Exploring Billboard for Quadraphonic Information

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Lately, I’ve been going meticulously through each magazine issue from about summer 1972 to summer ‘73 looking for any articles that even mentioned 4-channel sound. I’m fairly certain I already posted this one below. So far, I didn’t see any BB special Quad issue (like there was for ‘72 and ‘73) after 1973.

For Quad features try ....

August 10th 74 , pg 35 , and UD 4 ..September 21st 74 pg 20 , March 30th 74 pg 35 has the QS listings , Worldwide.

November 3rd 73 pg 69..adverts....September 29th pg 99 1973..has Impulse adverts with pictures. Aug 11th 73 pg 80 has Japan Quad features, so does August 04th 73 pages 33 to 55 .
(You might have put up some of these 73's , but I thought I would mention them)

I will look for 75, and get back to you.👌


 
And some more various items for you O,Q,G.:

1975...

March 08 , 75 pages 13,19,21,23,28,29,32...updates on quad systems.

March 15..75 pg 44
Pg 51 large advert, ....63 , Sire/Passport
April 12th pg 37..Dealer Demo Quads
April 19 , pg 47 ..Ovation/Black Jazz, ad
May 03 ..pg 22-24 Quad Showcase
May 17 pg 65 ..Dealer Demo Quads
June 21 pg 64 . ,correction from error for Dealer Demo Quads
July 12th pg 42 Dealer Demo Quads
September 20th pg 25 Sansui Encoder/Decoder ,
...pg 40..Dealer Demo Quads
October 15th pg 10 , Quad Overview , pg 44 Dealer Demo Quads
November 08th pg 01 and 59 Sansui Imports
November 29th pg 56..Dealer Demo Quads
December 20th pg 36..Dealer Demo Quads,
December 27 pg 95 CD-4 Artists salute 75 , WEA, A&M , RCA.Quad features roundup.


From my little green book , of Billboard quad items..(110 pages)
That should hold you for a bit.....OQG., Lots of pics to show off.

Fizzy, now dizzy
 
I’ll check them out and post some in a few. Thanks.

I’m particularly interested in what ‘76, 77 and 78 have to say about Quad. Also, more about Quad and compact discs from the 1980s, if it’s there or not.
 
Still, seems as incongruous to me as Jethro Tull getting an Grammy for hard rock/heavy metal
How would you classify it then? Remember that back in the seventies we had far fewer genres, not that there was no diversity just that people didn't (over) classify things in that way. In the case of rock we had hard rock and soft rock, that limited classification suits me fine!
Jethro Tull may not be heavy metal but in my mind at least they do fit the hard rock category.
 
March 30, 1974

GE ‘Q' PUSH BROAD—HIX


General Electric will introduce quadrasonic receivers with discrete capability in high-end components as well as in equipment for the popular price mass merchandising market, according to C. Frank Hix, top engineer with the firm, who was interviewed at length on the whole FM discrete radio question recently.
Since its announcement of being one of five manufacturers offering discrete FM broadcast systems last November, GE's position has been the subject of much curiosity. Hix, a board member of the International Tape Association, was interviewed at ITA's annual seminar in Tucson by Earl Paige, special issues editor, and Claude Hall, editor of the radio•TV programming section.
Hix answers such questions as:
• What will move discrete FM along?
• What about the confusion over matrix vs. discrete?
• Will discrete broadcasting kill matrix?
• Is the cost of discrete FM critical?
• Can discrete FM equipped stations broadcast matrix recordings?
• What are the parameters of the current discrete FM field tests?
• Is signal fall-off a factor in discrete
FM?
• What about available software?
• How fast can receiver manufacturers offer equipment?
• When will discrete FM arrive?

March 30, 1974

Discrete 'Q' on FM: Test Underway

By EARL PAIGE & CLAUDE HALL


Although quadrasonic recordings have been broadcast for a long period by a number of stations with that number increasing every day, merchandisers have been nagged by.the question of eventual broadcast capability of all 4-channel product, that is to say, not just matrix but discrete too. The broadcasting of discrete recordings, now technically feasible, requires a standard from the Federal Communications Commission, and before that, field tests and studies of five systems for discrete FM broadcasting.
These studies are underway, principally through the National Quadrasonic Radio Committee, and already one of the firms involved has achieved over 25 dB channel separation from broadcasts front to back and side to side, according to C. Frank Hix, an executive in engineering at General Electric and a pioneer in NQRC efforts.
When Hix was at the recent International Tape Association annual seminar in Tucson, he offered his own views on discrete FM broadcasting in an exclusive interview and answered the one leading question first—how soon discrete FM?

HIX: It is indeterminate. What we are really involved with is what exterior factors are stimulating the FCC to act faster? At this point, it is mainly the manufacturers of hardware who are saying that this mousetrap is beautiful, but no one is saying when the public will want this mousetrap.

BILLBOARD: You have said the business press has a role to continually cover the NORC activities and quadrasonic FM in general and therefore put a degree of pressure on the FCC—how do you view the current situation in this regard?

HIX: Until there is some pressure for the FCC to move, the marketplace will go on being cluttered with different receivers having different characteristics. Add to this the fact that it is becoming harder and harder for the consumer to know what government is doing. Also, manufacturers are taking advantage of the uncertainty in the marketplace, offering multi-variable equipment with catchy things here and there. It's bad for the public.

BILLBOARD: How do you view the confusion generally over matrix and discrete quadrasonic?

HIX: I'm not an expert marketeer, but I know that marketing people tend to go crazy when there is an opportunity to draw attention to a concept, because if it creates attention then maybe it moves products. However, if a concept creates confusion and causes people to hold off, then I don't think it does anything. I think it (the matrix vs discrete question) is causing confusion and slowing it down.

BILLBOARD: CBS with its SQ matrix concept has been servicing over 250 stations with the really respectable number of recordings becoming available from SQ licensees and Sansui QS is being promoted much more strenuously with broadcasters too—will discrete FM spell the end of matrix on the air?

HIX: It shouldn't be the end of matrix broadcasting. Too much equipment has been sold. What's more, an FM station can easily broadcast matrix recordings.

BILLBOARD: In other words, there will be an interim period following approval of a discrete FM standard during which stations will continue to broadcast in matrix, but how fast do you see stations converting to discrete?

HIX: I would have to make a personal guess and it would be at about half the rate of the change from monaural to stereo.

BILLBOARD: What are the five discrete FM systems being tested?

HIX: GE, Zenith, RCA, Nippon Columbia and Lou Dorrin all have discrete systems and RCA and Nippon Columbia have in addition systems that are matrix.

BILLBOARD: We understand that some aspects of the field tests are complete. Will some of the systems be eliminated?

HIX: Some of the results of the subjective aspect tests may cause some of the participating companies to change their minds as to what they're going to actually test. The mathematical analysis is complete and interpretations are being distributed to the various participating companies and have been put into a report to the FCC.

BILLBOARD: How is the FCC kept abreast?

HIX: An FCC representative participates in most NQRC committee meetings and has available all data any committee member has on a real time basis.

BILLBOARD: What is the purpose of the field tests?

HIX: The test is geared to gather data so a judgment can be made as to which system best serves the public.

BILLBOARD: What are some of the parameters?

HIX: Reception, guard band, signal to noise ratio, signal fall-off, cost to consumer, cost to consumer versus benefit, compatibility, cost to the station.

BILLBOARD: Is cost to the station critical?

HIX: There's been an indication that people thought so, however, when this cost is examined, it's thought by many people to be minimal relatively, at least the equipment cost. The cost of software will have to be considered because there is not enough to program a station.

BILLBOARD: Does a station's format figure in this lack of available discrete software?

HIX: Absolutely. You have to consider the small amount of software versus the various formats that require specific recordings. We had considerable difficulty a year ago to find enough software to program WFMF-FM (Chi-cago) two hours a day for four consecutive days.

BILLBOARD: Can stations broadcast in discrete using matrix recordings?

HIX: There's going to be a need to take SQ recordings and have them decoded and then broadcast over the air as four channel discrete transmission—yes, it can be done.

BILLBOARD: Considering the differences in recording the matrix disks, does this present a problem?

HIX: Probably not. You will have to decode back as close as you can (to the parameters of discrete).

BILLBOARD: How might a discrete receiver react to a matrix disk broadcast?

HIX: It depends on your transmission. Does the receiver have the pilot tone on for the four pieces of information, and how are you feeding those four channels at the transmitter? If I take and come off that SQ record and I connect it so one side of it goes into the left front and left rear, and the other side to the right front and right rear, then it'll be received on those four channels as stereo squared. Now, I can couple an SQ decoder only to the front pair and run that through my decoder in my receiver and I would get the same thing I would have gotten with a plain stereo receiver with an SQ decode attached to it.

BILLBOARD: Oscar Kusisto (board chairman of ITA and Motorola executive) said recently in an interview that stations will have to turn to tape to offset the lack of quadrasonic discrete software and that the exclusive discrete status of 8-track cartridges and open reel tape makes for a uniformity that is very beneficial to the overall discrete FM concept—do you agree?

HIX: Yes, most stations are equipped to play tape.

BILLBOARD: What are the basic differences between the various systems in the NQRC tests?

HIX: The biggest differences are whether or not the guard band, the SCA accommodation, the cost of the receiver and whether that cost really provides that much benefit.

BILLBOARD: We're dealing with subtle factors aren't we?

HIX: Yes. For example, 5 percent distortion is very difficult to judge. It gets down to how much money do you pump in and where is that limit. I guess it's pretty well accepted that 3 dB change in acoustic level is the minimum people can detect. So you start from those kind of criteria and build up.

BILLBOARD: K101-FM in San
Francisco is the only station involved in the field tests—why?

HIX: It's felt that K101 has all the varying parameters you could want, multipath, water on one side, mountains on the other.

BILLBOARD: Will the tests be run at a special time?

HIX: Yes, midnight to dawn. It will be highly theoretical measuring, white noise, pink noise, tone bursts, aspects such as that.

BILLBOARD: In other words, people listening in would hear a pretty weird broadcast—why are the tests so theoretical?

HIX: Our philosophy is that in between equipment, that is equipment in between the artist and the public, should have as little degradation as possible and the only way I know how to measure it is by simple, scientific tone measure.ments. Music is highly emotional and highly subjective. Moreover, some popular music certainly, has deliberate distortion in it.

BILLBOARD: In the matter of signal fall-off, someone once said that FM stations, now that they are rivalling AM in terms of audience and even revenue and are not experimental as when they switched from mono to stereo, that FM broadcasters will be exceedingly worried about any fall-off and, possible effects on ratings—do you agree?

HIX: I think this is a curious argument. We have automatic muting now. As you go off into the fringe reception area, your system will operate well in stereo. The signal clears up now when you switch to mono—there's no 15 dB drop-off. It gets into what is a usable station anyway, even on AM? You usually can get only 10 to 20 because of field strength.

BILLBOARD: What can you tell us about GE's equipment—will you have capability for SQ and QS along with discrete?

HIX: We will probably not put a QS in, we have SQ now.

BILLBOARD: Are SQ and QS fairly close?

HIX: When I listen to a recording for the first time that is encoded in
QS with an SQ decoder, and if that's what I think was intended, then, who can tell? That's the problem with matrix and with music.

BILLBOARD: GE's equipment will have an automatic discrete switch?

HIX: When the pilot tone of discrete is heard in the receiver, it will switch to discrete, it will have a product switch. We will also have to add a function switch for SQ too. When the stereo star is lit it's receiving the 19 kc tone, but there's no way of telling if that signal has SQ or regular stereo, so we will have a function switch for that purpose.

BILLBOARD: You will be manufacturing receivers, but will you also be into original equipment manufacturing (OEM) supplying to other manufacturers?

HIX: Yes. What we're likely to do is to take our discrete decoder design and license it or give it to one or two solid state manufacturers and let them sell it.

BILLBOARD: You said GE would be going into higher end components with discrete FM receivers, but how do you see discrete FM in regard to popular-priced mass merchandiser goods? Will you have compact systems, for example?

HIX: Yes. RCA sells an IC (integrated circuit) multiplex device to receiver manufacturers. I'm taking RCA because we're using it, we have other alternatives. But this is a very modestly priced device.

BILLBOARD: You spoke of achieving over 25 dB channel separation, what is the theoretical limit, is there any?

HIX: After separation goes that far, what's the difference? It's little like can we offer more than four channels? We can come up with eight, 64 for that matter, it's only a matter of money.

BILLBOARD: How do you personally feel about matrix?

HIX: I find that matrix adds so
much more to stereo that I find that's a definite improvement and I find that a good discrete system adds just that much more. This is for me, personally, sitting in my liv. ing room and enjoying music at a fair volume. I haven't seen a good test system for telling the public what channel separation is for a matrix decoder. This is because that decoder is a dynamic device.
Given a stimulus, it will give you a result if that stimulus is a steady tone. If you have two tones, let me get the changing of the tones in a rapid manner. It is kind of difficult.

BILLBOARD: You have forecast personally that the changeover for discrete will occur about at half the rate of that when stations went from mono to stereo, how fast do you see manufacturers adding discrete FM capability for receivers once FCC adopts a standard?

HIX: I think that within 8 to 12 months after that every manufacturer will have receivers for FM discrete.

BILLBOARD: FM penetration is at a very high level, how do you see eventual discrete FM penetration?

HIX: I'm going to deliberately avoid answering that. What I talk about is shelf availability of discrete FM-equipped receivers. I am not guessing as to how many will be in homes.

BILLBOARD: You said in front that the business press has a role in keeping the pressure on the FCC, what is the manufacturers' role?
What is GE doing?

HIX: The manufacturer does have a role and we promote discrete
FM as carefully and deliberately as we can, but the manufacturer can not push beyond the point of credibility.
 
May 3, 1975

Concept's Concept:
4 Different Formats

FRESNO,Calif
.
Concept Productions, a radio syndication firm that was an outgrowth of the programming on KFYE here, is now getting into high gear, according to national sales manager Frank Frasher.
He points out that the firm already has its programming products on four stations, including KFYE and KBTM in Jonesboro, Ark. But the company is only now-after a year-starting to actively market its four different formats. These are a contemporary MOR format, a soft Top 40 format, a progressive Top 40 format, and a familiar progressive rock format.
Each of the formats features announced music on the current tunes, but the voice tracks are separate and come in two variations:
• Custom voice tracks for an individual station for each day, with localized comments, etc.;
• Standard one-time only voice tracks that do not contain any specific market data.
KFYE is owned by Stereo Broadcasting Corp. Several months ago, Concept Productions was created as a separate division for syndication.
The president of CP is Dick Wagner, an engineer and vice president and operations manager of the radio station. Also involved in the syndication firm are Frank (Lindsey) Frey, sales manager of KFYE; Warren Earl, manager and president of Warren Earl Associates; and Janne Livacich, who specializes in market and media research.
Each of the four programming concepts is updated weekly (for current material) and monthly (for older material). Various special programs, such as a "Quad Showcase" hour or two-hour weekly program featuring SQ and QS matrix quad material, are also available.
 
June 9, 1973

FCC Inquiry Will Look At
Wall-to-Wall Services

By MILDRED HALL

WASHINGTON
-
The Federal Communications Commission's recently announced inquiry into music subscription service contracts with radio stations will cover the type of service represented by Stereo Radio Productions LTD., Bonneville Program Services, and TM Productions Inc., the commission has indicated. Restrictions listed from an actual contract, by the FCC, include agreement by a station that it "does not plan to broadcast 4-channel stereo," and "does not plan the use of its own music or other music services in normal broadcast” (Billboard 5/26/73).
The inquiry, announced May 17. was undertaken because the FCC feared that some of the contract terms may hamper licensees ability to program in the public interest. In general, the commission has asked for comment on how strictly the stations are held to the terms of the music subscription service contracts, how much leeway the station has before it forfeits the service, and the extent to which the contract hinders the scheduling of news and other non-musical programming.

Nine Provisions

Without identifying the music service by name, the FCC has listed nine "restrictive provisions” from one of the contracts. These include agreement by the station that it will broadcast at least 50 minutes of the company's music during each hour of the broadcast day "and does not plan the use of its own music or other music services in normal broadcast except as required for commercials or other announcements.
Station does not plan to broadcast 4-channel stereo." A station must broadcast a minimum of 19 hours per day, including the period of 6 a.m. to 1 a.m.
The station agrees that "it does not intend to duplicate the programming of any AM facility," and "does not plan to announce the names of the musical selection played on the air in order to avoid breaks in the station's program continuity.
“The station agrees not to use a Subsidiary Communications Authorization (the SCA, used in storecasting) for any purpose. "including both background music and remote transmitter readings." The subscription music must be broadcast “with full dynamic range and without the use of automatic gain control (a.g.c.) equipment."
The restrictions also hold the station to no more than six commercials per hour and no more than four breaks in the continuous broadcast music per hour. All non-musical programming such as discussion, talk, sports, etc. must be of a public affairs or religious nature. News programs will "normally" exclude the use of "actuality” phone or tape reports. Between the hours of 8 a.m. to midnight, stations will have one newscast per hour of two minutes duration or less, and the station can not go over five percent of its total time for news.
After listing the nine restrictions, the contract adds that nothing in it should be understood to prevent a station from making changes in the programming if the "public interest” requires it. But if the station makes changes, the subscription service can be canceled by the company on 15 days' notice.
The FCC reminded interested parties that it is not limiting its inquiry to just these aspects, but would like "any material which they think will aid the commission in resolving the questions presented by these subscription agreements." The probe was set off by a station sale, in which the seller (WEZX-FM, Tampa, Fla.) claimed financial losses, but a challenger, WWBA-FM, St. Petersburg, said the station used an “expensive broadcast music service,” with contract restrictions that ran counter to public interest. The FCC approved the sale, but decided to look into the contracts.
 
March 30, 1974

Boom in '73 Despite Predictions

By RADCLIFFE JOE


Despite predictions to the contrary by disciples of doom in the audio equipment industry, the 4-channel sound concept last year enjoyed its most successful year at the retail level.
The turning point in quadrasonic's acceptance as a mass consumer product came after the audio equipment retailer, last and most vital holdout in the music industry's efforts to proliferate 4-channel, began not only to capitulate, but in some instances even to join manufacturers in an all out promotion campaign aimed at the middle income buyer.
Among those spearheading retailer acceptance of quadrasonic systems was Sam Goody, Inc., which in conjunction with Panasonic, opened a special 4-channel showroom in New York.
The firm which had been among those early retailers adopting a cautious approach to 4-channel, went full cycle and allocated 2,500 square feet of space devoted to a comfortable showroom and eight listening booths with a wide mix of components and compacts.
In explaining Goody's new attitude to 4-channel, a spokesman for the company says that without retailers working hand in hand with equipment and software manufacturers, the (quadrasonic) industry would go nowhere.
He added further that the spacious listening room was designed to convince the consumer that the 4-channel concept was in fact a reality. The Goody move towards aggressively merchandising 4-channel products has so far resulted in what the firm's spokesman calls a 50 percent increase in the sale of quadrasonic products.
Other retailers promoting quadrasonic heavily include Lafayette, Radio Shack, Musicland, Korvette's, Federated and independents such as Mike Romangnolo of San Diego, Romangnolo, in fact, has as a leading sales item a $499 system says rep Perry Solomon of the Jack Berman Co., typical of the reps who are also heavily promoting 4-channel.
The retailers agree that although a number of snags at both manufacturing and retailing levels remain to be unraveled before 4-channel systems really gain their anticipated wide acceptance, the timing for getting into it was right.
Their feelings about timing was based on two major factors, the greater availability of popular priced equipment from such reputable manufacturers as Panasonic, JVC, General Electric, Magnavox and Morse Electro phonic; and the development of the IC (integrated circuit) "chip” which is expected to play a major role in reducing prices even further. These chips are expected to be incorporated into the equipment of such high end 4-channel equipment manufacturers as Pioneer, Sony, Sansui by this summer.
Also adding to the attractiveness of 4-chan-nel equipment is the availability of all modes in a single component. This strategy now employed by most 4-channel hardware manufacturers, virtually eliminates the guesswork and possible obsolescence which threatened most prospective 4-channel customers during the standoff between manufacturers of discrete and matrix modes.
Further most new stereo products, and many of the older models are designed to accommodate 4-channel equipment should a person decide to stepup his equipment. This setup process can be undertaken at relative low cost to the stereo equipment owner.
Among the major drawbacks that still beset efforts to proliferate the 4-channel concept is the slowness with which software manufacturers have been developing their catalogs.
This is still a major gripe among many retailers.
As one dealer who echoed the feeling of several others, puts it, "Despite the growth of cost reducing innovations and eye-catching features, 4-channel will continue to have a problem as long as the software manufacturers drag their feet. And as long as there is not enough of the right type of software to complement the equipment, many dealers will continue to fight shy of getting involved with it."
However, even this argument seems to be on its way out the window, for, according to Bruce Lundvali, vice president of marketing for CBS Records, his company chalked up $6 million in its first full year of marketing 4-channel records and tapes.
In an exclusive Billboard interview (3-23)
Lundvall says the sharply rising 4-channel sales curve has led his company's executives to gear production estimates for a 35 percent increase this year. He further pointed out that last year's sales figures represented a 60 percent increase over CBS' 4-channel budget for the year, and said that this translated into an estimated $13 to $14 million in sales at the suggested list prices.
Lundvall admitted that the bulk of CBS' 4-channel releases was still in classical product, but he also points out that such pop products as Santana's, "Abraxas,” Simon & Garfunkel's "Bridge Over Troubled Water,” Sly & The Family Stone's "Greatest Hits," and the late Janis Joplin's, "Pearl” have all been big SQ sellers.
In addition to CBS' commitment to proliferate the market with both software and hardware in the matrixed format, such major labels as RCA, and the Warner/Elektra/ Atlantic group also have a firm commitment to the proliferation of discrete 4-channel software, and also emphasize that an increasing amount of attention is being paid to the release of pop product for the broad spectrum of 4-channel music lovers.
Today, even owners of the Sansui QS system will not find themselves out in the cold for lack of programming. Such labels as A&M with a fine catalog of pop, rock and folk artists, ABC-Dunhill, Bluesway, Command, Impulse, Ovation and Project 3, have not only commited their products to the QS format, but are actually releasing current pop, jazz and blues software in 4-channel modes.
Tape duplicators also have, within the last couple years grown increasingly cognizant of the need for 4-channel tape products, and both Ampex and GRT had developed impres sive 4-channel catalogs from the products of manufacturers whom they represent.
As one official of GRT succinctly puts it: "The market is hungry for 4-channel software, our retailers are asking for it and we are anxious to get more material on the streets." However, 4-channel hardware manufacturers are not taking the growing availability of 4-channel hardware for granted. Taking all possible eventualities into consideration they are also producing hardware with a mode for producing synthesized 4-channel sound from conventional stereo recordings so that the consumer with a large stereo library need not be daunted by possible obsolescence of his software should he contemplate switching to 4-channel.
In addition, the majority of available 4-channel receivers on the market are designed to receive FM 4-channel encoded broadcasts, and a number of high end equipment manufacturers are releasing their new product lines with input lacks to accommodate the necessary adapters for discrete 4-channel broadcasts which are well on their way to becoming a consumer reality.
Among the few remaining hurdies which obstruct 4-channel's growth, most are beyond the controt of the manufacturer. Topping this list is automotive 4-channel which as long as five years ago dramatically signaled its intention of becoming the hottest piece of optional equipment offered for the car.
On the surface it appeared that with the automobile offering what was considered by many to be an ideal 4 channel listening environment. and the availability of convertible 4-channel hardware that could be used either in the car or the home, nothing could stand in the way of automotive 4-channel's growth
However, a number of unforeseen factors developed. Shortly after the announcement of available 4-channel for the car came the economic recession of 1971-72, and consumers began watching their pennies.
The fluctuating economy was further affected by spiraling labor costs and the devaluation of the U.S. dollar which helped to drive the already high price of the equipment up to an even inaccessible consumer level. The final knockout clout was dealt by the energy crisis which made larger cars less attractive to the consumer.
According to Marold Wally, head of Wally's Stereo Tape City, one of the largest automotive tape software and equipment dealers in New York, automotive 4-channel equipment, primarily because of the cost factor, has always been a luxury car item, and with the dip in the sales of luxury cars the trickle in sales of quadrasonic equipment for the car grounded almost to a stop.
Nevertheless, car stereo marketers such as Oscar Kusisto, head of Motorola's automotive products division, and Ed Lucasey, sales manager of Panasonic's automotive division, believe people will continue to demand luxury items such as tape players even though buying smaller cars.
Kusisto, says that attempts to market matrix car stereo players—several manufacturers are offering such models because of price advantages—"is afraud."
Kusisto says that because all 8 track quadrasonic cartridges are discrete, matrix car players will not play the tapes.
Motorola, of course. has not released a matrix car player and Panasonic plainly labels its matrix players as such.
 
That article reflects my observations of the time. I saw increasing availability of all kinds of quad equipment for all formats but there just wasn't the deluge of software, records in particular, promised earlier on. It just didn't materialize.

Doug
 
It's unfortunate that the record cos. couldn't make single inventory quad/same price as stereo work - the record cos. maybe could have devised a standard logo/phrase "quadSTEREO" with the system (CD-4, SQ, QS) buried in the small print on the back of the album about the copyright and other details.

The added cost of making a quad mix (only) as compared to a stereo mix (+ the quad disc mastering cost) was/is probably a small part of the total cost of making and marketing an album, it seems like the record cos. could have absorbed this cost for a few years to launch quad.


Kirk Bayne
 
It's unfortunate that the record cos. couldn't make single inventory quad/same price as stereo work - the record cos. maybe could have devised a standard logo/phrase "quadSTEREO" with the system (CD-4, SQ, QS) buried in the small print on the back of the album about the copyright and other details.

The added cost of making a quad mix (only) as compared to a stereo mix (+ the quad disc mastering cost) was/is probably a small part of the total cost of making and marketing an album, it seems like the record cos. could have absorbed this cost for a few years to launch quad.


Kirk Bayne
If they made the indication of which system used for the record too small, many people would, likely miss it. I'd have it on the front of the cover, using the trademarked logo for that system in an upper corner, with the compatible stereo/quad note on the back.
 
March 30, 1974

Labels Seek Realistic
Ways to Save $

By ELLIOT TIEGEL


Selectivity. Caution. Scrutiny. Cost aware mness. Realism. They all reflect thinking on the part of record companies when it comes to thinking about producing a new album or single or tape cartridge.
For in an environment of rising costs and a consistent concern for diminishing supplies of products which go into the manufacture of records and tapes, the software firms are becoming more realistic anent their goods.
The last six months have seen a realistic, down to earth attitude emerge around the country, as labels have reduced their outflow of albums and singles in answer to diminished supplies of plastic.
And when the cost of custom pressing a record went up and the cost of the paper for the jacket also took an upward spurt, increased costs forced many labels to jack up the suggested retail price to where today, there is a plethora of prices for albums and tapes, indicating that the manufacturer is seeking a high water mark.
Since January 1, a number of labels have raised their LP price from $5.98 to $6.98, but there are more labels retaining the $5.98 figure.
Everyone, however, agrees that escalating costs or the energy crisis or a combination of the two factors has produced a sobering effect on the American recording industry.
Companies aren't as free spending with their money anymore. "We consider carefully every item," says Larry Uttal, Bell's presi dent. "Everybody is just a little more careful about everything we do. We think before we decide to make a road trip, buy extra press tickets, give a party. Now it's a question of needing not wanting.
Everyone agrees that the industry needs hits, but Gil Beltran, MGM's new president, sees selective releasing rather than massive releases as the healthiest way to maintain a healthy profit structure.
The new executive says that although he didn't inherit any policy about cutting back releases, selectivity is the policy he plans using.
In terms of how MGM plans operating with increased costs, Beltran says he's devoting himself to the costs of guarantees and advances to performers as his initial steps in getting his "feet wet” with the MGM organization.
"The simple solution is to make hits and sell greater units," he says, adding that cost awareness and release preening should be done anyway. "We have to do it in order to survive. "We've all gone to massive releases and it doesn't help anybody. Cutting the number of releases is the only path to health in this industry."
Raising the retail price is one way the industry believes it can find a comfortable path to profits.
Jerry Moss, A&M's president, believes the $6.98 price which his company went to in January "is a reality and a necessary reality" at that.
"The $6.98 price for 1974 is here and we should live with it," he says. All of the label's new artists on single albums carry that price.
"I've noticed a lot of labels are still selective pricing," he says. "The industry needs a rise because the cost of manufacturing and acquiring talent have gone up. It's common sense that we have to give more money to the middle people, the distributors, racks and retailers.”
Moss feels that $5.98 for new product is "sort of against progress. There hasn't been much resistance to our coming out with new artists at $6.98, according to a market survey we did. The people who aren't going with that price are stilted as far as progress is concerned."
As for double pocket LP's with their own higher price, Moss feels some are justified. Humble Pie's first double LP, "Performance” went for $5.98, but its followup, "Eat It," went for $7.98. "We tried to bring up the price but in a way that wouldn't hit the public too hard."
Herb Alpert's new LP, "You Smile, The Song Begins," is scheduled for release in two months at $6.98.
A&M's philosophy of selective releasing—which goes back to its fledgling days—has helped the label through the current period.
For when other companies have had to drastically reduce their releases, A&M has maintained the same kind of tight release schedule which has become its hallmark.
Moss says A&M hasn't scrimped in the entertainment and advertising areas. In fact,
"We've invested in more people for advertising and merchandising as we've grown."
Bell's Larry Uttal, acknowledges that these days his label is issuing 28 percent fewer records, spending less on promotion and sending out fewer disk jockey copies. "We may not make as many double fold covers as we did before; we are running a tighter ship. Due to increases in costs, we are passing on some to the consumer."
Uttal says there haven't been any squabbles from the public about the increased cost of albums. If you give the audience music it wants, it will pay. That's the way Uttal sees the situation and it's a common feeling among manufacturers of goods for the public.
He feels $6.98 is realistic. A double jacket can go for $9.98.
Pricing, Uttal feels, should not cause despair but should instead keep a company on its toes.
Mike Maitland, MCA's president, indicates that his label will be raising its price from $5.98 but "it takes a while for the raise to go through." Substantially is the way Maitland describes rising costs.
What is he doing to maintain a healthy profit structure in light of this? Maitland answers: "We just don't discuss it. What we do is our business and that's why you haven't read anything about our plans during all this talk about the energy crisis."
Maitland doesn't believe the $6.98 price is affecting people's buying habits. People see rising costs all around them, Maitland points out, and they adjust.
The feeling at United Artists is one of scrutinization and cost consciousness. Vice president Mike Lipton says the label hasn't cut down on its promotional and advertising programs, but carefully scrutinizes programs to get the best value for every dollar.
For the first time the label is using outdoor advertising in over 10 major markets for War, with posters in subways and buses. "We are looking at things a bit differently," he says.
Operating in a more cost conscious environment means not throwing parties for every opening anymore. Only selective occasions.
Bob Cato, UA's creative director, has begun "educating" his graphics staff on how to knock down overhead, indicating a one-third savings in buying type, photography and engravings. "You can do that with front time if you know what to do."
The veteran art director receives a weekly printout of all his department's costs. He also feels it's necessary to know the "gate receipts" for UA's artists so he knows which markets are strong and which are weak.
Cato has built his department to where he doesn't have to go outside for any skills—another cost saving. UA's LP's cover the $4.98 to $6.98 range.
At ABC, vice president Marv Helfer emphasizes that the company hasn't been doing any cutting back.
Most new acts will come out on $6.98 albums. The executive says the label is right on target as far as its expansion goals are concerned. R&b, country and gospel are the new territories Helfer speaks of. "We haven't cut back on anything we think necessary. We don't want to lose the impetus we have.”
 
If they made the indication of which system used for the record too small, many people would, likely miss it.

My 1st quad LP - Love Theme from the Godfather - has a huge QuadraDisc logo on the disc labels (same on the Elvis/Aloha "stereo"/CD-4).

After a person buys the album, a large logo on the disc labels would indicate which decoder to use (it probably would have been helpful if receiver makers had used the official CD-4, SQ, QS logos on the front panel decoder selector switches)...oh well...what might have been with a little record industry & receiver maker coordination.


Kirk Bayne
 
My 1st quad LP - Love Theme from the Godfather - has a huge QuadraDisc logo on the disc labels (same on the Elvis/Aloha "stereo"/CD-4).

After a person buys the album, a large logo on the disc labels would indicate which decoder to use (it probably would have been helpful if receiver makers had used the official CD-4, SQ, QS logos on the front panel decoder selector switches)...oh well...what might have been with a little record industry & receiver maker coordination.


Kirk Bayne
The companies did not want a large quadraphonic display in the jacket. If an album had that, it went into the Quadraphonic bin instead of bin holding the artist's other albums.

Angel used a circular "Angel" logo (instead of their rectangular logo) for quadraphonic, with the SQ information on the back.
 
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The companies did not want a large quadraphonic display in the jacket. If an album had that, it went into the Quadraphonic bin instead of bin holding the artist's other albums.

Ange used a circular "Angel" logo instead of their rectangular log for quadraphonic, with the SQ information on the back.
That was such a great and subtle idea
 
August 18, 1973

Philip Morse: He Sees Boom for Stereo Hardware

By RADCLIFFE

NEW
YORK-
Less that three decades ago, Philip Morse, entrepreneur extraordinary, arrived in this country a virtually penniless refugee from war-torn Poland. Today, through an uncanny business sense, he is head of a multimillion-dollar corporate complex that produces sewing machines and a wide range of home stereo equipment.
How did he do it?
Last week, in a rare conversational mood, Morse sat relaxed on the glassed-in patio of waterfront Stamford, Conn., home, and sought to explain the secret of his success.
"We believe in serving the people," he said modestly, "and service to us is offering value for money.
Morse explained his concept of "value for money."
"We produce a popular-priced line of home stereo equipment. Morse Electrophonic equipment is truly mass-consumer oriented. Yet we do not compromise quality. The engineering and sound are comparable to much higher priced equipment."
That Morse has found the formula for success is indisputable. The company's net sales for fiscal 1973 was $161,257,438, a jump of S58.2 million over fiscal 1972, and an impressive leap of $129.9 million over 1969 sales.
Another strong point in the success of Morse Electrophonic Products is that the line is designed with a youth market in mind. Much emphasis is placed on decorator colors. eye-catching graphics, attractive
grille works. Does Morse believe that he may be alienating the older, more reliable consumer, by addressing his products to youth?
"No," he answers readily. "When it comes to stereo equipment, the young buyer today is amazingly well informed.
We believe that in addressing ourselves to the youth market, we can attract the older buyer whom the youth will influence
through his knowl-edge."
Morse's big concern these days is his company's role in helping to get the concept of 4-channel sound off the ground. We stressed Electro-phonie's commitment to bringing popular-priced quadrasonic equipment to the mass consumer market; and defended the practice by some manufacturers of promoting synthesized 4-channel sound.
"What we are doing," he said, "is not misleading the consumer, but merely, through a little harmless gimmickry, trying to orient him towards the concept of four speakers of sound."
His reasoning continued,
"After we have gotten the consumer to try four speakers of sound in his house, we can always prevail on him to upgrade his equipment to full four channel. It is, in fact, a practical approach to the whole theory of educating the consumer, if 4-channel is to enjoy mass popularity."
Morse's feeling was that the people who were really guilty of creating confusion in the 4-channel field were those who insisted on waging the seemingly unending battle of discrete vs matrix, et al.
"These are the people," he said,
"who should make a more determined effort to get together, agree on compatibility standards, and get down to the task of launching 4-channel as the viable new sound innovation it is."
Morse talked about marketing.
The company side-steps the popular practice of selling through reps, and, instead, sells directly to the retailer via a network of 300 company trained salesmen, servicing more than 20,000 retail accounts in the United States and Canada.
Morse said that the company maintains regional offices and warehouses in 15 strategic locations.
These are designed to increase market penetration and insure prompt product delivery.
The Electrophonic line of products is not fair traded. With much candor Morse explained that regardless of what the thinking of fair trade advocates was, he saw it as a deterrent to free enterprise and open competition.
Morse's thought about wattage ratings were just as candid. "It really does not matter," he said, "whether the IPP or RMS rating is used, just as long as all companies standardize their approach to ratings.
He feels, however, that the average consumer is more familiar with the IPP system of rating, and that this should be accepted as the standard.
Morse talked about brand names, and the consumer's attitude to brand name product. He said that the trend was gradually moving away from brand name products, primarily because brand name manufacturers were running out of innovative ideas. "The whole selling game is now in the ball park of the newly emerging manufacturer with creative ideas," he said.
Morse takes pride in pointing out that Electrophonic is becoming, with each passing year, a "made in U.S." line of equipment. We disclosed that as recently as five years ago, most of the parts used in Electrophonic products were manufactured to Electrophonic specifications by firms in Europe and various countries in the Far East.
"However," he continued, "within recent years greater emphasis has been placed on developing U.S. resources for certain component Parts."
He pointed out that Electrophonic had increased production of cabinets at its own Los Angeles stereo furniture manufacturing plants, and now produces or obtains, in the U.S. a major portion of its console and compact cabinets, speaker enclo-sures, grille cloths, knobs and hardware, name plates, stands, roll-about carts, dust covers and cartons.
Morse talked about expansion of the Electrophonic line. He said that during fiscal 1973 planning and construction of three additional plants began. Among these were a 91,000 square foot facility in Montreal which began operations in July of 1972, and is enabling the company to provide a better service to the Canadian market.
A 60,000 square foot plant was opened in Puerto Rico, in September of last year, and is used to assemble units designed for sale in Puerto Rican and Caribbean markets. Largest of the new Electro-phonic facilities is a 350,000 square foot plant in Dallas.
Morse explained. "With the addition of these three plants, we increased manufacturing space in the U.S. and Canada to nearly 1.5 million square feet at seven locations in major market areas. The company also owns a 50 percent interest in an electronic components parts manufacturing company in Hong Kong."
One of Morse's pet projects is his company's involvement in a Dept. of Labor sponsored program for hiring and training disadvantaged, jobless persons. He disclosed that during fiscal 1973, the program was instituted in Electrophonic plants in Brooklyn, Atlanta, Montreal and Puerto Rico.
Morse looked at the future for home stereo in this country, and said he saw it as being healthy despite political and economic upheavals.
He said, "Despite monetary problems at home and abroad, unemployment is definitely down, and money is not as tight as it was a couple years ago. People are buying home stereo products, and our line is priced just right, even for the customer on a small budget."

1695325884617.jpeg
 
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1. Leonard Cohen captivates a Jerusalem audience during a 1972 tour of Israel.
2. Simon Schmidt, managing director, CBS/Israel.
3. Carla Kimhi, artist tour manager, CBS/Israel, greets Johnny Cash and his wife June Carter at a Jerusalem reception.

January 25, 1975

CBS/Israel
Proves Timely Investment


If the Middle East and northern Africa are to open up in the next decade as a new and viable market for record and tape sales, CBS Records International will be sure to have a jump on the competition, especially with its well established subsidiary operation in Israel and its now more than five-year-old importing /jobbing setup in Cyprus.
Speculation aside, though, the Israeli operation, under the guidance of Simon Schmidt, director, eastern Mediterranean operations, has already proven itself well worth the division's investment and time in the area.
Generally rated as the number 1 record company in all of Israel now, the label was originally formed in October, 1964, with Schmidt as its managing director.
Today, with a staff of 95 people, CBS/Israel not only is a focal point for local recording talent but also acts as one of the principle conduits in the region for Western music, especially pop product from the U.S. and the U.K.
With its access to the CBS Records International catalog guaranteeing the label at least a healthy share of market, CBS/Israel also has a number of label licensing deals worked out.
Representing EMI/Capitol, A&M, WEA, MCA, Vanguard, United Artists and GRT, the firm has access to product by such artists as John Lennon, Yes, Frank Sinatra, the Rolling Stones, Joni Mitchell, the Carpenters, Billy Preston, Grand Funk, Pink Floyd and George Harrison, not to mention early Beatle disks. Top CBS international sellers include Andy Williams, Santana, the Three Degrees, Ray Conniff and Simon & Garfunkel.
Equally important are CBS/Israel's local stars, including Chava Alberstein, Uzi Fuchs, Aris San, Yehoram Gaon and Matti Caspi.
The label's a&r department, still attracting the best of local talent, is divided into major areas, individually managed for pop, classical and local repertoire. Notably, you can find a truly "Family of Music" effort here, as Schmidt's wife, Shirley, is director, a&r and creative services, for the label.
As for sales, product is distributed directly to retailers via van fleet, with a showroom being maintained in Tel Aviv.
In Cyprus, where operations were begun in 1970, there is a staff of seven people, acting as importers and jobbers for CRI, major international and Greek labels. Showrooms and offices are in Nicosia.
 
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