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SQ Decoding with Adobe Audition for New Converters - Start Here

fredblue

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Audition 3 is a legitimate free download from the adobe site (and so is the .01 patch). There's a link to it somewhere here!

EDIT: See post #102 in this thread, although when I clicked on it just now it asked to sign in, which I don't remember if I had to do a few years ago, but it does ring a bell...

...In fact, I'm pretty certain I did.
Unless I'm being spectacularly thick, the links in post #102 are coming back as Windows downloads and I'm trying (unsuccessfully as you can see!) to do this on my Mac.

I hate throwing in the towel but my time's more limited than my money (and that's pretty limited!) so I'll just buy an old decoder on eBay or something and see how I get on.

Thank you so much for your help though, I do appreciate it.
 
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You may have already learned this, but I am pretty sure Adobe Audition is PC only. I am not aware or a MAC version.
 

hibber22

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I just wanted to say that this was really helpful and this is one of the places on the internet where you can still find a quadraphonic stereo decoder.
 

kap'n krunch

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Yeah.. too bad that OD (Oxford Dickie ) is such a head case /paranoid about his work regarding his scripts.."Don't share this cause THERER'S SOME PEOPLE OUT THERE!!!!!"(translation.."look in the hole , there might be a snake!"...dude, lay off the anti depressants (or maybe you did too much....whatever...??)....if you SHARE your WORK the world will THANK YOU FOR IT AND REMEMBER YOU!!!....he did some great work..but ,as it is, we have GREAT PEOPLE like Lucanu who SHARES his scripts....and they work great ...BTW, don't matter how good your script is (are you listening , OD?) , SQ will NEVER EVER decode perfecly..it's "close , but no cigar"...so NO WAY . José ..and yes OD, you can post this in your DS blog where you ripped me to pieces and tried to PROVE YOUR "Superiority"(sic).....you're not right in head, but we forgive you.... LOVE!! k'n k
 
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Questions for folks who have used or are using software to decode SQ:
(1) Have the scripts been updated to work with later versions of Adobe Audition, or is it still v. 1.5 or v. 2?
(2) Is the separation of the extracted channels theoretically infinite or is it just 3 dB front/back separation?
(3) Assuming the separation is more than 3 dB, do the scripts employ algorithms akin to logic steering (e.g., as in a Tate 101A), or are the extracted channels consistently "discrete" (i.e., as discrete as the maximum L/R separation the phono cartridge can provide)?

Thanks.

GD
 

sjcorne

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Questions for folks who have used or are using software to decode SQ:
(1) Have the scripts been updated to work with later versions of Adobe Audition, or is it still v. 1.5 or v. 2?
(2) Is the separation of the extracted channels theoretically infinite or is it just 3 dB front/back separation?
(3) Assuming the separation is more than 3 dB, do the scripts employ algorithms akin to logic steering (e.g., as in a Tate 101A), or are the extracted channels consistently "discrete" (i.e., as discrete as the maximum L/R separation the phono cartridge can provide)?

Thanks.

GD
I'm not exactly an expert on this but will try to answer a few of these questions.

There are scripts for Audition 3.0...there are a few threads somewhere with links to the script files. I've tried quite a few times to try to run one myself but it's quite a hassle IMO and there is always a problem with one channel not being suppressed. This seems to be a unique issue to me though and others have had lots of success.

The separation is way more than 3 dB...I'd say at least 30-40 if not more. There are some folks who really have this down to a science...best one I've heard to date is Billy Joel's Turnstiles (only came out in SQ). The script totally wipes the vocal out of the rears and the overall front to back separation is practically infinite. And the source vinyl sounds really good. Only flaw is there is a bit of pumping logic and some "phasiness" to the rears. Results are better than involve and at least as good as the tate, if not better.

There are a lot of script decodes "out there" and some sound better than others, but that is obviously due to the mix and condition of the vinyl.
 
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I'm not exactly an expert on this but will try to answer a few of these questions.

There are scripts for Audition 3.0...there are a few threads somewhere with links to the script files. I've tried quite a few times to try to run one myself but it's quite a hassle IMO and there is always a problem with one channel not being suppressed. This seems to be a unique issue to me though and others have had lots of success.

The separation is way more than 3 dB...I'd say at least 30-40 if not more. There are some folks who really have this down to a science...best one I've heard to date is Billy Joel's Turnstiles (only came out in SQ). The script totally wipes the vocal out of the rears and the overall front to back separation is practically infinite. And the source vinyl sounds really good. Only flaw is there is a bit of pumping logic and some "phasiness" to the rears. Results are better than involve and at least as good as the tate, if not better.

There are a lot of script decodes "out there" and some sound better than others, but that is obviously due to the mix and condition of the vinyl.
Thanks so much for the prompt reply. I'll probably try the scripts, but it doesn't sound like I need to put away the Tate.


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I used the scripts to decode Minnie Riperton’s “Perfect Angel” and Phoebe Snow’s “Second Childhood.” The results were outstanding. If you’ve seen any of my product on eBay, you’ll know I do a lot of pre production— 1/2 speed transfer from LP @ 48k, an array of noise reduction techniques, and EQ to bring the sound up to modern standards. I’d been using the Tate to decode, but these scripts blow the Tate away. For post production I did a bit of blending between fL & fR, and between sL and sR. I do that with the Tate as well. It diminishes the pumping and phasing artifacts and the inevitable “spitting” of center front vocal sibilants to the rear channels. (I used to think the “spitting” was a function of decoder logic, but now I’m convinced it’s a design limitation of the matrix scheme, i.e., that a 90 degree phase shift is all that separates center-front from one or the other rear channels.) Lastly, I remix to 5.1 (which accomplishes the fL fR blend). I know that’s heresy for some folks, but I’ve done exhaustive comparisons between 4.0 and my 5.1 remixes, and the 5.1 mixes create a more stable and fulsome sound field, which is reinforced by the feedback I’ve received on eBay. I also do some EQ tailoring across the front to make the center as unobtrusive as possible. All that said, I’d be happy to send a DVD-A of Phoebe Snow to anyone interested. It contains the 5.1 mix as well as my remastered 2.0 transfer.


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sjcorne

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I used the scripts to decode Minnie Riperton’s “Perfect Angel” and Phoebe Snow’s “Second Childhood.” The results were outstanding. If you’ve seen any of my product on eBay, you’ll know I do a lot of pre production— 1/2 speed transfer from LP @ 48k, an array of noise reduction techniques, and EQ to bring the sound up to modern standards. I’d been using the Tate to decode, but these scripts blow the Tate away. For post production I did a bit of blending between fL & fR, and between sL and sR. I do that with the Tate as well. It diminishes the pumping and phasing artifacts and the inevitable “spitting” of center front vocal sibilants to the rear channels. (I used to think the “spitting” was a function of decoder logic, but now I’m convinced it’s a design limitation of the matrix scheme, i.e., that a 90 degree phase shift is all that separates center-front from one or the other rear channels.) Lastly, I remix to 5.1 (which accomplishes the fL fR blend). I know that’s heresy for some folks, but I’ve done exhaustive comparisons between 4.0 and my 5.1 remixes, and the 5.1 mixes create a more stable and fulsome sound field, which is reinforced by the feedback I’ve received on eBay. I also do some EQ tailoring across the front to make the center as unobtrusive as possible. All that said, I’d be happy to send a DVD-A of Phoebe Snow to anyone interested. It contains the 5.1 mix as well as my remastered 2.0 transfer.


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Glad it worked out. Wouldn't mind knowing what you did in audition so I can give it a second try...there are no transfers of Poco's Seven out there so I've been trying to do my own for ages and it never seems to decode properly.

Btw I've lost bids on a bunch of your transfers. Was especially curious how your Message From A Drum sounded. Anyway I hope the buyers appreciate all the work you put into those listings it sounds exhausting just reading about it...
 
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Hey! I’ll add Poco 7 to my to-do list. I use a 1964 Marantz SLT-U turntable for the transfers, but I recently “upgraded” it with an externally controlled DC motor that I can’t get to run stable on 16 2/3 RPM, yet. So I’m working backward and redoing some prior work. When I re-do Redbone I’ll send you a copy. No charge. You hooked me up with the scripts and I don’t have a spare LP to sell anyway (and I won’t sell transfers without original product). Cheers! I’d be happy to explain what I do but first let’s see if you like it. But be forewarned this is an all consuming passion. You’ll have no spare time for anything else!


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proufo

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Hey! I’ll add Poco 7 to my to-do list. I use a 1964 Marantz SLT-U turntable for the transfers, but I recently “upgraded” it with an externally controlled DC motor that I can’t get to run stable on 16 2/3 RPM, yet.
Try a smaller pulley to make the motor run at a higher speed.

You can be useful when CD-4 demodulating in the PC becomes a reality.
 
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Try a smaller pulley to make the motor run at a higher speed.

You can be useful when CD-4 demodulating in the PC becomes a reality.
Funny you say that. My project for next weekend is fine-sanding a pulley. No worries— I’ve done it before. I actually have a process mapped out in my head for doing CD-4 at 1/2 speed and handling the carrier frequency. I’d planned to do my SQ and QS collection first, but I’ve been seeing so much chatter about CD-4 on this forum I feel like the gauntlet’s been dropped. Watch this space.


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fredblue

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I used the scripts to decode Minnie Riperton’s “Perfect Angel” and Phoebe Snow’s “Second Childhood.” The results were outstanding. If you’ve seen any of my product on eBay, you’ll know I do a lot of pre production— 1/2 speed transfer from LP @ 48k, an array of noise reduction techniques, and EQ to bring the sound up to modern standards. I’d been using the Tate to decode, but these scripts blow the Tate away. For post production I did a bit of blending between fL & fR, and between sL and sR. I do that with the Tate as well. It diminishes the pumping and phasing artifacts and the inevitable “spitting” of center front vocal sibilants to the rear channels. (I used to think the “spitting” was a function of decoder logic, but now I’m convinced it’s a design limitation of the matrix scheme, i.e., that a 90 degree phase shift is all that separates center-front from one or the other rear channels.) Lastly, I remix to 5.1 (which accomplishes the fL fR blend). I know that’s heresy for some folks, but I’ve done exhaustive comparisons between 4.0 and my 5.1 remixes, and the 5.1 mixes create a more stable and fulsome sound field, which is reinforced by the feedback I’ve received on eBay. I also do some EQ tailoring across the front to make the center as unobtrusive as possible. All that said, I’d be happy to send a DVD-A of Phoebe Snow to anyone interested. It contains the 5.1 mix as well as my remastered 2.0 transfer.


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I found the Perfect Angel SQ LP decoded really effectively thru the Involve unit
(which is just as well seeing as the Q8 is rare as hen's teeth!).. also the SQ discs i found to exhibit the spitting thing the most via the Involve box were Burton Cummings, Wild Cherry/Electrified Funk & Isley Brothers/Go For Your Guns, particularly prevalent on Footsssstepsss in the dark! :D
 

fredblue

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Glad it worked out. Wouldn't mind knowing what you did in audition so I can give it a second try...there are no transfers of Poco's Seven out there so I've been trying to do my own for ages and it never seems to decode properly.

Btw I've lost bids on a bunch of your transfers. Was especially curious how your Message From A Drum sounded. Anyway I hope the buyers appreciate all the work you put into those listings it sounds exhausting just reading about it...
what's up with Poco Seven thru Audition? i've no Q8 point of reference but the SQ seemed to decode ok thru the Involve unit.. great album!
 

sjcorne

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what's up with Poco Seven thru Audition? i've no Q8 point of reference but the SQ seemed to decode ok thru the Involve unit.. great album!
Nothing specifically wrong with the album just that I want to decode it and am having issues with the Audition 3 script. I ran the project 3 SQ test tones through it and it ignores the right rear channel completely. Think I started a thread with pictures back in march.

And yes, great album...too bad the Q8 seems to practically nonexistent

https://www.quadraphonicquad.com/fo...and-QS-Scripts&p=330312&highlight=#post330312

posts 26 and 27
 

fredblue

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Nothing specifically wrong with the album just that I want to decode it and am having issues with the Audition 3 script. I ran the project 3 SQ test tones through it and it ignores the right rear channel completely. Think I started a thread with pictures back in march.

And yes, great album...too bad the Q8 seems to practically nonexistent

https://www.quadraphonicquad.com/fo...and-QS-Scripts&p=330312&highlight=#post330312

posts 26 and 27
oh right well if i ever find the Q8 i'll let you know :)
 
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