HOLOPHONICS

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fizzywiggs41

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I made a list of all the recordings some time ago , (maybe 83 ?) , of albums using Hugo Zuccerelli's Holophonics system.

His recording device was very similar to a dummy head mannequin known as "Ringo".

One of the first of the big commercial Artists to use this 3d surround system was.....Pink Floyd.
IIRC it was utilized for the effects on Pink Floyd's -The Wall.

Anyway next post is the list.
 
Here's a pic of the page I kept.


;)
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Another rather short lived 3D surround Audio system was The "Bedini Audi Spatial Environment" or BASE.

Used by Motley Crue , and the soundtrack to The Little Mermaid.

Attached article by Ken Pohlmann 3D AUDIO from Stereo Review September 1990.

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I have a bunch of small label Holophonics recordings. I got them from the estate of a music reviewer who had tons of rare small label Audiophile cassette tapes, along with tons of Biphonic and Binaural cassettes. Here is a snippet of a especially weird one put together by Alpine and Luxman that was Audiophile quality. Pretty rare tape as I have yet to see it anywhere:



 
Which Steven Halpern album Fizzy?

and nice that they labeled Ringo as the number 1 Artificial Head, as not to confuse with the real Ringo head✌


I have no idea , pupsi

FWIW stephen halpern has used some type of surround on some discs.
A good guess would be one of his discs in the early 80's, when holophonics was being used.

BTW I recommend both of those Psychic TV Albums , sort of like in the Pink Floyd music vein.
 
One of the first of the big commercial Artists to use this 3d surround system was.....Pink Floyd.
IIRC it was utilized for the effects on Pink Floyd's -The Wall.

I know it was used for the Final Cut, Pros and Cons, and the Live Westwood Pros and Cons broadcast from...1985, I think? I don't recall it being used for the Wall, but I'd love to be wrong. Anyone know more?

The Holophonics worked well with headphones, particularly the Final Cut. I remember I used to look out the window for the loud jet at the transition between "Get Your Filthy Hands Off My Desert" and "Fletcher Memorial Home".
 
I know it was used for the Final Cut, Pros and Cons, and the Live Westwood Pros and Cons broadcast from...1985, I think? I don't recall it being used for the Wall, but I'd love to be wrong. Anyone know more?

The Holophonics worked well with headphones, particularly the Final Cut. I remember I used to look out the window for the loud jet at the transition between "Get Your Filthy Hands Off My Desert" and "Fletcher Memorial Home".
It was used on a Michael Jackson LP He sued the company for not paying him
 
I know it was used for the Final Cut, Pros and Cons, and the Live Westwood Pros and Cons broadcast from...1985, I think? I don't recall it being used for the Wall, but I'd love to be wrong. Anyone know more?

The Holophonics worked well with headphones, particularly the Final Cut. I remember I used to look out the window for the loud jet at the transition between "Get Your Filthy Hands Off My Desert" and "Fletcher Memorial Home".


I believe it was first mentioned in a copy of MCS Review .
I do have a Pink Floyd The Wall vinyl EP (1982) but it also contains one cut from "The Final Cut" , so rather hard to prove I'm afraid. If you have all the copies of Larry's MCS Review (which I don't) it may be in there.
 
The Holophonics worked well with headphones, particularly the Final Cut. I remember I used to look out the window for the loud jet at the transition between "Get Your Filthy Hands Off My Desert" and "Fletcher Memorial Home".


Hey Doc ,

I tried that Holophonics Demo cassette on headphones as well , and it pretty much does give a nice surround effect much as is described bby it's inventor.

Then I cheated , and played it with my Fosgate Tate 2 in SQ , and found it to be rather impressive ...In surround.
Most likely QS vario matrix would work just as well.
 
When I was using a Carver system I left holography on all the time. It noticeably expanded the stereo stage.

What I wonder is if you could feed a two chanel source with sonic holography activated into a synthesizing mode and get an improvement for 4 channel.
 
When I was using a Carver system I left holography on all the time. It noticeably expanded the stereo stage.

What I wonder is if you could feed a two chanel source with sonic holography activated into a synthesizing mode and get an improvement for 4 channel.

Sonic Holography (or sonic holocaust as some critics dubbed it) tried to produce a headphone like effect from speakers. It did so by attempting to cancel the crosstalk in the room between the left and right speakers. To this end it bled an inverted version of one channel into the other. If you fed these modified signals into a quad decoder / synthesiser it would sound very weird (and destroy any of the ‘holographic’ effect). You could always try it the other way around though - try feeding the front and rear outputs of a decoder into their own SH processors (if you have a pair!) - but I doubt the results would be very pleasant. Bob carver was just one of many who offered these sort of inter-aural cancellation type devices with fancy names.
 
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I built such a system in 1974. It had tiny speakers mounted under the main speakers and connected to the other channel to cancel the crosstalk. Except I built a quad version. It improved the perceived images, but had the feeling you get when the speakers are out of phase.
 
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