Exploring Billboard for Quadraphonic Information

[Old Quad Guy]

April 7, 1973

 

[Old Quad Guy]

April 7, 1973

Switchcraft System
To Demonstrate ‘Q’

By RADCLIFFE JOE

CHICAGO -
Switcheraft, Inc. has developed a switching system designed to assist hi-fi dealers and distributors in effectively demonstrating all modes of the new quadrasonic sound concept.
Designated the Quadraswitcher the unit is a modular selector which makes it simple for sales personnel to present the full range of 4-channel sound from sources such as SQ, QS, CD-4, discrete tape, derived ambience and others, to speaker systems.
The system, according to Switchcraft's distributor products manager, Lowell Erickson, also provides for easy two-channel demonstrations in the same listening area with 4-channel sound, providing a single system for controlling all sound demonstrations.
Erickson explained that for maximum flexibility, the switcher has three modular, components; a program selector, amplifier/ receiver selector and speaker selector.
"Sources, amplifiers/receivers and speakers are selected by simply pushing a combination of buttons on the Quadraswitcher panels," he said.
The Switcheraft executive added, "All sources are interconnected through the system via standard Switchcraft patchcords."
Switcheraft's decision to develop and market the Quadraswitcher was based on what Erickson calls the growing need for all audio salesmen to more effectively acquaint his customers with the full range of the new sound.
Erickson continued, "While quadrasonic sound is an exciting new concept, it is still unfamiliar to most customers.
The Quadraswitcher helps the salesman to more effectively acquaint his customers with the full range of the new sound, making it easy to quickly demonstrate all 4-channel systems, different program sources, amplifiers and speakers.
The Quadraswitcher will be demonstrated at both NewCom and the Summer CES Shows. It carries an $880 price tag and is supplied to the hi-fi dealer or distributor with all internal wiring and engineering completed. According to Erickson all customers buying the complete system will receive a 20 percent discount on the cables.

 

[Old Quad Guy]

January 20, 1973

WINTER 'NO-SHOW'

Sansui 'Q' Push Global;
Launch New Receiver

By RADCLIFFE JOE

CHICAGO
Sansui Electronics Corp. officials said they will have observers here at the winter shows but elected not to exhibit because some new products are timetabled for June and also because the firm is pushing its QS 4-channel concept on many fronts including a drive for exposure at MIDEM this week in France. There is a push on a new receiver though.
Sansui is especially involved radio station broadcast promotions.
Here alone, at least five FM outlets are totally or partially using Sansui encoded software and broadcast hardware (Billboard, Jan. 6), including WCLR-FM (airing CBS SQ disks as well said vice president Marlin Taylor), WFMT-FM, WBBM-FM, WGLD-FM and WXFM-FM. Also, Sansui is set for Institute of High Fidelity shows in Cleveland (Jan. 26-27), Washington (Feb.), San Francisco (Apr.) and Los Angeles (May) and the Audio Engineering Society Rotterdam meeting Feb. 20-21.
The unit, with a list price of $389.95 features direct coupled power amplifier output, as well as a number of other inputs and outputs for adding four-channel decoder/amplifiers, and for using external noise-reduction systems.
The direct-coupled amplifier, using complementary output stages with double, instant-acting fuse protection, has an IF rating of 130 watts at 4 ohms, and 105 watts at 8 ohms. Continuous (rms) output power is 48 watts per channel at 4 ohms, and 39 watts per channel at 8 ohms. The amplifier's figures for both total harmonic distortion and intermodulation distortion are both less than 0.3 percent at full rated output.
According to Sansui's H. Tada, vice president the output section also includes a fast-acting overload protective relay to safeguard the speakers from possible damage to the voice coil.
He added, "The FM receiver section features a dual-gated MOS FET in its front end, and provides an IHF sensitivity of 2.0 mv." Included in the FM section are two stages of RF amplification, an integrated circuit IF strip, ceramic filters combined into three stages of IF with two resonators in each stage.
Sansui claims that the FM image rejection on its Model Six is better than 80 dB at 98 MHz, with a signal-to-noise ratio better than 63 dB. The FM receiver has antenna inputs for both 300 ohm balanced line, and for a 75 ohm unbalanced lead-in.
Tada assured that as with all Sansui receivers, the Model Six has an FM scale that is totally linear, even graduated in 250 kHz steps for easy, pinpoint tuning. The face of the dial is a smoked, blackout type with a shelf lighted pointer. The receiver's multiplex switching includes a fixed LC carrier leak filter with sharp cutoff characteristics.
Sansui's Model Six also features two large meter indicators for fast and easy tuning.
According to Tada, one meter shows maximum signal strength, while the other is a center-zero null-type indicator for accurate tuning to the center of the FM channel. Interstation muting is selectable from a front-panel switch.
The AM tuner section features an RF amplifier stage and a dual ceramic filter in the IF section, for improved sensitivity. Also included is a whistle filter and a two-stage AGC circuit. The ferrite bar antenna has been totally redesigned and can be adjusted for optimum positioning.

 

[par4ken]

Several major record labels may find their bestselling record acts leaving them to join another label just because the artists prefer one quadrasonic system as opposed to another quadrasonic system

I doubt that statement. I'm sure that many artists were ambivalent while others were very supportive of quad in general. The actual system would mater less. Other contractual concerns would mater much more than which quad system to use!

But now, Kitano feels that it's no longer necessary. Discrete is the best system. There is no longer any need for a matrix system in the U.S."

Wrong, a ridiculous statement especially for back in 1973. Matrix is still useful even today! How else do you get surround when only two transmission channels are available. Stereo enhancement is not possible with discrete, but is a breeze with any decoder! IMHO CD-4 was still not perfected enough back in 1973. Discrete is best, maybe today with our modern digital systems but it never was with CD-4!

These type of statements from those involved in the industry were never helpful. The two (or multiple) sides should have been supportive of each others' work.

 

[jaybird100]

I doubt that statement. I'm sure that many artists were ambivalent while others were very supportive of quad in general. The actual system would mater less. Other contractual concerns would mater much more than which quad system to use!

Wrong, a ridiculous statement especially for back in 1973. Matrix is still useful even today! How else do you get surround when only two transmission channels are available. Stereo enhancement is not possible with discrete, but is a breeze with any decoder! IMHO CD-4 was still not perfected enough back in 1973. Discrete is best, maybe today with our modern digital systems but it never was with CD-4!

These type of statements from those involved in the industry were never helpful. The two (or multiple) sides should have been supportive of each others' work.

Given more time, CD-4 would have been made more practical, but at the same time, matrix decoders would have caught up as well. My guess is that someone would have done, much sooner, what Involve has done today, with high separation decoders that could support both QS and SQ.

Matrix is, for sure, still relevant. New recordings have been released, mainly by independent labels, that use one form, or another, of Regular Matrix. The SQ system seems to have gone into hibernation. It still has relevancy for those of us with large quad record collections, Discrete is, of course, still the best. The digital era made it more practical.

 

[par4ken]

Given more time, CD-4 would have been made more practical

I agree but CD-4 would always have technical restraints that keep it from being a true "Audiophile" medium. The rolled off top end, like FM radio and much higher distortion. Most of us are happy just to get CD-4 to play all the way through without the dreaded sandpaper effect!

Quad was supposed to be a step up from stereo, but with compromised discrete formats like CD-4 and Q8 it didn't stand a chance in the high end audio world at least. Discrete could have blossomed with the introduction of the CD, with it's originally planned quadraphonic ability! Sadly the industry didn't want to go there, surround being left for movies.

 

[MidiMagic]

The sound reproduction from our discrete Quadradiscs is the standard in high fidelity recording. Its "in-person presence" a technical triumph for the most demanding connoisseur.

Every one of its four channels is recorded and reproduced on its own separate track. That's what makes us discrete and everyone else, well, just everyone else.

Even if you don't own a quadraphonic system right now, you can enjoy RCA Quadradiscs on your present system. In a recent issue, Time Magazine said " ...the stereo sound from one of RCA's new Quadradiscs is stunning"

Quadradisc Compatibility
Guaranteed

An analysis by a leading independent research laboratory, in accordance with standards set by the Recording Industry Association of America (RIAA), has enabled us to guarantee full compatibility of the RCA Quadradisc when played on standard stereo systems. They have also certified that the RCA Quadradisc plays with excellent frequency response, in full accord with The National Association of Broadcasters (NAB) Disc Recording and Reproduction Standards.

"No other product will be marketed in quadrasonic now for awhile - until a non-matrix system is accepted as an industry standard. Perhaps the JVC/RCA carrier disc is the answer...
"With a discrete release available we can have the best of all worlds."

"The sound reproduction from our discrete Quadradiscs is the standard in high fidelity recording." With 14.5 KHz top end and dust sounding like breaking pencils in half????

"Every one of its four channels is recorded and reproduced on its own separate track." Ping pang pung pong!

"Even if you don't own a quadraphonic system right now, you can enjoy RCA Quadradiscs on your present system." while the standard stereo cartridge grinds pencil-snapping dust into the grooves.

"Quadradisc Compatibility Guaranteed" Until you buy a used one.

"No other product will be marketed in quadrasonic now for awhile - until a non-matrix system is accepted as an industry standard. Perhaps the JVC/RCA carrier disc is the answer...
"With a discrete release available we can have the best of all worlds."

Except that they scrappeed all of quadraphonics.

If the CD-4 system weren't so finicky, it might have had a better chance for success.

It finnicked itself into discontinuation.

I doubt that statement. I'm sure that many artists were ambivalent while others were very supportive of quad in general. The actual system would mater less. Other contractual concerns would mater much more than which quad system to use!

Wrong, a ridiculous statement especially for back in 1973. Matrix is still useful even today! How else do you get surround when only two transmission channels are available. Stereo enhancement is not possible with discrete, but is a breeze with any decoder! IMHO CD-4 was still not perfected enough back in 1973. Discrete is best, maybe today with our modern digital systems but it never was with CD-4!

These type of statements from those involved in the industry were never helpful. The two (or multiple) sides should have been supportive of each others' work.

Too many artists were demanding discrete because the4y were told it was "better".

Given more time, CD-4 would have been made more practical, but at the same time, matrix decoders would have caught up as well. My guess is that someone would have done, much sooner, what Involve has done today, with high separation decoders that could support both QS and SQ.

Matrix is, for sure, still relevant. New recordings have been released, mainly by independent labels, that use one form, or another, of Regular Matrix. The SQ system seems to have gone into hibernation. It still has relevancy for those of us with large quad record collections, Discrete is, of course, still the best. The digital era made it more practical.

Matrix is still on the Dolby Surround on many DVDs. And all discrete systems make the cogging effect.

 

[jaybird100]

I agree but CD-4 would always have technical restraints that keep it from being a true "Audiophile" medium. The rolled off top end, like FM radio and much higher distortion. Most of us are happy just to get CD-4 to play all the way through without the dreaded sandpaper effect!

Quad was supposed to be a step up from stereo, but with compromised discrete formats like CD-4 and Q8 it didn't stand a chance in the high end audio world at least. Discrete could have blossomed with the introduction of the CD, with it's originally planned quadraphonic ability! Sadly the industry didn't want to go there, surround being left for movies.

Matrix, with decoders such as the Surround Master, would have had the best chance, as far as analog is concerned, but digital, with its full discrete and high rez capabilities, would still be the most likely to be accepted by audiophiles. Still, most are still stuck in a two-channel groove, and are too stubborn to give multichannel a chance. I used to work in high-end, and although we offered high-end surround, they wanted nothing to do with it. Whether things have changed or not, I can't say.

 

[par4ken]

Still, most are still stuck in a two-channel groove, and are too stubborn to give multichannel a chance. I used to work in high-end, and although we offered high-end surround, they wanted nothing to do with it. Whether things have changed or not, I can't say.

I doubt that things have changed. I think that the most extreme high end audiophiles have so much invested into stereo that quad/surround is simply rejected out of hand. They already spent so much money that the prospect of doubling that investment is not appealing. They justify their decision by claiming stereo as the true way to listen to music, they come to believe their own BS!

Videophiles might want surround for movies. Most modern AVR systems do a poor job with (music) stereo enhancement. Audiophiles are stuck with stereo, like it or not. It is both a blessing and a curse that audio and video have become so intertwined! Many people listen to music in stereo but watch movies in surround.

 

[fizzywiggs41]

January 20, 1973

Big WEA Label Group Joins RCA
In Discrete ‘Q' LP Vs. Matrix Race

By CLAUDE HALL

LOS ANGELES
Last week, the
record industry shifted in one massive step from "mostly matrix" to "dominantly discrete" as the Warner-Elektra-Atlntic combine announced they were going discrete and would have discrete quadra-sonic albums on the market probably in April. The key to this shift, of course, is in the amount of hit product that constantly flows from the WEA group. Previously, only RCA Records had discrete product available in the U.S. for the consumer . .. and not much of it. In fact, the whole U.S. discrete software rested in a couple of albums for a long time one by Hugo Montenegro, a stanch advocate of discrete quadrasonic who willingly gave demonstrations and speeches on its behalf, and one album by Eugene Ormandy and the Philadelphia Orchestra. Then, behold! RCA came out with the second volume by Ormandy and there was word that the record label was cutting more masters on the special equipment installed by the Victor Company of Japan. But no releases were forthcoming, though the expectation was that RCA would soon release a whole slate of LP's in discrete quadrasonic.
In fact, oddly, the first volume of "The Fantastic Philadelphians" featuring
Eugene Ormandy and the Philadelphia Orchestra was numbered ARD1-0002 while the second volume was numbered ARD1-0017.
In any case, the major supply of discrete records was in Japan where JVC was releasing disks at a rapid rate, including many RCA artists which they had the rights to under license agreements.

As of December, it seemed evident that the drift in Japan was also toward discrete. As late as a year ago, the bulk of the quadrasonic market in Japan was matrix and there was no question about its impact in the U.S. market where Columbia Records had its own SQ system and other systems included Sansui, Electro-Voice, the Schrieber system, and various other "systems" that ranged from decent matrix to even fake matrix.
In the U.S. and in Japan, it was obviously an SQ world. The Sony label was doing quite well in Japan, and still is. As for CBS, the label was selling SQ in high volumes, and still is. Mike Reineri of Federated Electronics, a Los Angeles hardware firm, was early a strong supporter of the SQ system and presented in-store demonstrations enthusiastically to potential customers. Courtesy of Reineri and other, such eager dealers, Pierre Bourdain, director of product management for the SQ system for CBS, and Joe Dash, director of SQ hardware licensing for the CBS Group, were able to report that quadrasonic LPs were often outselling stereo as of the end of this last year, especially in product that had been out for a while and peaked in stereo sales.
The CBS catalog currently features about 200 SQ titles on 16 different labels. SQ is now available via 15 records in Germany on Electrola Gesellchaft and in Great Britian on about 30 titles via EMI.
As of December, CBS planned another batch of SQ releases and were undaunted that WEA had gone discrete instead of matrix.
Actually, the question was never SQ or CD-4 (the JVC and RCA discrete system) but whether or not WEA would go Sansui or wait until a better system came along.
And frankly, none of the systems are perfect yet. As far as matrix in general is concerned, the matrix advocates claimed it was "good enough" and with a logic gain application to boost up the sounds of musical instruments in the rear they felt they would have a system virtually as good as discrete. But when they said "discrete," they actually meant discrete tape. Matrix people argued that the discrete disk system would never happen and at one meeting of the Audio Engineering Society in Los Angeles, CBS' Ben Bauer called discrete advocates "skunks" during a session. In fact, matrix people often spent more time panning discrete than they did in praising their own wares. This was not so of Sansui, who backed their system with advertising, demonstrations, and considerable finesse at the record company level and as early as December 1971 were able to gain such artists as Carole King on Ode Records, distributed by A&M, into their fold.

ABC/Dunhill has many albums in Sansui, including all of their new Impulse releases and when the label reactivated its Bluesway line just recently, it announced that all 15 albums would be in Sansui quadrasonic. Project 3, an early supporter of quadrasonic, uses the Sansui systems, as does Command. Another matrix advocate from the early period is Dick Schory and his Ovation label.
One of the first matrix records was a record released by Brother Records on a group called The Flame: it capitalized on out-of-phase material. Alshire has product out in the Sansui system.

a@Jaybird ...re above

Vanguard, who entered the quadrasonic field first via reel-to-reel tapes that were eagerly sought by people with 4-channel tape decks, committed themselves to the SQ matrix system and have several albums available. If you hunted, you could even find such labels as Cinema Prize out in their own matrix system.

a@Flaquad .....notice "Cinema Prize" mentioned

Basically, most of the matrix systems are more or less compatible. In fact, in Japan a committee lumped all of the matrix systems besides the Sony-CBS SQ system, into one category called "regular matrix." There are three approved quadrasonic systems in Japan at the moment- discrete (CD-4), regular matrix, and SQ. In the regular matrix category are systems such as Sansui.
The CBS-Sony SQ system was first formally announced and premiered in June 1971 at a Billboard International Music Industry Conference in Montreux.

RCA

The RCA CD-4 discrete system was unveiled officially at Billboard's IMIC April 30, 1972, venture in Acapulco. But the system had been invented by JVC, Japan, a firm launched by RCA years and years
but now Japanese-owned. JVC has licensing agreements on product with RCA and would dearly have loved to ship CD-4 records into the states, but couldn't. Anyway, much of that product was RCA product, which JVC had rights to in Japan. One reason why RCA probably held back from releasing more product was that the hardware to play the "Q" records wasn't available in the marketplace until just recently.
Too, the discrete system did have flaws. Some of the flaws were boiled down by Lou Dorren, the inventor of the Dorren quadrasonic broadcasting system now pending approval of the Federal Communications Commission in Washington.
Dorren condensed the CD-4 demodulator down from a bulky unit to something only a little larger than a book and he's now working furiously to reduce even that to an integrated chip, as is JVC. This should come about next year, meaning that the demodulator for quadrasonic discrete can be built into almost any amplifier at the manufacturing stage for less than $5.
Other problems with the CD-4 system, all solved now, were stylus, cartridge, vinyl, cutting of the masters, etc. But today the CD-4 system includes a much harder vinyl compound to make the records wear longer, a stylus that better interprets the information in the grooves, records that feature about 25 minutes per side and the only problem still existing is that masters have to be cut at half speed, meaning that it's much slower and the technician can't listen to hear what the quality of the tune is until he's finished. This problem, too, will be solved inside of a year, informed sources report.
In reality, record engineers long for a better record system period and many extrapolate that the side benefits of the video-disk systems may be a boon to the record music industry. Engineers see the day when turntables around the world will be junked in favor of an optical system with a low-powered laser read-out; if it can be done for audio-visual units, why not music alone? The stylus is a crude tool for extracting information from a disk anyway.

(To be continued next week)

 

[Old Quad Guy]

 

[Old Quad Guy]

January 20, 1973

Pioneer Bows 4
'Q' Units

CARLSTADT, N.J.-
Four new quadrasonic systems, a professional type stereo turntable, and two speaker systems are featured items in U.S. Pioneer Electronics new equipment line being released by the company.
Top of the line is the QX-8000A, a $550 4-channel receiver which the company claims was designed to fight any obsolescence deriving out of the current matrix/discrete confrontation.
According to Pioneer officials the unit is equipped with an FET front end that cannot be overloaded, and is not susceptible to cross-modulation.
It also has a usable IHF sensitivity of 2.2 microvolts, which permits use even in deep-fringe areas.
U.S. Pioneer's QA 800A is 4-channel amplifier, also designed for use with any existing quadrasonic technique. Priced at $369.95, it utilizes a total of four amplifiers and both SQ and regular matrix decoding circuits. U.S. Pioneer officials also claim that the
QA 800A can be used with any 2 or 4-channel software to supply fully controlled quadrasonic sound.
Next on the list is the QX 4000, an AM/FM 4-channel stereo receiver capable of decoding all types of matrix sources in addition to discrete 4-channel sound.
The unit has a front-panel control that enables the user to select discrete, SQ matrix, or any one of the other matrixing methods. It also boasts multiple input jacks that allow the user to connect a turntable, a tape deck, and one other auxiliary program source such as a cassette deck.
The user of the OX 4000 can also connect an additional pair of speakers to the rear channel making it possible to obtain different 4-channel sound arrangements. List price of the unit is $349.95.
U.S. Pioneer's fourth new quadrasonic unit is the QM 800A, a power amplifier for use on 4-chan-nel stereo systems, with a price tag of $329.95.
The unit has four separate power amplifiers, an IF bandwidth of 10 Hz to 50,000 Hz, and is capable of supplying 30 watts per channel of continuous four channel driven across 8 ohm loads.
The OM 800A can be used as the power amplifier for a 4-chan-nel stereo system, or as the power amp of a 2-channel, two-way multiamp system.
The firm's PL 61 is a top-of-the line-professional-type stereo turntable that features a high torque, brushless, ultraslow revolution DC servo Hall motor, utilizing Hall elements--an unusual type of semiconductor. The Hall molor is characterized by low vibration.
Wow and flutter in the PL 61 are less than 0.05 percent (WRMS), with a signal-to-noise ratio of better than 55 dB. It carries a price tag of $299.95.
Two speaker systems round out the U.S. Pioneer new equipment line. Top of the line is the. R500, a speaker system capable of handling power inputs of up to 60 watts, and suitable for either front or rear channel use. The unit uses a ported enclosure and comprises a 10-inch woofer, a five-inch midrange and a horn tweeter. The low midcrossover is 800Hz and the midhigh is 5200Hz. List price is $159.95.
The second speaker system is a bookshelf speaker with a hemispherical dome for better transients and wider dispersion. It is called the Project 100 and lists for $99.95.

 

[kfbkfb]

FYI (related to prerecorded Dolby B NR & matrix encoded tapes - 8 track and cassette):

I copied my Sample Surround (DS encoded) CD to a Type 1 cassette tape with Dolby B on and played it back with Dolby B off into my Dolby Pro-Logic decoder - I didn't notice any particular directional errors due to the variable treble modifications caused by Dolby B.


Kirk Bayne

 

[Doug G.]

I am sorry many of you never got CD-4 to wok correctly and thus, have a negative attitude toward it.

Doug

 

[fizzywiggs41]

View attachment 95888

April 7, 1973

What about Decca Studios in London . I think they had two quad equipped studios in one facility. Threshold being one .

 

[Old Quad Guy]

KIRO-FM'S QUADMOBILE greets people in a Seattle parking lot as it preaches the quadrasonic gospel.

August 25, 1973

KIRO-FM Takes 'Q' to People

SEATTLE-
KIRO-FM is encouraging the growth of quadrasonic radio by bringing quadrasonic sound personally to thousands of people in the Pacific Northwest with a unique promotional tool—the Quadmobile, a 23-foot deluxe motor home totally equipped with both matrix and discrete 4-channel sound. There are speakers in each corner of the vehicle and often a "quadraphonic coffee table" under an awning just outside the unit to accommodate large gatherings.
The Quadmobile has visited shopping centers, department store openings, community celebrations, and other summer events, announced Dick Dixon, KIRO-FM vice president and station manager. He also said that in their "good music format they broadcast in full quadrasonic sound eight times weekly, including an evening show on weeknights, afternoon segments on Saturday and Sunday, as well as a Sunday morning feature of a taped service by the Mormon Tabernacle Choir in Salt Lake City.
They use both matrix unit on the air, employing the CBS SQ and Sansui QS systems. The station has pioneered 4-channel broadcasting since 1970 and says that they receive hundreds of calls weekly expressing interest in quadrasonic sound.

 

[barfle]

I doubt that statement. I'm sure that many artists were ambivalent while others were very supportive of quad in general. The actual system would mater less. Other contractual concerns would mater much more than which quad system to use!

I don’t know that it caused a label change, but Walter Carlos regularly expressed dislike for how SQ affected “Switched-on Bach.”

 

[par4ken]

"The sound reproduction from our discrete Quadradiscs is the standard in high fidelity recording." With 14.5 KHz top end and dust sounding like breaking pencils in half????

The high end frequency rolloff was my complaint (of CD-4) right from the start. In fairness Quadradiscs were intended for the mass market and so that limitation would not have mattered much. It would matter more in the high end world.

"Every one of its four channels is recorded and reproduced on its own separate track." Ping pang pung pong!

Love it! Realistically a discrete system can do everything that a matrix system can and more! It's all in the mix.

"Even if you don't own a quadraphonic system right now, you can enjoy RCA Quadradiscs on your present system." while the standard stereo cartridge grinds pencil-snapping dust into the grooves.

Quadradiscs were more durable than regular stereo records due to the use of special vinyl.

"Quadradisc Compatibility Guaranteed" Until you buy a used one.

I've bought many used ones and most play fine. You need the right equipment properly set up. The finicky set-up moved CD-4
to a niche market, the average person did not have the inclination nor the patience to set things up properly and to keep records clean etc.

"No other product will be marketed in quadrasonic now for awhile - until a non-matrix system is accepted as an industry standard. Perhaps the JVC/RCA carrier disc is the answer...
"With a discrete release available we can have the best of all worlds."

That is the talk that we didn't need. There was no need for the discrete supporters to trash matrix!!!! They should have recognised the need to use only two transmission channels for quad at times as well as the need for stereo to quad enhancement. They should have conceded that their system was not perfect and had its own limitations.

 

[Doug G.]

I, for one, never trash ANY quad. Even though the matrix systems may suffer from inferior separation and/or "tricks" to improve it, they still provide a wonderful soundfield in which to be immersed. Even the earlier decoders.

One comment about the high frequency "limitation" of CD-4. I doubt that the vast majority of people, even the high-end "audiophile" crowd, can hear a difference between a system that has a response from 20Hz - 20kHz and a system that has a response from 20Hz - 15kHz. There just isn't that much up there and most people can't hear to 20kHz, anyway. And, most of us, as we age, are extremely lucky if we can hear even to 15kHz.

Doug

 

[Old Quad Guy]

February 3, 1973

GE Ad Campaign Giving 'Q' Emphasis

By BOB KIRSCH

LOS ANGELES
The emphasis placed on tape equipment and audio components, especially 4-channel, by General Electric is showing dividends, according to national tape manager Paul Van Orden.
The firm debuted an expanded line of tape and audio products at the Audio Electronics Products Dept. national meeting, in San Francisco last May and backed it with a national ad campaign featuring Sammy Davis, Jr.
According to Van Orden, "Four-channel product is moving extremely well for the dealers who do their homework. There is no real mystique about the product anymore. There's a lot of it in the marketplace and the consumer is becoming more aware of the product." GE has several units in its line.
Eight-track is also becoming a more important product, according to Van Orden. "This is another product which has been picking up, especially units with record capability. Van Orden pointed out that this is one field where consumer education has been neces-sary. "A lot of people think recording in an 8-track unit is as easy as using cassette, but this isn't so. We've been teaching our people how to use the record function properly and they've been passing it on to the consumer."
The portable 8-track market has been "good, but not as good at home units,” Van Orden said. "It has is with cassettes that portability has really taken hold. People are becoming more oriented toward tape on the whole, and cassettes are finding a great many uses in business and education as well as in entertainment."
Van Orden also said that the Davis ads would be resuming and will continue through the first half of this year. "This has been one of the most successful ad campaigns in our history, and we will be going to TV and print with it again."
Don Perry, vice president of GE and general manager of the home entertainment business division, said he is satisfied with the 8-track portable market, even if it isn't the same in volume as the home market. "I agree with Ed Campbell of Lear Jet in his evaluation of the market," Perry said. Campbell had stated earlier that portable 8-tracks were moving well to the youth market and were making up a substantial part of his business.
Van Orden also pointed out that GE's push in compacts and prepackaged components was working out well, and that a consumer who wanted a system to build on could get it with a prepackaged set.
The Audio Electronics Products
Department will also begin a new uniform price plan, it was announced at the GE Show. At the same time, the AEPD announced a new co-op plan which gives customers the chance to spend co-op money earned in the fourth quar ter of 1973.
Under the plan, all retail customers will be charged the same uniform price for the full line of GE electronic products. The plan offers in addition direct factory shipment and cumulative volume rebate allowances for retailers. The volume rebate allowance applies to all classes of product. Non-re-tail allowances will be offered to customers not involved in retail trade.
Customers can also choose a payment terms option to suit their business needs, such as an extended terms option.