Finally I decoded QS recordings with Adobe Audition

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Hi all,......
I have three Steely Dan LP's and a Jim Croce that are "Command Quadraphonic" which I heard was really QS without the branding and that RM is the same as QS. Is any or all of that correct?.....

Hi Thomas,

Yes, you are correct. All of the "Command Quadraphonic" LPs are QS encoded, which is basically an enhanced RM.
 
I've been lurking around this thread for a while and I have to say it is so exciting to watch such creative minds collaborating together like this. This is what we hoped the web would do - bring people together to communicate and solve problems.

I feel like I'm watching modern Edison's at work. Bravo!
 
These are the scripts I have been using for both SQ and QS in AA2.0

Remember to change the file locations in each script.
 

Attachments

  • Scripts.zip
    3.8 KB
Off topic: Now, the next thing we need is a script which improves UHJ, i.e. to convert matrixed UHJ (2 channel) into horizontal B-format (W,X,Y). That way, we could bring new life to all these nice Nimbus records :)

Andreas

First, thank you for the incredible scripts. I am now on the verge of hearing true SQ for the first time.

Pardon me for resurrecting this old thread, but how about a look at that UHJ question? I have some Nimbus LPs and have always wondered what they should really sound like. Being a musician and not an engineer, I know only enough to be mildly dangerous.
 
Hi,

I just found your post online.

I am interested to know if I can Create LTRT Sound Format for my short. I am working with Audition 5.5.

I have a mixdown but it is Stereo and I was curious to know if the manual you were so kind to post will serve the purpose, and How do I submit it to Festivals?
Is it supposed to be in separate files or does it have a different extension than say WAV ot AAC

Thank you very much

Emmanuel



I tried different ways for decode some Qs material I own.
Now I've found th way to do it with Adobe Audition.
The inspiration has been taken from the thread about SQ decoding in AA.

Sorry, no scripts (I just can't do it....)

convert your sample to 32-bit 44.100
save it as front.wav
save it as rear.wav
open both

(this is front qs decoding)
go to front.wav
select only left channel
amplify it at -1.371 dB
select only right channel
amplify it at -9 dB
cut (ctrl+x) right channel
select left channel only
mix paste from clipboard into left channel
copy to new
go back to front.wav
undo all
select only left channel
amplify it at -9 dB
select only right channel
amplify it at -1.371 dB
select only left channel
cut (ctrl+x) it
select only right channel
mix paste from clipboard into it
go to front (2)
select both channels
cut it
go to front.wav
select left only
mix paste from clipboard
save front.wav

(this is rear qs decoding)
go to rear.wav
select only left channel
amplify it at -1.371 dB
select only right channel
amplify it at -9 dB
in the effects menu select invert
cut (ctrl+x) right channel
select left channel only
mix paste from clipboard into left channel
copy to new
go back to rear.wav
undo all
select only left channel
amplify it at -9 dB
select only right channel
amplify it at -1.371 dB
in the effects menu select invert
select left channel only
cut it
select right channel only
mix paste into it from clipboard
go to right (2)
select left channel only
cut it
go to rear.wav
select left channel only
mix paste from clipboard
select both channels
in the effects menu choos graphic phase shifter
select -90 degrees with 65536 FFT
save it


now you've got you front and rear channels decoded in Qs.

The procedure is directly taken from the Wendy Carlos Qs chart decoding
It's been tested with Qs material and with QsTones.mp3 and decodes pretty well.

Have fun!
 
Emmanuel, welcome to the forum. However, your question concerning LtRt audio has to do with Dolby ProLogic matrix surround for video production, and is unrelated to quadraphonic (4-channel) audio formats such as SQ and QS that Audition 3 is darn good at decoding into 4-channel surround.

But since we're here, Audition CS5.5 doesn't have a Dolby matrix encoder in it. It can take a 5.1 mix and approximate the Dolby matrix using the Channel Mixer effect. However, if you're going to do that, why not just stick with a 5.1 wav?

I hope you can find someone savvy in this area to help you work out these details, get the right format submitted to a festival, and even ensure that your sound mix actually sounds good. It sounds like you'd best not try to do this yourself.
 
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