I have to agree with Adam (
@fredblue) on this one. A good QS LP (think very discrete ABC titles like
Can't Buy A Thrill or
Rags To Rufus) through this unit can honestly stand up to a Q8. The vocals are almost completely wiped from the rears, and discrete rear channel content barely leaks to the fronts. It performs at least as good, if not better, than my Sansui QSD-2, which is a very well-regarded QS decoder.
Unfortunately, the SQ decoding leaves me a bit underwhelmed. It was a considerable upgrade from my old Lafayette SQ-W that would produce audible volume "pumping", but the lead vocals still leak to the rears enough to the point where it can be distracting.
What's really interesting (and Adam has pointed this out on numerous occasions), is that the lead vocal crosstalk is wiped out when you sum the rears to mono. When I would do an SQ conversion with my SM, I would blend the rears slightly in Audacity before exporting: this would increase the front-center to back-center separation at the cost of slightly reducing the wide stereo spread in the rears. Columbia quad mixes intentionally had isolated instruments in each rear speaker, as they were designed to be encoded to SQ and then decoded back, so the slight blending wasn't all that noticeable.
I was recently lucky enough to pick up a Fosgate Tate II, and I'm sorry to say it bests the SM at decoding SQ material. The lead vocal is wiped from the rears, with only some minor artifacts left behind. Some titles come strikingly close to their Q8 equivalents. Aerosmith's
Toys In The Attic, an oddly-mixed Columbia quad title that the SM struggled with, decodes extremely well with this unit.
Now I definitely don't want to dissuade anyone from picking up one of these units: Involve is doing us a real service by taking the time to create such a niche product. This is a decoder specifically designed to work with obscure material that's been out-of-print for over forty years! Just wrap your head around that. Not to mention it's two decoders in one (SQ and QS), and the stereo-to-surround synthesis is very impressive. I haven't done a careful comparison yet, but I seem to prefer it to both the Sansui's "synthesizer" setting and the Fosgate's "surround" setting.
Now the Tate might be better at decoding SQ, but those units are extremely rare (to say the least), expensive, and have all the baggage that comes with vintage gear. Mine was sold to me in an in-person exchange by the original owner, who said it hadn't been powered on since the late-1980s! I paid more than the SM for something that I didn't even know would work. Luckily the gambit paid off, but I'm sure folks have been burned on used Tates in the past.
So I do think this is a great product, but the SQ decoding could be improved. I have to assume that the folks at Involve were conscientious of inducing artifacts and fidelity loss by pushing the separation envelope (some software-decoded SQ conversions I've heard sound very "phasey" or "metallic"), but I think even something as simple as a "blend" function for the rears, as Adam has advocated for in the past, would improve an already excellent product.