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12 thoughts on “Quadraphonic (QS) Vinyl LIVES!

  • November 4, 2018 at 1:11 pm
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    Mark,

    Interesting read, thanks again for what you do.

    I’m less than impressed with the Yarra 3DX current position, not even being at production is disturbing regardless of what steps are in place to fix problems.

    I’m going to take a privately expressed pessimistic position as of now (i.e. I will not bad mouth Comhear etc in public forums), in the hope that when I do recieve what I’ve paid for I will be suitably impressed.

    It is a shame that there is no feedback or explanation as to what issues are stalling delivery, and your words “remaining company personnel” doesn’t read well.

    Please carry on with pushing for production, I’m behind you 100%.

    Cheers,

    Les.

    • November 4, 2018 at 1:32 pm
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      Everything is ready for production…the parts, the metal, the boards etc. All that’s needed is for the CEO to hit the “start” button.

  • November 4, 2018 at 1:27 pm
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    “I was very impressed that Suzanne Ciani and KamranV chose to provide the discrete and matrixed files free of charge to those with no interest in the vinyl LP” Can’t find anything via Google, do you have the link?

    • November 4, 2018 at 1:30 pm
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      The link is in the comment from KamranV…I just made it a hyperlink.

      • November 5, 2018 at 10:22 am
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        I downloaded the files and played a couple of them. Definitely not what I expected. I’m glad I got to sample them though even though I wouldn’t consider buying one of them.

        • November 5, 2018 at 2:13 pm
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          I actually like this type of music and was heavily involved with it during my university studies. Suzanne is one of the best…but it is definitely outside of the mainstream. A quad disc for $227 with a hardware decoder is a mistake in my opinion.

  • November 4, 2018 at 1:55 pm
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    Interesting that you made this post about matrixed quad stereo audio as I was just thinking about those albums last night. I happen to have several of that type of vinyl and was thinking of pulling them out of my stored vinyl and playing them. As far as I know, they have never been released in any other issues :-(. Before I saw your post I had thought that matrixed quad was a long-dead format :-(. Mike

  • November 4, 2018 at 11:59 pm
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    Thanks Mark for your continued effort regarding the Yarra 3DX project. I’m behind you 100% and am patiently awaiting my unit.

    I’ve been a Suzanne Ciani fan for many years now – going back to the the days when New Age was all the rage. I’ll have to check out the files you mentioned although right now I don’t have a working surround sound setup. I was expecting my Yarra soundbar any day and didn’t reset up my 5 speaker system when I remodeled my family room. But I’d like to grab them while I can.

  • November 5, 2018 at 6:08 am
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    My first experiments with Quadraphonic sound in 1974 were a bitter disappointment. It did not work anything like the way the hyperbole advertised. It does not sound like hearing music performed in a concert hall. I concluded it was a technical failure which IMO is why it died, not because of the plethora of different systems. It doesn’t work and it can’t be made to work.

    Being a very analytical person and having had a superb education in math, the physical sciences, and many fields of engineering (my major field of study was electrical engineering and that’s much of what I do to earn a living) I wondered why it didn’t work and if anything would ever be made to work. That’s when I jumped down the rabbit hole. I forgot about it but my subconscious mind didn’t and evidently started working on the problem. Several weeks later like a bolt out of the blue it handed my conscious mind the answer. It was a startling moment, one I will never forget. It handed me a method for analyzing sound fields that upon further research no one had ever seen before. It showed me the effect of room acoustics for any room, the way sound is propagated into space, the way it arrives at the listener, the relationship between them, and it took apart the arriving sound field and showed me what room acoustics does to sound that makes you hear it the way you do. The analysis was straightforward based on vector analysis, Fourier Transform Theory, and mapping functions. Then I understood how concert halls worked, what had to be done to duplicate their effect, and why none of the systems developed up to that time came remotely close to working. I call the theory “Acoustic Energy Field Transfer Theory.”

    That sent me on a road that lead me down the path of Electronic Environmental Acoustic Simulation. My patent is 4,332,979. This is the kindergarten version. I watched the industry to see how long it would take for them to catch up. In 1988 at Delft University Wave field Synthesis was invented. Examining the two inventions very carefully it appears that the two inventions reach the same conclusion through entirely different paths. They are in all likelihood the same invention but the compromises they made on their demonstration prototypes were different from mine.They are the same in that the resulting equations can be manipulated to turn one into the other.

    If you read my patent, ignore the first three figures. They were part of a measuring system the Patent Office judged to be a different art requiring a separate application that was never filed. The most important equation describes the relationship of the first arriving sound to all of its reflections. It looks at them in 3 space. It uses a simple trick to untangle the Gordian knot of understanding it. Usually we look at waveforms as Amplitude as a function of time or of frequency. This does both at the same time. The relative location in time of each reflection is kept in the time domain but the description of its loudness and spectral change from the first arriving sound is in the frequency domain. This allows a complete description of every reflection of every of sound from every direction arriving from one specific point in space where the source is to another specific point in space where the listener is. Where there are multiple sources the resulting field is merely the superpostion of all of them. Move either point or reorienting the source and the relationship changes. Put people in the audience and it changes again.

    In speaking with people working with WFS they have several problems. One problem is measuring their relationships which they call “capture.” An impulse used as a source won’t work because it is impossible to separate the locations of the reflections in time from the spectral changes of each reflection. It took me several weeks to figure out a different method and I almost gave up the entire idea before I did figure one out. It’s probably the only secret about it I have left.

    The other problem they seem to have is that they must still rely on anechoic sources or recordings for their process to work. As I originally envisioned this idea as a scientific laboratory I had the same requirement. But fools rush in where angels fear to tread and I tried to adapt it to commercially made recordings. I didn’t have much hope for it but I tried anyway. And to my astonishment it worked far better than I expected. (I was sure I’d have been done in by the Haas effect. Didn’t happen and later I figured out why.) In this variant to keep things relatively simple and affordable (it’s not expensive but it is complicated) I used the listening room as a diffuser. Two criteria were, that the source of the reverberant field could not be detectable by audible cues and that the effect would be inescapable in the listening room. I’ve met both criteria. Quadraphonic sound meets neither.

    I’ve kept an eye on my competitors. Ambiosonic sound was a joke. Ambiophonic sound was interesting but ineffective. Its close relative 3D sound is also ineffective. Recent reports show that Edgar Choueiri figured out how directional detection really works (the typical explanation of first arrival in one ear, loudest arrival in one ear, and HRTF is wrong.) As a result he has managed to create directional effects from headphones normally not possible. The trick is simple based on how direction is detected. Through persistence of hearing when you turn your head sound arrives sooner in one ear than the other than it did before you turned it. That is compared to the degree you turned your head. It is no accident that your eardrums are directly adjacent to your inner ear that senses the position of your head. Choueiri delays both left and right signals and watches your head turn with a TV camera apparently. As you turn your head the delay in one ear increases and the delay in the other ear decreases. His 3D system still won’t work as intended. 3D sound and Ambiophonic sound are both variants on cross channel phase cancellation of acoustic fields. So far WFS is the only serious challenger and in its current form it is only a laboratory curiosity.

  • November 6, 2018 at 8:45 am
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    Unfortunately Leo Beranek’s web site that had several of his published papers as free downloads is no longer available. Those which compared measured data of concert halls and opera houses with preferences of golden ears looking to find correlations between objective data and subjective assessment were extremely valuable explaining each variable as to how it was measured, what it meant, and its correlation to other parameters and relative importance in subjectivity.

    One parameter that was important is diffusivity index. This is a measure of the extent to which reflections of sound are defocused, that is a measure of directional uniformity of reflections. High is good, low is bad. Lateral reflections are important for another parameter called Listener Envelopment LE or in some texts LEV. In a subsequent paper Beranek increased the relative importance of both vertical reflections from the ceiling and reflections from the back of the hall in regard to computing LE.

    Quadraphonic Sound and its comparables has a very low effective diffusivity index, the reflected energy sounds coming from two very narrow horizintal angles generallly aimed at the listner. In the ultimate buildout of Both EEAS and WFS the ideal configuration is a dome of direct aiming speakers shoulder to shoulder. It should be kept in mind that while the uniformity of energy of reflections arriving at the listener in rapid succession from different directions is high, these are vectors that vary in loudness, time and spectral balance with direction of arrival. The EEAS prototype adapted for listening to commercial recordings which uses 16 small speakers around the perimeter of the room aimed away from the listener by location and baffling and aimed at the walls and ceiling instead has by far the highest equivalent diffusivity index of any electronic sound reproducing system. By adjusting these parameters very high LE levels can be achieved easily.

    • November 9, 2018 at 12:13 pm
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      I saw the video. Thanks.

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