D
Dreadstar
Guest
Here's what I can think of:
Scheiber had gain-riding to reduce volume in the channels with crosstalk, which SQ later used.
QS variomatrix instead altered the decoding parameters of the channels with crosstalk, to make them more like the crosstalk-free channel diagonally opposite the dominant channel.
Tate instead electronically subtracted the crosstalk by injecting the dominant signal out-of-phase into the channels with crosstalk. I'm sure it did much more as well and I could use a link if anyone has one. For example I read somewhere that it used the 'Haas' effect, which would imply a time delay was added to the channels getting the crosstalk.
Sansui's original synthesizer setting also added either a time delay or reverberation to the rear channels, I'm told, but it was not logic-controlled.
The original Dolby Stereo also added a delay to the rear channel, but it too was always on, not logic-controlled. I'm not familiar with later versions.
SQ also had rear-channel 'Vari-Blend' which increased center-front to center-back by dynamically blending the channels with crosstalk, which reduced their output because they were out of phase with each other.
In general when all four channels are in use at the same time, which is typical, logic decoders default back to the standard un-assisted matrix. So some of these decoders have split the audio spectrum into frequency bands each having it's own logic circuitry, so that more than one sound can have it's localization enhanced at the same time.
One thing I'm not aware of anyone doing is a variation of gain-riding in which modulation is manipulated instead of volume, like a dynamic range expander that goes on and off selectively to enhance the dominant channel.
Scheiber had gain-riding to reduce volume in the channels with crosstalk, which SQ later used.
QS variomatrix instead altered the decoding parameters of the channels with crosstalk, to make them more like the crosstalk-free channel diagonally opposite the dominant channel.
Tate instead electronically subtracted the crosstalk by injecting the dominant signal out-of-phase into the channels with crosstalk. I'm sure it did much more as well and I could use a link if anyone has one. For example I read somewhere that it used the 'Haas' effect, which would imply a time delay was added to the channels getting the crosstalk.
Sansui's original synthesizer setting also added either a time delay or reverberation to the rear channels, I'm told, but it was not logic-controlled.
The original Dolby Stereo also added a delay to the rear channel, but it too was always on, not logic-controlled. I'm not familiar with later versions.
SQ also had rear-channel 'Vari-Blend' which increased center-front to center-back by dynamically blending the channels with crosstalk, which reduced their output because they were out of phase with each other.
In general when all four channels are in use at the same time, which is typical, logic decoders default back to the standard un-assisted matrix. So some of these decoders have split the audio spectrum into frequency bands each having it's own logic circuitry, so that more than one sound can have it's localization enhanced at the same time.
One thing I'm not aware of anyone doing is a variation of gain-riding in which modulation is manipulated instead of volume, like a dynamic range expander that goes on and off selectively to enhance the dominant channel.
