Matrix Decoding In a Visual Format

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anthonywc

New member
Joined
Jul 20, 2019
Messages
6
Location
South Carolina
All, Ive been messing with Quadraphonic for approximately 5 years. I understand all discrete formats, but I'm having a hard time understanding matrix formats. I've been trying to use the formulas and some of the explainations given throughout the internet. I drew a visual picture showing the separation of QS and SQ but I don't know if I did them justice. Also I'm having a hard time understanding how the electronics actual "know" which sounds to through in the back. Is this why there is bleed over? Please help me to visually understand the matrix. Below is my rendition of QS decoding. How far off am I?
QS.png
 
All, Ive been messing with Quadraphonic for approximately 5 years. I understand all discrete formats, but I'm having a hard time understanding matrix formats.
Join the club -LOL, many very knowledgeable folks here that truly get this stuff; but their wonderful explanations delve deep into the "technical", that it leaves us non-techies in the dust!
Would love some real dumbed down versions if possible (for myself-no judgement for others level of understanding.)

This is a good page about matrix formats(if you haven't seen it already)
https://midimagic.sgc-hosting.com/quadrafon.htm
By our member @MidiMagic
 
Join the club -LOL, many very knowledgeable folks here that truly get this stuff; but their wonderful explanations delve deep into the "technical", that it leaves us non-techies in the dust!
Would love some real dumbed down versions if possible (for myself-no judgement for others level of understanding.)


By our member @MidiMagic
I understand some of the technical, but I agree. I would love a dumbed down version with some visuals explaining the different matrix separation.
 
I've basically given up on trying to understand all the algebra of matrix systems, and have simply given to enjoying what I hear. Not all music necessarily needs fully discrete separation, and if you have a good, high-separation decoder, such as the Surround Master, you get a very satisfying presentation. Screw the algebra, just trust your ears.
 
I've basically given up on trying to understand all the algebra of matrix systems, and have simply given to enjoying what I hear. Not all music necessarily needs fully discrete separation, and if you have a good, high-separation decoder, such as the Surround Master, you get a very satisfying presentation. Screw the algebra, just trust your ears.
You couldn't be more correct IMHO. It's all about how it sounds to you. I have some stereo albums that, in my opinion, sound wonderful just using my QS Synthesizer in my Sansui. (Although someday I plan to get a Surround Master.) It's actually no different than someone's opinion of a musical artist. It's how it sounds to your own ears and in your own listening room. :SG
 
What confuses me about SQ is how the stylus moves clockwise and anti clockwise at the same time, that why complete seperation is not possible?
If you have a simple SQ decoder, no fixed blending, etc, then there is complete separation between left front & right front. Also complete seperation between left back & right back. But there is only 3dB separation between any front to back, or back to front positions. In the fixed 10/40 blend width separation was decreased but anything front/back was increased. It's in MidiMagics pages, and elsewhere.
 
What confuses me about SQ is how the stylus moves clockwise and anti clockwise at the same time, that why complete seperation is not possible?
It's not so much the motion of the stylus as the phase relationships. You could make the same claims about stylus motion for QS, EV, or any other matrix system. If it were all about which way the stylus moves, how would you explain encoded tapes, or FM broadcasts? I always wondered why Columbia chose to use that analogy. Very misleading.
 
What confuses me about SQ is how the stylus moves clockwise and anti clockwise at the same time, that why complete seperation is not possible?

If the LB and RB in SQ contain the same signal, they make the vertical modulation of the stylus that disappears in mono play.

If they contain different signals, the stylus will follow a Lissajous pattern similar to the Lissajous patterns made by different signals in the front channels or on a stereo record.

There is complete separation between LB and RB unless the 10-40 blend is present. But there are only 3dB separations between any front channel and any back channel.
 
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