Regular Matrix playback capa-bility. More and more record companies, producers and engineers understand the superiority of Sansui 4-channel sound and the tremendous marketing opportunities the system affords. Dealers all over the country report continual increases in 4-channel record sales.
We are gratified that such famous record companies as Vox, BASF, French Decca and the Longines Symphonette Society, have recently joined the ranks of manufacturers producing QS encoded records. Dozens of new QS discs are scheduled for release before fall on these and other labels.
Sansui continues to lead the industry in new developments. Today, the Sansui QS vario matrix IC chip, which shortly will be available in production quantities, represents the latest refinement of the QS Regular Matrix Decoder for both consumer and professional.
The new vario matrix circuit yields separation indistinguishable from 4-channel master tape. It is included in our full line of QRX receivers and is part of our QSD-4 Studio Decoder.
Over 130 discs now bear the emblem of QS Regular Matrix in the United States. Artists who have recorded with our system include Carole King, B. B. King, Enoch Light, Dick Schory, Joan Baez, and a host of others. Some of America's best known producers have chosen the QS approach. Worldwide QS is represented by over 500 titles on 32 labels.

QS 4-channel compatible albums are available from the following labels and the number is rapidly
increasing. Keep yourself informed.
ABC/A&M/ Audio Treasury/ BASF/Barclay/Black Jazz/
Bluesway/Blue Thumb/Command/Crown/ Decca (France)/Impulse/Jockey/ Kilmarnock/
King/Longines Symphonette Society/
Minoruphone/Nippon Columbia/ Ode/Ovation/ PCA-Recar/Polydor (Japan)/ Project 3/Pye/ Quad Spectrum/RTV Era/Teichiku/Toho/ Toshiba/Tumbleweed/Vox/Warner Pioneer

Another fun slice of history to read about. May I ask with the text heavy content are you using OCR scanning to do this? Certainly you're not transcribing everything???

The Sansui QSD-4 is mentioned above. Interesting QQ thread about the unit here:

https://www.quadraphonicquad.com/forums/threads/misc-sansui-qsd-4-qs-decoder.14053/

 

[kfbkfb]

This 1973 Sansui QS ad is the first time I've seen Sansui call QS "QS Regular Matrix", IIRC, Pioneer (and of course Sony) labeled QS as RM on their Quad receivers, maybe that's why.


I've never heard surround sound in a vehicle audio system, does the fact that the listeners are off center when listening to the surround sound adversely affect the surround effect?


Kirk Bayne

 

[Old Quad Guy]

Another fun slice of history to read about. May I ask with the text heavy content are you using OCR scanning to do this? Certainly you're not transcribing everything???

The Sansui QSD-4 is mentioned above. Interesting QQ thread about the unit here:

https://www.quadraphonicquad.com/forums/threads/misc-sansui-qsd-4-qs-decoder.14053/

You can do a screen shot of Text and simply copy and paste from a photo as you would with any text. But, it doesn’t always get the formatting or spelling of words right. So, it’s better to zoom in to text as close as you can and do multiple screenshots. Then, using original photos as reference, it is proofread with a text editor. After that you also have to reformat the words here and there when you paste into a post. Apple device, software version 16.

 

[Old Quad Guy]

August 4, 1974

follow the leader
CD-4
discrete 4-channel
record system

It's a well accepted fact...CD-4 is the quadraphonic system of today and tomorrow. That's why over 15 major hardware manufacturers and over a dozen record labels world-wide have agreed to license the JVC CD-4 compat ible discrete 4-channel record system.

If you're looking for help in plating, pressing or printing your CD-4 discrete records, why not come to JVC. After all, we invented and patented CD-4...so we've got to be good.
Contact JVC Custom Mastering Center for complete details.

 

[Old Quad Guy]

August 4, 1973

The quadrasonic scene

Brad Miller Maintains
A Pioneering
Discrete Stance

When Brad Miller burst upon the national music scene a few years ago with some revolutionary ideas on 4-channel music, he evoked the image of a David battling Goliaths.
Miller was among the first in the industry to not only recognize the esoteric values of quadrasonic music, but was the initial spokesman for a pure discrete format.
Since those early pioneer days-back in 1967-many major companies either have adopted a simulated 4-channel sound, such as Columbia's SQ system, or a discrete concept, like RCA and Warner-Elektra-Atlntic Records.
Today, Miller is something of a Goliath himself, at least as it relates to quadrasonic sound. He is currently producing his seventh 4-channel LP.
He produced the first prerecorded 4-channel commercial-for Busch Beer-in the history of radio advertising, and he took part in the first quadrasonic broadcast on K101-FM and KRON-FM in San Francisco.
In addition, the youthful president of Mobile Fidelity Productions produced the first recorded 4-channel sound effects album, and used the world's first quadrasonic microphone system.
In the consumer arena, Miller, whose label is distributed by Warner Bros. has six quadrasonic discrete albums available and the seventh is "Clear Light" by the Mystic Moods, produced in association with Hal Winn, Bob Todd and Don McGinnis for release in the fall.
Part of Miller's quadrasonic catalog includes three "Sound in Motion" sound effects albums, which are part of a contin wing series, and the Mystic Moods.
All product is being released in stereo and 4-channel discrete disk, 8-track cartridge and quadrasonic open-reel.
With these valid credentials, Miller can give some cheers and some raspberries to the music business on the state-of-the art.
Miller's views are as follows:
• "In order for quadrasonic to be fully accepted at the retail level, the concept must be very, very superior to that of stereo."
• "There are many viewpoints on a matrix disk system, but many industry spokesmen believe the Sansui QS concept is superior to Columbia's SQ. However, I favor neither, since I do not believe in pseudo quad or electronic processing to achieve the four-channel effect."
• "Discrete disks are being successfully marketed in Japan. Warner/Pioneer Records in Japan is releasing 'Awakening' by the Mystic Moods in 4-channel, and I fully expect a minimum of 50,000 albums to be sold.'
While the tug of war between the merits of discrete and matrix is likely to continue at executive levels, where concern is more at the "bottom line" of a ledger sheet, Miller is also concerned at the creative-producer-artist level.
What does the discrete tape-disk medium allow a producer-artist that cannot be achieved with a matrix system?
"Artistic freedom and technical feasibility are found in the discrete format," Miller says. "It allows a producer to place an instrument (or sound) anywhere within the 360-degree listening area.
"It (discrete) also allows for a faithful reproduction of 'live' recordings, whether in a concert situation or simply sound environments.
"Discrete means the ability to reproduce, in totality, that which a producer-artist puts on the tape, anywhere and everywhere, with no artistic or technical restrictions."
Miller feels that an artist should be permitted to use the total technology available to the industry. "Why not use all the technology?" he feels. "Only in this manner will the industry be able to prove that 4-channel is better than stereo."
Miller feels anything but discrete 4-channel should be labeled "simulated," since the matrix format is electronically rechanneled, reshuffled, re-echoed and resynthasized.
Of late, record labels have changed their "iffy" attitude and are now accepting the idea that 4-channel will be a commercial reality in both disk and tape. Thus, the cloud of uncertainty hovering over quadrasonic as a viable volume item appears lifted, and the prospects for a large amount of product looks rosy for the fall.
"The amount of 4-channel product released by record companies and tape duplicators will depend largely on the acceptance of quadrasonic equipment by consumers," Miller feels.
According to most hardware producers, there is no short age of 4-channel equipment, with promises of more units-home, auto, portable-reaching the market next month.
Long an advocate of a non-simulated sound, Miller has gone to great lengths to convince both industry and federal governing agencies on a pure discrete concept.
Miller is the only "software" representative on the Electronic Industries Association's National Quadraphonic Radio Committee, which was formed at the request of the Federal Communication Commission to establish 4-channel broadcast standards.
In his role as an industry spokesman, Miller is supporting a brief filed with the Federal Trade Commission to require matrix quadrasonic albums and radio broadcasts to declare certain information.
On product itself, Miller would like the FTC to require the following statement: "This recording was electronically reprocessed to simulate quadrasonic 4-channel sound.
On broadcasts utilizing matrix systems, he would like the following statement announced: "The program just heard was electronically processed for broadcast to simulate quad rasonic 4-channel sound."
"This new musical concept will be the new sound medium of the decade," Miller believes. "Call it what you will: 4-channel, Q-8, quadraphonic, surround sound or quadrasonic. It will not go away.”

 

[Old Quad Guy]

August 4, 1973

Labels Start To Think About Ways To Quaducate Producers

By Nat Freedland

HERE IS A WIDE VARIETY OF "PREPARATION" currently being made by record companies to educate their producers for working with quadrasonic sound.
In general, the preparation is not particularly formalized, usually no more than an announced policy of encouraging producers associated with
the company to make 4-channel mixes of their albums, whether for immediate or future release, and making available 4-channel mixing facilities.
However, the trend is clearly towards more definite measures to prepare the ground for increased quadrasonic releases. Ted Feigin, Columbia's West Coast a&r vice president says, the company has an engineer in Los Angeles and New York whose main assignment is to make SQ 4 channel remixes of current stereo product.
"The producer of the album is always given first choice as to whether he wants to do the quadrasonic mix himself," says Feigin. "And the completed 4-channel mix has to be cleared by the artist before we'll release it."
Jac Holzman's Elektra Records is the spearhead of Warner-Elektra-Atlntic entry into quadrasonic recording, with Holzman's position as chairman of the WEA technology committee. Chief engineer Bruce Morgan and Keith Holzman are in charge of the day-to-day implementation of Elektra's quadrasonic involvement.
According to Russ Miller, Elektra's West Coast operations director, all regular producers with the label were recently brought to New York for a demonstration of the possibilities of JVC 4-channel sound and a basic orientation in mixing techniques.
Atlantic's three staff producers, Tom Dowd, Joel Dorn and Arif Mardin are already working on quadrasonic mixes of their recordings, according to the label's West Coast chief, Herb Belkin. The company has no formal training program.
Atlantic is readying a seven-record release of JVC quadrasonic LPs, featuring such star sellers as Aretha Franklin, Donny Hathaway and the J. Geils Band. In connection with this upcoming release, Atlantic is holding sales-promotion seminars for regional WEA staffers to acquaint them with the merchandising of 4-channel disks.
At ABC/Dunhill, Mr. Quadrasonic is Ed Michel, chief of Bluesway and the Impulse jazz division. As previously reported in other Billboard quadrasonic stories, all current impulse releases are issued in compatible stereo/4-channel as a matter of course, with no additional rise in price and with no special large-type jacket copy saying the LP is quadrasonic.
ABC/Dunhill has not found this policy to have any marked effect on Impulse sales for better or for worse.
It is Michel's position that there are no undue difficulties in making a 4-channel mix at the same time as a standard stereo mix and no appreciable production cost increases result.
The company does not, however, have any formal training plan for any of its other personnel.
At Warner Bros., a&r producer Ted Templeman says that their house studio, Amigo, is set up for simultaneous mixing of mono, stereo and 4 channel versions. Already mixed in quadrasonic form are the latest albums by Van Morrison, the Doobie Brothers, Ario Guthrie, Ry Cooder and Randy New. man. But there is no formal 4-channel training program.
A number of these items will undoubtedly appear on Warner's premiere multi-release of quadrasonic disks, sched uled for August or September. "Unless there are some partic ularly complicated four directional effects," notes Templeman, "we feel that the best way is to mix down the tracks for all formats at the same sessions. This is much better than coming back to a lape mixed for stereo months ago and having to start all over again with the material."
However, it must also be stated that enthusiasm for the immediate sales prospects of quadrasonic recordings is by no means universal among the creative personnel at major labels.
A&M chief engineer Larry Levine said as much about the top selling producers affiliated with this label. "Nobody wants to go back and re-mix their hits in 4-channel," he comments.
"There's nobody around here that is excited about quadra sonic sales yet. If there's going to be any great output of A&M quadrasonic reissues, it will probably depend on whether we can get acceptable mixes by using a computer to do the basic restructuring of the stereo tracks."
A&M has released a handful of quadrasonic disks, includ ing product by The Carpenters and Joan Baez. But the label, too, does not have any formal training program.
And at United Artists, a spokesman says that one of the main obstacles in achieving the early fall release of 10 best selling records in 4-channel tape, announced as a UA goal, is that some producers are unenthusiastic about returning to the studio for a new mix. UA, too, has no formal training program.
RCA is the only company doing anything formally. Its answer to providing education for its producers was its first national seminar series which has taken John Pudwell plus Hugo Montenegro and Larry Schnaps, manager of recording activities to the label's studios in New York, Nashville and Los Angeles over the July 30-August 2 period.
"We have been using Hugo as our pioneer," says Pudwell, RCA's director of new product development, "calling on him to explain the things he's learned during his first three 4-channel albums. We have tried to reveal many things we have learned over the past year including the proper way to record and mix in quadrasonic.
"We have pointed out all our most helpful findings; the hints our producers would know about, the findings of a Quadfather, the laborious attempts of a pioneer."
What kinds of things have been posed for producers?
"They should know how to place mikes effectively to achieve more effective mixes and what will sound better in conjunction with a compatible disk. -The producer should know about the sensitive nature of leakage. He should know what he wants to crystalize, for example, he might have a new drummer who has many solos and he doesn't want that to compete with another soloist on guitar. We say here's what we have learned through the seminars. We have compiled a fact sheet and we offer it to our producers. We also have on call qualified technical personnel to answer all questions."

 

[kfbkfb]

^^^
If there's going to be any great output of A&M quadrasonic reissues, it will probably depend on whether we can get acceptable mixes by using a computer to do the basic restructuring of the stereo tracks


Anyone have more info about this computer assisted restructuring of stereo for quad mixes?


Kirk Bayne

 

[Old Quad Guy]

August 4, 1973

Dick Schory,

The Head Of Ovation
Engulfs Himself In The
Planning, Performing And Mixing
Stages Of 4-Channel Repertoire

By Earl Paige

PERHAPS AS CENTRAL
AS ANY of Dick Schory's thinking on preparing music for quadrasonic is his belief that producers must work very closely with hardware manufacturers.
To this extent, Schory's combination study, quadrasonic demonstration room and occasional artist rehearsal "hall" in the old ivy-covered building in Glenview, Ill. that houses Ovation Records, is replete with all sorts of brochures, books and technical data on 4-channel equipment.
Schory, involved in stereo in its infancy during the early '50's while at RCA, has been putting together demonstration tapes and disks for hardware companies of any persuasion- be they advocates of discrete or matrix or any version of matrix. He is also planning a dealer book for the fall.
He claims Ovation was the first label to go all-quadrasonic and he has been from the beginning convinced that compatibility is the most important sought after quality in 4-channel. He also believes that there should be a one-inventory industry as far as disks are concerned, but characteristic perhaps of the complex artist that he is, his philosophy does not carry over this way to tape. In tape, Ovation is producing four configurations-two discrete and two matrix.
In fact, Ovation may be the only company producing quadrasonic music in six configu-rations: discrete open reel and 8-track; matrix 8-track and cassette; matrix LP's and singles.
Schory considers quadrasonic in everything he does-even in singles. "It's so easy to produce singles in quadrasonic," he says,
"so why not do it?"
He is building definite quadrasonic acts and will also soon launch a classical line, the latter tied specifically to 4-channel.
His own orchestra will be one act and will probably have a name change to reflect new repertoire, mainly a blend of classical, jazz and rock. He has also contracted with Herb Pilhofer, noted Minneapolis composer, who is putting together a quadrasonic orchestra made up of studio musicians and meters of the Minneapolis Symphony. William Fisher, arranger and composer, is organizing a 36-piece orchestra and 6 voice chorus for quadrasonic productions. Additionally, Schory has two more writers who will be producing works for quadrasonic-George Andrews and Eernie Hofer, both of New York.
The quartet of Pilhofer, Fisher, Andrews and Hofer constitute the nucleus of what Schory said will be, a quadrasonic writers' workshop.
In the area of classical music, Schory has hired Burt Whyte, who will head Ovation's classical department in New York. Schory has acquired 500 masters from European orchestras and will pick 20 to 40 for release, mixing them himself, for quadrasonic. The line will sell for $4.98. Schory also is planning to record U.S. symphony orchestras on yet another label at $6.98.
He sees a vast potential for the "warhorse" classics in quadrasonic, which is the repertoire he plans for the U.S. symphony works. "The warhorse is not being recorded in quadrasonic anywhere near the potential we feel it deserves and we have the confidence to spend the high dollar for what we feel is the potential that has yet to be developed."
He says three elements are necessary for a classical work to be recorded in quadra-sonic: 1) good, clean multi-track characteristics; 2) good hall ambiance; 3) a piece that is of basic importance to repertoire (he will stay away from operatic and chamber orchestra works). These three criterions are vital as far as the budget classical works he will be mixing for quadrasonic, a tedious task requiring long periods of listening on his part as they are recorded in all kinds of halls and facilities by different conductors with all sorts of individual ambient characteristics.
Central to putting these older works into quadrasonic is Schory's outboard mixing unit, a unit that is portable and can be taken into the studio. It incorporates an echo unit and a digital delay unit. "You can do so much today with equalization to enhance older recordings," he says, adding that equalization as he interprets it is the ability to overlap harmonic ranges.
Digital delay works in a manner similar to Duane Cooper's time cube, he notes, referring to the University of Illinois professor's matrix system, yet a third system not heard of as much by any means as CBS's SQ and Sansui's QS, the latter being Schory's favorite.
In essence, digital delay recreates the natural delays one hears when seated in a symphony hall when various sounds may approach the listener up to 30 and 40 milliseconds apart. What happens is a signal is fed to the left front speaker, taken to the left rear with a 15 milli-second delay, then to the right rear with a 10 millisecond delay and then up front on the right with a 5 millisecond delay.
"It does more than just spread echo," he says. "You get these little direct signals and varying degrees of intensity and delay."
Essentially, Schory's philosophy of quad rasonic is to "use the medium to create a complete and total involvement of the listener. I want pinpoints of sound together with walls of sound and ceilings of sound and want to spread vocalists and secondary soloists around the walls using cross-feeding of echo and digital delay, which spread the ambiance.
"Ambiance and the use of echo is a key part in producing good stereo and in quadrasonic this is just multiplied." He says his basic quarrel with discrete is that "you have dry mono point sources and no lend out of the other speakers, which has a very dead effect on the listener.
"I like the point source, but I want to envelope that with echo so that you get a fatter sound and then cross-feed this echo around the room. In this way you eliminate to a certain degree the problem of masking certain sound..
"Of course, you mix to compensate for what happens in the masking, and this is one of the advantages of matrix, because it is inherent in matrix to spread the ambiance." Mixing is the whole secret to quadrasonic, says Schory. In fact, this is the one area at Ovation where he has yet to delegate any authority. In the early days of Ovation, Schory and Bud Doty principally ran the operation.
Then a larger staff was hired and subsequently pared down. Lately, another staff of experts in various fields has been added, but Schory still does all the mixing.
In the "early days" of 4-channel, recording studio people thought he was crazy, Schory says. "I was in Los Angeles and told them I wanted to do a simultaneous mix with a ¼ in. encoded stereo quadrasonic master and a ½-in. quadrasonic master. They said it was impossible, but in 15-minutes we had it set up. This is so much better than mixing for quadrasonic and then going back to mix again for regular stereo.
Mixing for Schory involves three separate listening experiences. First, he takes the 16-channel tape from the session and diagrams his 4-channel plan. Then he does several "dry run" mixes. Then he switches to encoded stereo to do his final mix and afterward, the three separate monitor phases: 1) listen for discrete quadrasonic; 2) listen for encoded decoded (or matrix quadrasonic); 3) listen for "straight" undecoded stereo.
Schory diagrammed the 4-channel setup for his latest single, "Back to Georgia," a tune written by Kenny Loggins. Schory believes it is unlike any single ever produced.
Between the front two speakers he positioned the rhythm, bass and stereo drums.
Just in back of the left front speaker he has his number one guitar with number 2 guitar just in back of the right front speaker. He has a high cowbell coming out of the left front speaker. Just in back of the guitars he has a stereo piano. Along the left wall he has girl voices; boy voices along the right wall. Soloist vocal performer Geoffrey Stoner comes out of the ceiling. In the left rear speaker Schory has tambourine; in the right rear speaker, organ and low cowbell.

 

[par4ken]

I've never heard surround sound in a vehicle audio system, does the fact that the listeners are off center when listening to the surround sound adversely affect the surround effect?

No!

 

[DuncanS]

This 1973 Sansui QS ad is the first time I've seen Sansui call QS "QS Regular Matrix", IIRC, Pioneer (and of course Sony) labeled QS as RM on their Quad receivers, maybe that's why.


I've never heard surround sound in a vehicle audio system, does the fact that the listeners are off center when listening to the surround sound adversely affect the surround effect?


Kirk Bayne

No!

Good old fashioned Quad works best I find for noticing the discreteness of mixes (Doobies & Floyd quads are great), with 5.1 I find its more immersive for me, though I can adjust the focal point, so I usually move it to behind and to the left of my drivers seat.