Exploring Billboard for Quadraphonic Information
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Seifi Ozawa (center), a top U.S. classical conductor, meets with Japanese critics.
February 17, 1973
THE CLASSICS WERE DOWN LAST YEAR
But the future seems promising
It would appear that 1972 was a bad year for classical recordings in Japan. The Japanese manufacturers and producers of records and pre-recorded music tapes figure that their sales of classical albums and the recently introduced cassettes last year declined to somewhere be tween five and seven percent of the total repertoire. Compared to the best years when classical records accounted for up to 15 percent of the total genre, it certainly gives rise for some apprehensign among those interested foreigners in the international music industry who are not acquainted with the unique situation in Japan.
People, even those Japanese interested in promoting live and recorded music of international origin tend to forget that Japan has quite a wide musical genre of its own, ranging from popular to classical. It must never be forgotten that this indigenous music, especially recordings of popular songs known as "kayokyoku” or
"ryukoko," traditionally account for a goodly 50 percent of total sales. And this situation will never change, even if Japan goes Communist.
On the other hand, although recordings of international origin have perennially accounted for less than 50 percent of the total repertoire, there will always be a big market for classical recordings in Japan, as compared to the United States—even with Canada added—and the European Common Market. Why is this?
Classical music, as we know it, is comparatively new to Japan.
The first public performance of a symphony orchestra was held in Tokyo in December 1915, and it was not until 10 years later, when Tokyo's first broadcasting station was established, that classical music made a steady growth in Japan. Incidentally, Japan's own brand of classical music, known as "gagaku,” dates back to the ninth century.
Ever since an institute of music was established within the then Department of Education (now Ministry of Education), in 1879, classical music as we know it has always been an essential subject in the curriculum of Japan's compulsory education. And classical music will continue to play an essential role in the cultural education of Japanese youth,
This year already, with increasing moves on the part of Japan's huge mining-manufacturing industries to provide more leisure time for their workers to enjoy spending their hard-earned wages and salaries, national and municipal governments are committed to providing more leisure space, hopefully more concert halls and bandstands. It may be mentioned here that the new Tanaka Cabinet has already reduced the tax on admission fees to symphony concerts and other musical events.
Over the years, sales of classical record albums have increased most steadily compared to the myriad popular singles at an an nual growth rate of up to as much as 26 percent in some years ever since the CBS long playing microgroove disk was introduced to classical music lovers in Japan by Nippon Columbia in April 1951. Despite some ups and downs, this trend will continue in Japan if not in other countries.
As elsewhere in the world, introduction of the unbreakable, comparatively noiseless 33 1/3 rpm LP, the 45 single, and stereo (February 1959 in Japan, by Nippon Victor) has revolutionized the phonograph manufacturing industry. Although, 4-channel at this stage of the game sound appears to have doubled the price of home stereo systems in Japan, the manufacturers last year made every effort to solve the problem of compatibility and this year they are determined to produce equipment with which the best of classical recordings can really be appreciated by the music lover at home.
Due to the tiny transistor, it may be added that a lowly Japanese portable stereo record player, at $20 retail, is far more “hi-fi” than the “Victrola” of yesterdays. In other words, despite the pros and cons of 4 channel sound, the Japanese equipment available today for the true appreciation of classical music is a "budget" in itself.
Last year, all of the 16 member manufacturers and producers of the Japan Phonograph Record Assn. (Record Kyokai) except CBS/Sony and Nippon Phonogram (Philips-Matsushita/ JVC joint venture) raised the fixed retail price of a 45 pm 7-inch popular single by 25 percent, to 500 yen including 15 percent commodity (sales) tax from 400 yen. Nippon Phonogram increased the sales price of its pop singles by 12.5 percent, to 450 yen or about $1.50. To date, CBS/Sony has not raised its price from 400 yen.
In another development, several of Japan's commercial radio stations broadcasting on the standard medium wave AM band were granted permission by the Radio Wave Regulatory Bureau (Japan's FCC) last year to increase their transmitting power.
Consequently, with the resultant expansion of service area, rival radio broadcasting networks vied to be first with the Japanese and international popular hits, with new programs such as
"The Top 40 From Billboard” aired by Radio Kanto (JORF). The Kanto area covers the whole of Tokyo and six surrounding prefec tures (counties) with a total population of about 30 million.
Not to be outdone, the staid old Nippon Hoso Kyokai, which is financially supported by the Japanese Government and mandatory listening fees, let its hair down and aired highly competitive popular record programs over its nationwide AM radio broadcasting network.
Also, NHK expanded its FM radio broadcasting network in 1972 to cover practically all parts of the country. At the same time, NHK increased the number and hours of musical programs on its FM radio network, with emphasis on extended high fidelity broadcasts of live or recorded classical music including complete operas.
As of November 1972 there were 5,432 broadcasting stations throughout the islands of Japan.
In spite of competition from NHK's national AM and FM broad. casting networks, and the expanded commercial AM radio networks, the four sponsored FM stations in Tokyo, Nagoya, Osaka and Fukuoka, respectively, captured hundreds of thousands of listeners in 1972, as did NHK-FM. However, this increase in the number of listeners to FM radio has brought the problem of music programming to the fore. While the Government-supported NHK network is morally obliged to provide its listeners with a balanced musical diet, based on culture and education besides entertainment, the commercial radio stations are subject to the whims of their sponsors and they must let their listeners "hear what you want when you want it." In other words, NHK could afford to set a musical trend but the commercial networks have to listen to their sponsors and pander to the prevailing tastes of their listeners.
Fortunately, enlightened Japanese manufacturers like TDK Electronics have been sponsoring programs of classical recordings, besides the major record companies, and this trend will certainly continue and, hopefully, increase sales this year.
Last year, Japanese manufacturers of car stereo units like Clarion, Matsushita and Pioneer introduced Lear Jet type cartridge home stereo systems and adaptors. Up until now, almost all of the repertoire for prerecorded Stereo 8 cartridge tapes has been of Japanese origin.
But international classical and popular recordings-and broadcasts--of the "background music” type will be more in favor for listening in Japan's automobiles, due to increased awareness of noise pollution throughout the country and its nationwide control by the police.
For instance, upon neighbors' complaints, rock fans who play their records--and electric guitars--too loud will be fined for disturbing the peace. And, to shut out all the forms of noise pollution prevalent in Japan, music lovers have found peace and content by listening to classical recordings through high fidelity headphones.
Although 90 percent of Japan's rock generation wants 4 channel stereo, nearly all of this country's audio enthusiasts are interested in classical music. Unfortunately, no statistics are available as to exactly how many "audio maniacs” there are in Japan. In fact, the Japan Audio Society has only a littie more than 1,000 members. It is generally conceded however that there are more audio enthusiasts in Japan than in the United States or the European Community.
Due perhaps to the physical limitations of a listening room in the average Japanese home, classical music lovers tend to feel that quadrasonic sound reproduction is not essential.
Japanese rooms are traditionally measured by the number of standard size mats it takes to cover the fioor.. Each mat is about six feet long and three feet wide. Room sizes in an average Japanese home are three mats (54 sq. ft.), four and one-half mats (81 sq. ft.), six mats (108 sq. ft.), eight mats (144 so. ft.) and 10 mats (180 sq. ft.).
Last year, Japanese audio enthusiasts and music lovers appeared to be more interested in upgrading their home hi-fi components rather than purchasing new quadrasonic stereo ensembles. However, under a mutual agreement reached among the Japanese manufacturers in the latter half of 1971, newly produced high end stereo components are compatible with "Q.” Although foreigners hearing the cacophonous "yon-chan" commercials over FM Tokyo might not believe it, the "Q" situation in Japan has turned from ungodly confusion to a religious calm.
The only quadrasonic stereo album listed among the top 30 best-selling popular or classical LPs last year in the dealer oriented "Record Monthly” was Leonard Bernstein's "Mass" pressed and released in Japan on Sept. 21 by CBS/Sony.
According to the January 1973 issue of “Record Monthly,” the London stereo album of Holst's "The Planets” by Zubin Mehta and the Los Angeles Philharmonic Orchestra, pressed and distributed in Japan by King Records, was the number one classical best seller as of Nov. 25, 1972.
It displaced the second Philips recording of Vivaldi's "Four Seasons" by I Musici (Michelucci), released by Nippon Phonogram in November 1971, which took over the number one spot held by the first Philips recording (Ayo), originally pressed and distributed by the Victor Co. of Japan in April 1965. The newer version, at 2,200 yen retail, was number two as of Nov. 25, 1972, buth the older version, at 2,000 yen retail, was number five despite its unbelievably long run and record sales of 500,000 copies.
More than anything else, the popularity of Vivaldi's “Four Seasons" vividly shows that classical music in Japan is still very much in the baroque era and that the market for classical recordings in this ancient Asian country with a population of more than 105 million has hardly been developed.
Japan, despite the technically high level of musical education, still has no classical soloist of truly international stature or classical music group that could win lasting world fame. And, more than anywhere else in the world, financial problems continue to retard the growth of the Japanese symphony orchestras.
Seiji Ozawa, the popular young Japanese conductor, has volun teered to support the New Japan Philharmonic Orchestra that was formed on July 1, 1972.
Ozawa has been signed up by Deutsche Grammophon Gesellschaft as the conductor for a series of recordings by the Boston Symphony Orchestra. He has already led the San Francisco Orchestra in recording the "Three Views of Romeo and Juliet” for DGG, which is represented in Japan by Polydor K.K.
Meanwhile, the old Japan Philharmonic Orchestra has been staging a sit-in at the Fuji TV broadcasting studio in Tokyo and is struggling to make ends meet by holding subscription concerts attended by sympathetic workers.
In Japan, unfortunately, even if the recording companies were to support either the old or new orchestra, few Japanese would buy their records even if they were of international calibre or if they were sold at "budget" price.
Apart from Vivaldi's perennial "Four Seasons” in Japan, the classical best sellers last year comprised the basic repertoire as interpreted by Herbert von Karajan. His recordings for Angel, released in this country by Toshiba, and for DGG, released in Japan by Polydor, including the latter's “Karayan” sampler at 750 yen or about $3.50, were the most favored by Japanese at all age levels and in walks of life. In fact, 1972 was a "Karayan" year in Ja pan although Eugene Ormandy and the Phifadelphia Orchestra and Zubin Mehta and the Los Angeles Philharmonic made concert tours of this country last year.
Japan has yet to produce a composer capable of writing a sym phony for recording by, for example, Leonard Bernstein and the New York Philharmonic, of a Japanese librettist good enough to have his works recorded at the Metropolitan Opera, and thereby win international fame. Admittedly, some contemporary works by Japanese composers, if not librettists, have a unique flavor that could be internationally accepted, including those listed in the Japan Phonograph Record Association's ‘72-73 catalog.
March 3, 1973
Holzman/JVC Strive For Discrete Adoption
By CLAUDE HALL
Holzman Sets Guidelines for Discrete Quadrasonic Success
LOS ANGELES-
The Warner Bros.-Elektra-Atlantic group of labels is mapping an educational campaign to support their decision to issue product in the CD-4 discrete quadrasonic system announced officially
Tuesday (20) here. Jac Holzman, president of
Elektra and head of WEA's joint engineering committee, will issue a booklet on quadrasonic and the various systems at the annual convention here this week of the Nacional Association of Recording Merchandisers. The booklet will also be made available to record stores. Elektra Records will also set up a sound exhibit room in New York and invite record dealers in for educational briefing sessions on 4-channel. The WEA move to discrete quadrasonic was reported exclusively in Billboard. Jan. 20, 1973.
By May, all three labels will have 24 albums in quadrasonic on the market, Holman said, and the album rackets will bear the term: QuadraDisc, which is on
RCA albums and which RCA has granted WEA permission to use.
WEA will carry separate stereo and quadrasonic inventories. Quadrasonie albums will cost $6.98. The reason for the WEA decision to go discrete instead of matrix, he said, was that "all matrix systems involve a compromise. We decided to accept no compromise.”
He felt that current matrix hardware units on the market were already “obsolete.”
WEA has not made a decision on where it will press its quadrasonic records. Currently, CBS
presses a considerable amount of both Warner Bros. and Elektra product and even some of the Atlantic product. He urged both retailers and record pressing plants to begin educating themselves for the coming quadrasonic world.
JVC is now shaping up a "know-how" package on pressing of quadrasonic product to all pressing executives from a list supplied by Holzman.
RCA Records has more cutting lathes coming in from Japan, he said. Currently, masters for quadrasonic discrete albums have to be cut at half-speed, but Holzman felt this was only a "minor draw-back" that, in the long run, actually contributed to better quality controls in product. He felt the electronic equipment necessary for each lathe had to be reduced in order to make room for more lathes. “In my opinion, we're going to need 25 lathes in operation in this country within the next 12 months.”
But it's in the field of education that quadrasonic currently suffers its worst handicap, he said. "The consumers who are interested in quadrasonic know more than the clerks in the stores. A massive education job is needed.”
He felt that:
• Retailers should push the quadrasonic concept.
Retailers should have at least one full-time salesman to explain quadrasonic to potential customers and should demonstrate quadrasonic.
• The quadrasonic records should also be stocked along-side of the hardware and have a rack all of their own as a featured item.
• Retailers should make potential customers aware that they carry quadrasonic product via promotions, advertising, etc.
Holzman, in his own way, will be involved in pushing quadrasonic on many levels. He intends to plead the quadrasonic discrete disk cause with the Federal Communications Commission in regards to broadcasting: he will be a speaker during a panel on quadrasonic at the annual convention of the National Association of FM Broadcasters Mar. 23-25 in Washington; he is currently talking with several record labels in regards to convincing them to go discrete. "A number of labels have expressed privately to me that discrete is the way to go.”
WEA will release records in discrete, at first, only in the U.S., Canada, and Japan. He felt there was reluctance in Europe for anyone to commit to any quadrasonic system; "'stereo hasn't even penetrated fully in Europe.”
Holzman also felt there was desperate need for the Federal Trade Commission to "apply the same rules to quadrasonic as they applied to stereo . . . in fact. perhaps just extend the definition of stereo to cover quadrasonic . .. and this should get into this area right now.”
The licensing arrangement WEA has with the Victor Company of Japan, inventor of the discrete system, is for 25 years. Holzman said that he fought for the best deal "I could get ..for the entire
industry.”
The WEA committee that research quadrasonic for several months consisted of Holzman; Tom Dowd, vice president and chief engineer of Atlantic; Clair Krepps of Atlantic; Bruce Morgan, Keith Holzman and Michael Kapp of Elektra; and Lee Herschberg and Alan McPherson of Warner Bros. Holzman pointed out that. in comparison, the quadrasonic disk is further along in development so far as quality is concerned than the stereo record was at this stage. "I've noticed that quadrasonic cartridges continue to increase in sales. Disks should not be any less discrete.”
He personally had observed that regular matrix records and other matrix records suffer "a collapse of information toward the center" when played in stereo; though this is less with the SQ system." Later, he added that he believed the problem with logic enhancement type circuitry in matrix units was that they "don't work well enough, Sansui works better than SQ." He said he'd heard the latest developments in SQ but that a "pumping” action or sound effect was still there.
“There are problems with discrete, but they're in the control of the manufacturer and we believe will soon be ironed out.” In making the decision to go discrete, he said WEA's desire was only to make the very, very best disk possible. Columbia Records, he felt, had done something very important. they "put the weight of their technology behind the theory that the disk itself should not become obsolete."
WEA, at this time, doesn't think a single inventory, such as RCA Records has, is a good idea. A single inventory might create confusion with the public, he said. The reason WEA is charging a dollar more on the suggested list price is that the manufacturer is going to have higher costs in the vinyl compound, the improved quality controls, marketing, and increased costs in mixdown of old catalog.
But, of the dollar extra, only about 35 cents would go to the manufacturer; 8-10 cents would go to the artist.
The discrete system gives the recording artist "uninhibited capabilities" in producing product, Holzman said, whereas Morgan on the panel pointed out that when you have more than one source of music on a matrix record, the separation between speakers drops to 10 db or less. Holzman added: Matrix records try to fool your ear that the sound is still coming from where it originally came from.
Basically, the discrete system is for "the new creative artists we wish to unfetter as much as possible,” Holzman said,
There should be about, 3-5 percent quadrasonic disk penetration in the market place by the end of the year, Holzman said, and 10-12 percent by the end of next year . . . “but I don't think it'll be that long before we have an all-quadrasonic industry... doubt if it'll be less than five-to-seven years."
Holzman felt that current FM radio broadcasts in matrix were losing a lot of information before it got to the receivers at home.
Some FM broadcasters have raised howl because of the WEA decision to go discrete because now they'll have to spend a few dollars in order to broadcast in discrete when the FCC approves it, he said.
But, on the other hand, a lot of broadcasters are extremely excited about the possibilities in discrete broadcasting.
JVC Discrete
LOS ANGELES
JVC America is opening its doors to anyone for qundrasonic. The duties of its new master cutting office here, just announced officially Tuesday (20). will include teaching other record operations about the discrete CD-4 quadrasonic system.
JVC America, headed by Takashi Masuda, is a subsidiary of Victor Company of Japan and a master cutting facility is being set up in the RCA Records building here with full operation expected by April 15. Jim Mochizuki, director of JVC America, said that if a record company has a lathe, “we'll teach them how to cut quadrasonic masters and even sell them the modified electronics to change their stereo lathe to quadrasonic."
JVC America has spent more than a third of a million dollars in setting up master cutting operations here. By operating the machine around the clock with three shifts of engineers, the maximum will be about 250 albums per month.
Mochizuki predicted that the entire record industry will be quadrasonic by 1974. Singles may eventually be issued in quadrasonic. This will necessitate a second cutting unit on the West Coast before summer, he felt.
Mochizuki also expects that only one company—at present —will adopt a single inventory for albums . . . RCA Records which
some time ago announced that all new product would eventually be in quadrasonic, phasing out stereo as time went by.
“You've got to give Rocco Laginestra, president of RCA Records, a lot of credit. He has guts. Because of the necessity to cut at half speed at present, this means that your labor costs are higher. The compound used in the records is different. And, although we want to bring the pressing cycle down to 28 seconds a record or less, it's currently 40 seconds for quadrasonic albums.
So, there is a reason for having two inventories of product—one for stereo albums and one for quadrasonic albums." In Japan, he said, quadrasonic albums cost about 15 percent more at the retail level.
About 20 percent of product being issued by the labels will be quadrasonic by the end of the year, he felt.
He also expected that by May, when the WEA group of labels gets deeper into quadrasonic releases, about half of the quadrasonic product would be new material.
"All of the bugs are out of the discrete record system,” he said, “and the coming integrated chip circuitry will enable hardware manufacturers to turn out equipment in high volume,” he said
Holzman/JVC Strive For Discrete Adoption
By CLAUDE HALL
Holzman Sets Guidelines for Discrete Quadrasonic Success
LOS ANGELES-
The Warner Bros.-Elektra-Atlantic group of labels is mapping an educational campaign to support their decision to issue product in the CD-4 discrete quadrasonic system announced officially
Tuesday (20) here. Jac Holzman, president of
Elektra and head of WEA's joint engineering committee, will issue a booklet on quadrasonic and the various systems at the annual convention here this week of the Nacional Association of Recording Merchandisers. The booklet will also be made available to record stores. Elektra Records will also set up a sound exhibit room in New York and invite record dealers in for educational briefing sessions on 4-channel. The WEA move to discrete quadrasonic was reported exclusively in Billboard. Jan. 20, 1973.
By May, all three labels will have 24 albums in quadrasonic on the market, Holman said, and the album rackets will bear the term: QuadraDisc, which is on
RCA albums and which RCA has granted WEA permission to use.
WEA will carry separate stereo and quadrasonic inventories. Quadrasonie albums will cost $6.98. The reason for the WEA decision to go discrete instead of matrix, he said, was that "all matrix systems involve a compromise. We decided to accept no compromise.”
He felt that current matrix hardware units on the market were already “obsolete.”
WEA has not made a decision on where it will press its quadrasonic records. Currently, CBS
presses a considerable amount of both Warner Bros. and Elektra product and even some of the Atlantic product. He urged both retailers and record pressing plants to begin educating themselves for the coming quadrasonic world.
JVC is now shaping up a "know-how" package on pressing of quadrasonic product to all pressing executives from a list supplied by Holzman.
RCA Records has more cutting lathes coming in from Japan, he said. Currently, masters for quadrasonic discrete albums have to be cut at half-speed, but Holzman felt this was only a "minor draw-back" that, in the long run, actually contributed to better quality controls in product. He felt the electronic equipment necessary for each lathe had to be reduced in order to make room for more lathes. “In my opinion, we're going to need 25 lathes in operation in this country within the next 12 months.”
But it's in the field of education that quadrasonic currently suffers its worst handicap, he said. "The consumers who are interested in quadrasonic know more than the clerks in the stores. A massive education job is needed.”
He felt that:
• Retailers should push the quadrasonic concept.
Retailers should have at least one full-time salesman to explain quadrasonic to potential customers and should demonstrate quadrasonic.
• The quadrasonic records should also be stocked along-side of the hardware and have a rack all of their own as a featured item.
• Retailers should make potential customers aware that they carry quadrasonic product via promotions, advertising, etc.
Holzman, in his own way, will be involved in pushing quadrasonic on many levels. He intends to plead the quadrasonic discrete disk cause with the Federal Communications Commission in regards to broadcasting: he will be a speaker during a panel on quadrasonic at the annual convention of the National Association of FM Broadcasters Mar. 23-25 in Washington; he is currently talking with several record labels in regards to convincing them to go discrete. "A number of labels have expressed privately to me that discrete is the way to go.”
WEA will release records in discrete, at first, only in the U.S., Canada, and Japan. He felt there was reluctance in Europe for anyone to commit to any quadrasonic system; "'stereo hasn't even penetrated fully in Europe.”
Holzman also felt there was desperate need for the Federal Trade Commission to "apply the same rules to quadrasonic as they applied to stereo . . . in fact. perhaps just extend the definition of stereo to cover quadrasonic . .. and this should get into this area right now.”
The licensing arrangement WEA has with the Victor Company of Japan, inventor of the discrete system, is for 25 years. Holzman said that he fought for the best deal "I could get ..for the entire
industry.”
The WEA committee that research quadrasonic for several months consisted of Holzman; Tom Dowd, vice president and chief engineer of Atlantic; Clair Krepps of Atlantic; Bruce Morgan, Keith Holzman and Michael Kapp of Elektra; and Lee Herschberg and Alan McPherson of Warner Bros. Holzman pointed out that. in comparison, the quadrasonic disk is further along in development so far as quality is concerned than the stereo record was at this stage. "I've noticed that quadrasonic cartridges continue to increase in sales. Disks should not be any less discrete.”
He personally had observed that regular matrix records and other matrix records suffer "a collapse of information toward the center" when played in stereo; though this is less with the SQ system." Later, he added that he believed the problem with logic enhancement type circuitry in matrix units was that they "don't work well enough, Sansui works better than SQ." He said he'd heard the latest developments in SQ but that a "pumping” action or sound effect was still there.
“There are problems with discrete, but they're in the control of the manufacturer and we believe will soon be ironed out.” In making the decision to go discrete, he said WEA's desire was only to make the very, very best disk possible. Columbia Records, he felt, had done something very important. they "put the weight of their technology behind the theory that the disk itself should not become obsolete."
WEA, at this time, doesn't think a single inventory, such as RCA Records has, is a good idea. A single inventory might create confusion with the public, he said. The reason WEA is charging a dollar more on the suggested list price is that the manufacturer is going to have higher costs in the vinyl compound, the improved quality controls, marketing, and increased costs in mixdown of old catalog.
But, of the dollar extra, only about 35 cents would go to the manufacturer; 8-10 cents would go to the artist.
The discrete system gives the recording artist "uninhibited capabilities" in producing product, Holzman said, whereas Morgan on the panel pointed out that when you have more than one source of music on a matrix record, the separation between speakers drops to 10 db or less. Holzman added: Matrix records try to fool your ear that the sound is still coming from where it originally came from.
Basically, the discrete system is for "the new creative artists we wish to unfetter as much as possible,” Holzman said,
There should be about, 3-5 percent quadrasonic disk penetration in the market place by the end of the year, Holzman said, and 10-12 percent by the end of next year . . . “but I don't think it'll be that long before we have an all-quadrasonic industry... doubt if it'll be less than five-to-seven years."
Holzman felt that current FM radio broadcasts in matrix were losing a lot of information before it got to the receivers at home.
Some FM broadcasters have raised howl because of the WEA decision to go discrete because now they'll have to spend a few dollars in order to broadcast in discrete when the FCC approves it, he said.
But, on the other hand, a lot of broadcasters are extremely excited about the possibilities in discrete broadcasting.
JVC Discrete
LOS ANGELES
JVC America is opening its doors to anyone for qundrasonic. The duties of its new master cutting office here, just announced officially Tuesday (20). will include teaching other record operations about the discrete CD-4 quadrasonic system.
JVC America, headed by Takashi Masuda, is a subsidiary of Victor Company of Japan and a master cutting facility is being set up in the RCA Records building here with full operation expected by April 15. Jim Mochizuki, director of JVC America, said that if a record company has a lathe, “we'll teach them how to cut quadrasonic masters and even sell them the modified electronics to change their stereo lathe to quadrasonic."
JVC America has spent more than a third of a million dollars in setting up master cutting operations here. By operating the machine around the clock with three shifts of engineers, the maximum will be about 250 albums per month.
Mochizuki predicted that the entire record industry will be quadrasonic by 1974. Singles may eventually be issued in quadrasonic. This will necessitate a second cutting unit on the West Coast before summer, he felt.
Mochizuki also expects that only one company—at present —will adopt a single inventory for albums . . . RCA Records which
some time ago announced that all new product would eventually be in quadrasonic, phasing out stereo as time went by.
“You've got to give Rocco Laginestra, president of RCA Records, a lot of credit. He has guts. Because of the necessity to cut at half speed at present, this means that your labor costs are higher. The compound used in the records is different. And, although we want to bring the pressing cycle down to 28 seconds a record or less, it's currently 40 seconds for quadrasonic albums.
So, there is a reason for having two inventories of product—one for stereo albums and one for quadrasonic albums." In Japan, he said, quadrasonic albums cost about 15 percent more at the retail level.
About 20 percent of product being issued by the labels will be quadrasonic by the end of the year, he felt.
He also expected that by May, when the WEA group of labels gets deeper into quadrasonic releases, about half of the quadrasonic product would be new material.
"All of the bugs are out of the discrete record system,” he said, “and the coming integrated chip circuitry will enable hardware manufacturers to turn out equipment in high volume,” he said
Doug G.
2K Club - QQ Super Nova
Doug G.
2K Club - QQ Super Nova
January 20, 1973
Speakers Sales Boom;
Many New Trends
CHICAGO
The excitement over 4-channel has sparked new interest in speakers but marketers and retailers alike don't expect the winter shows here to find speaker manufacturers thumping quadrasonic to the exclusion of everything else. The reason? Simply that the speaker business was never so good as right now because consumers are upgrading 2-channel systems all the while casting a wary eye in the direction of that eventual 4-channel setup.
Another expectation is that the shows won't find a lot of new items being introduced, though several speaker exhibitors have promised new additions. This doesn't mean that speaker manufacturers aren't innovating. A number of new concepts are being touted.
At the same time, speaker designs evolve and some companies take pride in the fact that they really add few new models when what they've got continues to sell. As one retailer here put it: "Some of the models JBL brought out 10 years ago are still selling." A perfect example of this is Rectilinear Research Corp., exhibiting at the Consumer Electronics Show (CES).
This firm's advertisements make note of the fact that the Rectilinear III bowed over five years ago. One ad, in fact, states: "After forty-seven break-throughs and revolutions (in speaker design)" and then goes on to explain that the company did bring out a new model but changed only cosmetically.
Nevertheless, JBL, Rectilinear and other speaker firms don't rest long on their laureis. JBL's line, in fact, has been steadily expanded and improved, most noticeably perhaps though not most significantly, in terms of exterior design with examples being the three-dimensional grille and another grille design the firm calls "sculptured air.”
Some of the trends merchandising and design of speakers that will be reflected in the Conrad Hilton shows:
• Continued use as traffic builders. In fact, an electronic wholesaler told the American Loudspeaker Manufacturers Association recently that speakers will continue to be one of the most footballed items as long as sales personnel are not trained to talk up features and see the only difference in terms of price (Billboard, Dec. 16).
• More dignity in price-based offerings. Pacific Stereo, for example, advertised Quadraflex's five models just prior to Christmas at 25 percent off for one week only with ad copy noting it was "the first and only time this year" for such a sale (the line ranges from $39.95 through $139.95).
• Well-known hardware brands adding speakers. Ad copy from Pacific Stereo noted recently: "You probably know Harman-Kardon's very fine receivers and you should get to know their speakers too (a $289.95 value Kenwood receiver, BSR turntable and Harman-Kardon two-speaker package was offered was offered at $229.95).”
• Bookshelf boom to grow. Paul Szymkowski of Musicraft here was among many who said the 4-channel push will result in the continuing popularity of small-size units because people can't conceive of having "four giant-sized end tables stuck around a living room."
• Much bigger trend to large enclosures, Said Al Hotwagner, Jensen Sound Laboratories, another CES exhibitor: "The tight economy isn't keeping people from spending money on much larger units. People that used to think of $49.95 units see they can get so much more for $99.95 (Jensen's models 4, 5 and 6 are priced respectively at $99.95, $147.95, $198.95)."
• New shapes, finishes, even camouflage. Probably one of the most interesting new silhouettes is from Design Acoustics, a new firm itself, whose D-12 is so designated because it is dodecahedron-shaped, or 12 sided ($325 each). As for finishes, Acoustic Fiber Sound Systems offers an alternative to the "wood look" monotony implicit in 4-channel with non-wood exteriors as vinyl in colors such as Ryne, White of Fire Swirl, simulated leather, fabric covers of wool and so on and even fur. Fisher Radio, though, has a line of what it calls "sound panels" that resemble paintings (again, an obvious alternative to the 4-channel dilemma of where to position rear channel units).
• Emphasis on grille design, snap-out grilles. Any number of lines feature removable grilles new. But more dramatic are the new constructions such as JBL's Quadrex 2 pattern consisting of truncated pyramids of semi-rigid, reticulated foam material, which because of its open pore characteristics, is claimed to provide more acoustic transparency than cloth.
• Cabinet construction. Johnzer Products is showing a new "quadraplex" edge on its speakers that president Howard Johnzer said makes it appear the units are cut from the center of a tree.
The firm, heretofore an OEM supplier, has 16 different speakers in its catalog and specializes in promotionally-priced units ranging from $5.98 to $125.50.
• Pedestal supported units. It's only natural to expect Design Acoustics' D-12 to have a pedestal, but the look is reflected in many brands such as Bose's model 901 and Linear Design Labs' LDL 749.
Omnidirectionality. This is reflected in many lines as yet another answer for 4-channel though not necessarily for that purpose alone by any means. Examples include Fisher's WS-80 "Mini-Omni" 11x18x18¼-in. high. Electrostatic Sound Systems. Inc. (ESS) has yet another approach with its Satellite 4 system using an omnidirectional bass enclosure with its own amplifier (midrange and tweeters are in four bookshelf units).
• Reflecting, radiating, direct, and combinations. Linear Design Labs LDL.-749 is described as combining "panoramically reflected sound from the rear” and "forward-radiated" sound from the front.
Bose's 901 combines direct and reflected sound. Leslie's Plus 2 disperses sound via a rotating drum but also utilizes 360-degree electronic phase shifters to produce a random spatial effect.
• Equalizers. Improvements in transient response have focused new attention on avoiding the compromises in low frequency. McIntosh, for example, has introduced the MQ 101 "environmental” equalizer for $250 that not only provides flat response but can compensate for different room acous-tics.
• Car units, two-way diversification. Ray Hauch, Electronic Industries, almost an exclusive car stereo speaker firm, believes many automotive sound dealers "have allowed the car speaker business to drift to the hi-fi stores." The symbiosis implied by Hauch is not lost on Hotwagner, who points out that Jensen is pushing harder than ever its new line of mobile products for cars as well as boats, campers and so on. Said Hotwagner: "Experience showed us that people were going to want quality speakers in their automobiles. We went in not at the low end where everybody has been slushing around for Years. but with high-end merchandise.”
• Kits.
The advent of 4-channel lends itself to add-ons and firms such as Dynaco, Inc. have many kits available. including a line of walnut enclosures. Another firm stressing kits is Electro-Voice with such offerings as a tweeter building block kit at $64.50 and mid-range step-up kit at $37.50,
• Optional finishes. paint-your-own. Many firms offer enclosures in multiple finishes such as Acoustic Research, which lists glossy walnut, oiled walnut, cherry, oiled teak, mahogany, birch and unfinished pine.
• Labyrinth or "transmission line" units. Robert Young, ESS representative, believes that better amplifiers, improved phonograph cartridges and breakthroughs in recording studio techniques all contribute to a desire to hear more sound than ever from speakers. A result, he and others point out, is a revival of old concepts.
Labyrinth is one. First introduced by Stromberg-Carlson in the '30's, the idea of forcing the energy from speakers through a long tube or transmission line, is being used by ESS. Infinity Systems and several British brands.
As others have noted, people are now willing to pay money for speakers. The shows here will undoubtedly reflect a full gamut of pricing and design. ESS. for example, is promising to introduce still another "revolutionary” concept it calls the "Heil Air Motion Transformer" loudspeaker.
Speakers Sales Boom;
Many New Trends
CHICAGO
The excitement over 4-channel has sparked new interest in speakers but marketers and retailers alike don't expect the winter shows here to find speaker manufacturers thumping quadrasonic to the exclusion of everything else. The reason? Simply that the speaker business was never so good as right now because consumers are upgrading 2-channel systems all the while casting a wary eye in the direction of that eventual 4-channel setup.
Another expectation is that the shows won't find a lot of new items being introduced, though several speaker exhibitors have promised new additions. This doesn't mean that speaker manufacturers aren't innovating. A number of new concepts are being touted.
At the same time, speaker designs evolve and some companies take pride in the fact that they really add few new models when what they've got continues to sell. As one retailer here put it: "Some of the models JBL brought out 10 years ago are still selling." A perfect example of this is Rectilinear Research Corp., exhibiting at the Consumer Electronics Show (CES).
This firm's advertisements make note of the fact that the Rectilinear III bowed over five years ago. One ad, in fact, states: "After forty-seven break-throughs and revolutions (in speaker design)" and then goes on to explain that the company did bring out a new model but changed only cosmetically.
Nevertheless, JBL, Rectilinear and other speaker firms don't rest long on their laureis. JBL's line, in fact, has been steadily expanded and improved, most noticeably perhaps though not most significantly, in terms of exterior design with examples being the three-dimensional grille and another grille design the firm calls "sculptured air.”
Some of the trends merchandising and design of speakers that will be reflected in the Conrad Hilton shows:
• Continued use as traffic builders. In fact, an electronic wholesaler told the American Loudspeaker Manufacturers Association recently that speakers will continue to be one of the most footballed items as long as sales personnel are not trained to talk up features and see the only difference in terms of price (Billboard, Dec. 16).
• More dignity in price-based offerings. Pacific Stereo, for example, advertised Quadraflex's five models just prior to Christmas at 25 percent off for one week only with ad copy noting it was "the first and only time this year" for such a sale (the line ranges from $39.95 through $139.95).
• Well-known hardware brands adding speakers. Ad copy from Pacific Stereo noted recently: "You probably know Harman-Kardon's very fine receivers and you should get to know their speakers too (a $289.95 value Kenwood receiver, BSR turntable and Harman-Kardon two-speaker package was offered was offered at $229.95).”
• Bookshelf boom to grow. Paul Szymkowski of Musicraft here was among many who said the 4-channel push will result in the continuing popularity of small-size units because people can't conceive of having "four giant-sized end tables stuck around a living room."
• Much bigger trend to large enclosures, Said Al Hotwagner, Jensen Sound Laboratories, another CES exhibitor: "The tight economy isn't keeping people from spending money on much larger units. People that used to think of $49.95 units see they can get so much more for $99.95 (Jensen's models 4, 5 and 6 are priced respectively at $99.95, $147.95, $198.95)."
• New shapes, finishes, even camouflage. Probably one of the most interesting new silhouettes is from Design Acoustics, a new firm itself, whose D-12 is so designated because it is dodecahedron-shaped, or 12 sided ($325 each). As for finishes, Acoustic Fiber Sound Systems offers an alternative to the "wood look" monotony implicit in 4-channel with non-wood exteriors as vinyl in colors such as Ryne, White of Fire Swirl, simulated leather, fabric covers of wool and so on and even fur. Fisher Radio, though, has a line of what it calls "sound panels" that resemble paintings (again, an obvious alternative to the 4-channel dilemma of where to position rear channel units).
• Emphasis on grille design, snap-out grilles. Any number of lines feature removable grilles new. But more dramatic are the new constructions such as JBL's Quadrex 2 pattern consisting of truncated pyramids of semi-rigid, reticulated foam material, which because of its open pore characteristics, is claimed to provide more acoustic transparency than cloth.
• Cabinet construction. Johnzer Products is showing a new "quadraplex" edge on its speakers that president Howard Johnzer said makes it appear the units are cut from the center of a tree.
The firm, heretofore an OEM supplier, has 16 different speakers in its catalog and specializes in promotionally-priced units ranging from $5.98 to $125.50.
• Pedestal supported units. It's only natural to expect Design Acoustics' D-12 to have a pedestal, but the look is reflected in many brands such as Bose's model 901 and Linear Design Labs' LDL 749.
Omnidirectionality. This is reflected in many lines as yet another answer for 4-channel though not necessarily for that purpose alone by any means. Examples include Fisher's WS-80 "Mini-Omni" 11x18x18¼-in. high. Electrostatic Sound Systems. Inc. (ESS) has yet another approach with its Satellite 4 system using an omnidirectional bass enclosure with its own amplifier (midrange and tweeters are in four bookshelf units).
• Reflecting, radiating, direct, and combinations. Linear Design Labs LDL.-749 is described as combining "panoramically reflected sound from the rear” and "forward-radiated" sound from the front.
Bose's 901 combines direct and reflected sound. Leslie's Plus 2 disperses sound via a rotating drum but also utilizes 360-degree electronic phase shifters to produce a random spatial effect.
• Equalizers. Improvements in transient response have focused new attention on avoiding the compromises in low frequency. McIntosh, for example, has introduced the MQ 101 "environmental” equalizer for $250 that not only provides flat response but can compensate for different room acous-tics.
• Car units, two-way diversification. Ray Hauch, Electronic Industries, almost an exclusive car stereo speaker firm, believes many automotive sound dealers "have allowed the car speaker business to drift to the hi-fi stores." The symbiosis implied by Hauch is not lost on Hotwagner, who points out that Jensen is pushing harder than ever its new line of mobile products for cars as well as boats, campers and so on. Said Hotwagner: "Experience showed us that people were going to want quality speakers in their automobiles. We went in not at the low end where everybody has been slushing around for Years. but with high-end merchandise.”
• Kits.
The advent of 4-channel lends itself to add-ons and firms such as Dynaco, Inc. have many kits available. including a line of walnut enclosures. Another firm stressing kits is Electro-Voice with such offerings as a tweeter building block kit at $64.50 and mid-range step-up kit at $37.50,
• Optional finishes. paint-your-own. Many firms offer enclosures in multiple finishes such as Acoustic Research, which lists glossy walnut, oiled walnut, cherry, oiled teak, mahogany, birch and unfinished pine.
• Labyrinth or "transmission line" units. Robert Young, ESS representative, believes that better amplifiers, improved phonograph cartridges and breakthroughs in recording studio techniques all contribute to a desire to hear more sound than ever from speakers. A result, he and others point out, is a revival of old concepts.
Labyrinth is one. First introduced by Stromberg-Carlson in the '30's, the idea of forcing the energy from speakers through a long tube or transmission line, is being used by ESS. Infinity Systems and several British brands.
As others have noted, people are now willing to pay money for speakers. The shows here will undoubtedly reflect a full gamut of pricing and design. ESS. for example, is promising to introduce still another "revolutionary” concept it calls the "Heil Air Motion Transformer" loudspeaker.
February 10, 1973
Washington Hi Fi Show Focus on Quadrasonic Equipment
By MILDRED HALL
WASHINGTON-
Rock in all its variations and quadrasonic sound will dominate the three-day Washington High Fidelity Music Show opening Feb. 9 here at the Washington Hotel. The Hi Fi show is held here every other year, attracting more than 20,000 visitors in 1971, and its producer-president, Teresa Rogers, expects at least 22,000 attendance at this year's show.
A full spectrum of all the newest gains made by scientists and technicians in quadrasonic stereo's
"total surround" sound, and other high fidelity refinements will be put on by most major exhibitors, Mrs. Rogers has announced. Exhibitors will occupy 90 display rooms on four floors of the newly renovated historic downtown hotel which is only a block from the White House.
Multi-speaker systems, containing as many as 24 speakers, will provide "an unusual experience in high fidelity sound reproduction." Manufacturers demonstrating them claim benefits to be derived from the multi-speaker systems to be a decreasing of resonance, with a consequently purer sound. Tuners will demonstrate freedom from drift, great sensitivity and high gain with very low noise.
Also promised are turntables with combination synchronous/in-duction motors, tone arms that maintain perfect balance in all planes of motion, and "many other features." Seminars will be put on by the Washington Section of the Audio Engineering Society, demonstrating multi-track and other recording techniques, and discussing acoustical and other questions of interest to the seekers of the best in sound.
Free testing of audio equipment and diagnosis of equipment problems will be available at a laboratory set up at the show by Audio Clinic, Washington area studio service specialists.
Public radio station WETA-FM and commercial FM station WJMD will participate. WETA plans special stereo broadcasts from its studios, tied in with the show. Inside the show, WETA plans to demonstrate tapes of many live symphonic and chamber concerts, including performances of the
Philadelphia Orchestra.
WJMD-FM will have a lounge exhibit on its "Man and Woman" theme, a high-style romantic TV commercial advertising the station, with music from the movie of the same name.
Washington Hi Fi Show Focus on Quadrasonic Equipment
By MILDRED HALL
WASHINGTON-
Rock in all its variations and quadrasonic sound will dominate the three-day Washington High Fidelity Music Show opening Feb. 9 here at the Washington Hotel. The Hi Fi show is held here every other year, attracting more than 20,000 visitors in 1971, and its producer-president, Teresa Rogers, expects at least 22,000 attendance at this year's show.
A full spectrum of all the newest gains made by scientists and technicians in quadrasonic stereo's
"total surround" sound, and other high fidelity refinements will be put on by most major exhibitors, Mrs. Rogers has announced. Exhibitors will occupy 90 display rooms on four floors of the newly renovated historic downtown hotel which is only a block from the White House.
Multi-speaker systems, containing as many as 24 speakers, will provide "an unusual experience in high fidelity sound reproduction." Manufacturers demonstrating them claim benefits to be derived from the multi-speaker systems to be a decreasing of resonance, with a consequently purer sound. Tuners will demonstrate freedom from drift, great sensitivity and high gain with very low noise.
Also promised are turntables with combination synchronous/in-duction motors, tone arms that maintain perfect balance in all planes of motion, and "many other features." Seminars will be put on by the Washington Section of the Audio Engineering Society, demonstrating multi-track and other recording techniques, and discussing acoustical and other questions of interest to the seekers of the best in sound.
Free testing of audio equipment and diagnosis of equipment problems will be available at a laboratory set up at the show by Audio Clinic, Washington area studio service specialists.
Public radio station WETA-FM and commercial FM station WJMD will participate. WETA plans special stereo broadcasts from its studios, tied in with the show. Inside the show, WETA plans to demonstrate tapes of many live symphonic and chamber concerts, including performances of the
Philadelphia Orchestra.
WJMD-FM will have a lounge exhibit on its "Man and Woman" theme, a high-style romantic TV commercial advertising the station, with music from the movie of the same name.
February 17, 1973
Breciking
sound barriers
with PCM
recording.
Nippon Columbia now brings you for the first time records that aresk all records in hi-fi reproduction. With the Pulse Code Modulation (PCMI method used in space communication electronics.
Sound waves are converted into a pulse code in recording. So there's no distortion, noise, wow, or flutter. The PCM method has been combined with our patented half-speed cutting and non-distortion cutting methods to produce our popular Master Sonic records of even higher quality. Nippon Columbia is dedicated to developing new recording techniques for use by leading artists of all countries.
Breciking
sound barriers
with PCM
recording.
Nippon Columbia now brings you for the first time records that aresk all records in hi-fi reproduction. With the Pulse Code Modulation (PCMI method used in space communication electronics.
Sound waves are converted into a pulse code in recording. So there's no distortion, noise, wow, or flutter. The PCM method has been combined with our patented half-speed cutting and non-distortion cutting methods to produce our popular Master Sonic records of even higher quality. Nippon Columbia is dedicated to developing new recording techniques for use by leading artists of all countries.
February 17, 1973
100,000 to See
Japan Hi-Fi Fair
TOKYO
Over 100,000 people are expected to attend the 4th annual Kansai Audio Fair in the Semba Center building, Osaka, April 18-22 where exhibition space has been doubled from last year.
It is expected that the proponents of 4-channel will be prominent among the 42 firms already signed to exhibit. There were 38 exhibitors at the 3rd Kansai Audio Fair.
Sponsored by the Japan Audio Society (JAS), this year's Osaka fair is expected to coincide with more practical developments in 4-channel sound recording and reproduction than the Tokyo fair that was held Nov. 8-12, 1972, i.e., the 21st All Japan Audio Fair.
The first record manufacturing company to reserve a display panel at the "jacket corner" of the coming fair is Victor Musical Industries, the recorded music distribution/sales arm of JVC/Nivico with the CD-4 "quadradiscs.”
Apart from the expected rivalry between disk and tupe, the respective proponents of the SQ quadrasonic record, the CD-4 compatible discrete 4-channel disk and the QS regular matrix system, each will have equal exhibition space at this year's Osaka audio fair. And, acoustically speaking, the exhibitors will have a bigger and better opportunity to demonstrate their products than ever before.
In turn, all visitors to the 4th Kansai Audio Fair will have twice as much room as before to appreciate the displays and demonstrations of high-fidelity sound recording and reproduction equipment.
Besides JVC/Nivico, manufacturers who have already reserved exhibition space include: Aiwa, Akai, BASF, Beltek, Foster, Fuji Film, Hitachi, Lux, Matsushita, Panasonic, Maxell, Micro, Mitsubishi (MGA), Nippon Columbia (Denon), Nippon Gakki (Yamaha), Onkyo, Otari, Pioneer, Roland (Rotel), Sansui, Sanyo, Sharp, Sony, Sumitomo 3M, Toshiba, and Trio.
Fair supporters include, among others, the government backed Nippon Hoso Kyokai national broadcasting corporation, the Association of Commercial Broadcasters in Japan, and the Japan Phonograph Record Association.
The audio fair will coincide with Japan's biggest classical music event, the 16th Osaka International Festival of Arts, which is scheduled to be held April 10-28, 1973, at Festival Hall near the Semba Center Building.
100,000 to See
Japan Hi-Fi Fair
TOKYO
Over 100,000 people are expected to attend the 4th annual Kansai Audio Fair in the Semba Center building, Osaka, April 18-22 where exhibition space has been doubled from last year.
It is expected that the proponents of 4-channel will be prominent among the 42 firms already signed to exhibit. There were 38 exhibitors at the 3rd Kansai Audio Fair.
Sponsored by the Japan Audio Society (JAS), this year's Osaka fair is expected to coincide with more practical developments in 4-channel sound recording and reproduction than the Tokyo fair that was held Nov. 8-12, 1972, i.e., the 21st All Japan Audio Fair.
The first record manufacturing company to reserve a display panel at the "jacket corner" of the coming fair is Victor Musical Industries, the recorded music distribution/sales arm of JVC/Nivico with the CD-4 "quadradiscs.”
Apart from the expected rivalry between disk and tupe, the respective proponents of the SQ quadrasonic record, the CD-4 compatible discrete 4-channel disk and the QS regular matrix system, each will have equal exhibition space at this year's Osaka audio fair. And, acoustically speaking, the exhibitors will have a bigger and better opportunity to demonstrate their products than ever before.
In turn, all visitors to the 4th Kansai Audio Fair will have twice as much room as before to appreciate the displays and demonstrations of high-fidelity sound recording and reproduction equipment.
Besides JVC/Nivico, manufacturers who have already reserved exhibition space include: Aiwa, Akai, BASF, Beltek, Foster, Fuji Film, Hitachi, Lux, Matsushita, Panasonic, Maxell, Micro, Mitsubishi (MGA), Nippon Columbia (Denon), Nippon Gakki (Yamaha), Onkyo, Otari, Pioneer, Roland (Rotel), Sansui, Sanyo, Sharp, Sony, Sumitomo 3M, Toshiba, and Trio.
Fair supporters include, among others, the government backed Nippon Hoso Kyokai national broadcasting corporation, the Association of Commercial Broadcasters in Japan, and the Japan Phonograph Record Association.
The audio fair will coincide with Japan's biggest classical music event, the 16th Osaka International Festival of Arts, which is scheduled to be held April 10-28, 1973, at Festival Hall near the Semba Center Building.
February 17, 1973
Kusisto Views Discrete Rule;
Car 3-Channel
By EARL PAIGE
CHICAGO
Oscar Kusisto has reinforced his prediction that there will be a standard soon on 4-channel and that it will be discrete in tape, disks and FM broadcasting. On the eve of the 3rd annual International Tape Association (ITA) seminar the ITA board chairman and president of Motorola's automotive products division said he believes government standards will reflect 3-channel FM in car radios. He also issued a criticism against U.S. trade shows not being open to the public as they are in Japan and Europe (see separate story on upcoming Japan fair).
At the same time, Kusisto announced major expansion of the automotive sound division to encompass the growing recreational vehicle, marine, automotive private label, direct sales and small original equipment manufacturer markets (see Executive Turntable).
Why does he think there will be a government standard and it will be 4-channel discrete? "Because discrete is more or less the base line reference in terms of channel separation and discrete provides artists the greatest spectrum of latitude to work with."
As for the inroads made by the CBS "SQ" matrix system and the rival Sansui "QS” concept, he said: "I think what this proves is that there can be about as many matrix system concepts as there are engineers to conceive them.”
And on the future of matrix: "Matrix does enhance stereo, no question about it. But the question is can you justify the premium cost of playback equipment, which is in effect 4-channel playback, just to enjoy improved 2-channel material?"
Kusisto believes several factors have combined to hold back the progress of 4-channel, even in the automotive area where tape has not been affected by the so-called discrete vs. matrix "battle." He had earlier predicted 100,000 auto 8-track 4-channel units would be installed during 1972, but this fell off to between 60,000 and 70,000, according to estimates.
One chief drawback was the availability of the pop music software aimed at the age group most excited about 4-channel, the college-age to 30-year-olds, he claimed. He said his son, a senior at Arizona State Univ., who has a 4-channel unit in his car, picked up on the lack of popular titles.
Kusisto said he could appreciate the labels problem. "Some of the hottest items are also the most perishable," he said, adding that record manufacturers hnd to think in terms of product that would "age well" so inventories would last a little longer.
Yet another problem has been the "nearsightedness" of 4-channel promotion. “It was rather unfortunate that the public was led to assume that all you could play on 4-channel equipment was 4-channel." He said in the promotion of 4-channel, one of the key elements was overlooked—its "forward compatibility," that is, the fact that it enhances 2-channel and does not obsolete libraries. He said in Motorola automotive products advertising this year—for the first time in years going into such consumer books as Time, Newsweek and Sports Illustrated—he has made sure this point of forward compatibility is not overlooked.
Also holding back 4-channel releases, he believes, is the continuing nonrealization on the part of producers over the "magnitude” of 4-channel. "I still hold to my prediction that a number of artists will bolt their labels and switch to labels and producers who come up with the ultimate mix for 4-channel so that in effect they can create what the artists desire. Labels' and producers' total expertise will gain emphasis with time.
“Q” Disk
Also, he said the disk confusion has probably held back tape releases. Disk problems in discrete "are resolved or will be resolved very soon," he said, adding that he was very enthusiastic about the Warner, Elektra, Atlantic
announcement for discrete disks. “I cannot in my wildest imagination see how the matrix disk can survive when it is priced at a premium and requires dual inventories when you have as an alternate the discrete, disk format offering monaural, 2-channel and 4-channel compatibility at the same price as regular 2-channel disks."
He does see the problems of discrete broadcasting as also holding up the concept, but reaffirmed his belief that FM broadcasting is on the way. "There will be increasing pressures on the Federal Communications Commission and pressures on the industry. to get standards evolved." Referring to “preliminary
evaluation stages" in industry efforts, he said he expects standards for 1-, 2-, 3- and 4-channel. He said he has input from the industry committee working on standards.
He sees 3-channel as a way to possibly overcome the sacrifice of quadrasonic broadcasting for car radio reception under fringe conditions. He said a system is under development for either automatically or manually switching to 3-channel, combining the two rear signals, so that the noise factor and the service range is improved.
Kusisto sees store casting as less and less significant and that therefore the stations worried about dropping this capability when going to discrete broadcasting have less to fear. "The question is how many stations do you need for store casting? You need enough to provide competition. But in many markets there is an overabundance of this (store cast) service.
Meanwhile, he sees 4-channel car equipment becoming greatly improved, and even parried a question about the possibility of auto reverse in 4-channel 8-track. He did say that designs are in progress for “faster forward than we have ever considered up to this point." He predicts a reduction in the size of units, more favorable pricing though not dramatic, and shared controls, further reducing size.
Other trends include the continuing popularity of in-dash installations and the move to the radio/tape player entertainment center concept, for reasons of convenience, esthetics, theft-reduction and elimi nation of redundance in equipment.
As for car cassette, he sees a continuation of "some demand" for it. Mostly this comes from doctors and other professionals who want cassette to hear audio digests and sales materials. "I don't believe car cassette will ever die.”
Finally, he believes that involving the public more in trade shows could have spurred 4-channel here as it has in Japan. "I'd like to criticize U.S. trade associations on the basis that displays of new material is restricted to the trade only." He said 4-channel demonstrations have been "fantastically” significant in getting 4-channel started in Japan.
"I think the displays there (in Japan) reflect more imagination and consideration that is so with the U.S. counterparts. Attendants at two doors (in Japan) meter and control the number of people allowed in the demonstration areas. Where there are so many people, absorption of highs and the dispersion of sound is affected."
Kusisto Views Discrete Rule;
Car 3-Channel
By EARL PAIGE
CHICAGO
Oscar Kusisto has reinforced his prediction that there will be a standard soon on 4-channel and that it will be discrete in tape, disks and FM broadcasting. On the eve of the 3rd annual International Tape Association (ITA) seminar the ITA board chairman and president of Motorola's automotive products division said he believes government standards will reflect 3-channel FM in car radios. He also issued a criticism against U.S. trade shows not being open to the public as they are in Japan and Europe (see separate story on upcoming Japan fair).
At the same time, Kusisto announced major expansion of the automotive sound division to encompass the growing recreational vehicle, marine, automotive private label, direct sales and small original equipment manufacturer markets (see Executive Turntable).
Why does he think there will be a government standard and it will be 4-channel discrete? "Because discrete is more or less the base line reference in terms of channel separation and discrete provides artists the greatest spectrum of latitude to work with."
As for the inroads made by the CBS "SQ" matrix system and the rival Sansui "QS” concept, he said: "I think what this proves is that there can be about as many matrix system concepts as there are engineers to conceive them.”
And on the future of matrix: "Matrix does enhance stereo, no question about it. But the question is can you justify the premium cost of playback equipment, which is in effect 4-channel playback, just to enjoy improved 2-channel material?"
Kusisto believes several factors have combined to hold back the progress of 4-channel, even in the automotive area where tape has not been affected by the so-called discrete vs. matrix "battle." He had earlier predicted 100,000 auto 8-track 4-channel units would be installed during 1972, but this fell off to between 60,000 and 70,000, according to estimates.
One chief drawback was the availability of the pop music software aimed at the age group most excited about 4-channel, the college-age to 30-year-olds, he claimed. He said his son, a senior at Arizona State Univ., who has a 4-channel unit in his car, picked up on the lack of popular titles.
Kusisto said he could appreciate the labels problem. "Some of the hottest items are also the most perishable," he said, adding that record manufacturers hnd to think in terms of product that would "age well" so inventories would last a little longer.
Yet another problem has been the "nearsightedness" of 4-channel promotion. “It was rather unfortunate that the public was led to assume that all you could play on 4-channel equipment was 4-channel." He said in the promotion of 4-channel, one of the key elements was overlooked—its "forward compatibility," that is, the fact that it enhances 2-channel and does not obsolete libraries. He said in Motorola automotive products advertising this year—for the first time in years going into such consumer books as Time, Newsweek and Sports Illustrated—he has made sure this point of forward compatibility is not overlooked.
Also holding back 4-channel releases, he believes, is the continuing nonrealization on the part of producers over the "magnitude” of 4-channel. "I still hold to my prediction that a number of artists will bolt their labels and switch to labels and producers who come up with the ultimate mix for 4-channel so that in effect they can create what the artists desire. Labels' and producers' total expertise will gain emphasis with time.
“Q” Disk
Also, he said the disk confusion has probably held back tape releases. Disk problems in discrete "are resolved or will be resolved very soon," he said, adding that he was very enthusiastic about the Warner, Elektra, Atlantic
announcement for discrete disks. “I cannot in my wildest imagination see how the matrix disk can survive when it is priced at a premium and requires dual inventories when you have as an alternate the discrete, disk format offering monaural, 2-channel and 4-channel compatibility at the same price as regular 2-channel disks."
He does see the problems of discrete broadcasting as also holding up the concept, but reaffirmed his belief that FM broadcasting is on the way. "There will be increasing pressures on the Federal Communications Commission and pressures on the industry. to get standards evolved." Referring to “preliminary
evaluation stages" in industry efforts, he said he expects standards for 1-, 2-, 3- and 4-channel. He said he has input from the industry committee working on standards.
He sees 3-channel as a way to possibly overcome the sacrifice of quadrasonic broadcasting for car radio reception under fringe conditions. He said a system is under development for either automatically or manually switching to 3-channel, combining the two rear signals, so that the noise factor and the service range is improved.
Kusisto sees store casting as less and less significant and that therefore the stations worried about dropping this capability when going to discrete broadcasting have less to fear. "The question is how many stations do you need for store casting? You need enough to provide competition. But in many markets there is an overabundance of this (store cast) service.
Meanwhile, he sees 4-channel car equipment becoming greatly improved, and even parried a question about the possibility of auto reverse in 4-channel 8-track. He did say that designs are in progress for “faster forward than we have ever considered up to this point." He predicts a reduction in the size of units, more favorable pricing though not dramatic, and shared controls, further reducing size.
Other trends include the continuing popularity of in-dash installations and the move to the radio/tape player entertainment center concept, for reasons of convenience, esthetics, theft-reduction and elimi nation of redundance in equipment.
As for car cassette, he sees a continuation of "some demand" for it. Mostly this comes from doctors and other professionals who want cassette to hear audio digests and sales materials. "I don't believe car cassette will ever die.”
Finally, he believes that involving the public more in trade shows could have spurred 4-channel here as it has in Japan. "I'd like to criticize U.S. trade associations on the basis that displays of new material is restricted to the trade only." He said 4-channel demonstrations have been "fantastically” significant in getting 4-channel started in Japan.
"I think the displays there (in Japan) reflect more imagination and consideration that is so with the U.S. counterparts. Attendants at two doors (in Japan) meter and control the number of people allowed in the demonstration areas. Where there are so many people, absorption of highs and the dispersion of sound is affected."
MidiMagic
2K Club - QQ Super Nova
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Why do I have trouble believing you? Those events happened as described.
How did you "zero in" tracking? And how does this make the stylus insensitive to dust in the grooves? I can't see how that happens. Do we have different dust here than you have?
Yes, I do recall (maybe High Fidelity mag) having a news item that some RCA brand home audio components did have a system to (AFAIK) create fake quad from stereo - the article wondered where discrete quad was in these RCA home audio systems (I'll see if I can find the news item).
(found the news item):
https://worldradiohistory.com/Archi...idelity/70s/High-Fidelity-1973-03.pdf#page=30^^^
RCA adds that Dimensia IV will play Quadradiscs as enhanced stereo.
Where be discrete quadraphonics now?
I remembered the unusual wording of the last sentence in the news item.
Kirk Bayne
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Thanks for the article. Here it is: HIGH FIDELITY, March 1973.
Dimensia Praecox
RCA, a leader in this country's push toward discrete four-channel sound (via both its massive introduction of Q-8 cartridges and its so-far proprietary position in Quadradiscs), is featuring new compacts with what it calls "Dimensia IV enhanced stereo capability." Advance information indicates that the stereo systems drive four loudspeakers via some sort of differentiation circuit (presumably comparable to Dynaquad) to achieve "Spatial Sound." RCA adds that Dimensia IV will play Quadradiscs as enhanced stereo. Where be discrete quadraphonics now?
YES!!!!
