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Im Winter 1974/75 zeichneten sich in USA 2 Erkenntnisse ab:

Erkenntnis 1 : Keiner der drei Systemanbieter, Sansui, JVC und SONY gewinnt den Quadro-Krieg. Wenn es so weitergeht, verlieren sie alle drei.

Erkenntnis 2 : Die Sound-Qualität in der realen Hifi-Welt stimmt bei Quadro nicht. Die bisherigen Decoder sind qualitativ nur suboptimal und dekodieren / demodulieren von den Platten nur einen keinen Teil der echten Quadro-Informationen - konträr zu den Profi-Vorführungen auf den Messen.

Und so sponserte SANSUI (QS) ein Messeblättchen - vermutlich zur Winter CES 1975 in Chicago, um das Ruder herum zu reßen. Leider wisen wir nicht, was die anderen beiden Anbieter (SQ und CD-4) dagegen gehalten hatten. Alleine in den Messeberichten von Walter Rios bekommen wir aus erster kritischer Hand mit, was er damals für Eindrücke von dieser CES Messe hatte.



Vol.1, JANUARY 1975 / PUBLISHED BY 201 COMMUNICATIONS, INC. (alle Artikel geschrieben von HARRY MAYNARD - wer immer das war - da gibt es einen Text über ihn.)


We would like to introduce you to 4-Channel Scene, a news publication for the record industry, high-fidelity manufacturers, FM broadcasters nationwide, and anyone having more than just a passing interest in four-channel sound.

Issued from time to time, 4-Channel Scene will bring you articles detailing the most important events in quadraphonic and technical information on system developments from two points of view—broadcasting and listening.

We have a group of guest editors known for their expertise in four-channel sound and their columns should give you a multi-faceted approach. But we have no intention of limiting 4-Channel Scene to domestic developments, but plan to include those in Europe and Japan, or, for that matter, anywhere else in the world where four channel might be in the process of growth and development.

4-Channel Scene isn't going to be a one-way street. Rather, we hope to include your comments, ideas, suggestions. We are going to try to put 4-Channel Scene into the hands of those who should receive copies regularly, but if we happen to omit someone, just let us know and we'll correct that situation.



The American public has a reputation for being fickle. At first resisting new ideas, and products, then embracing them, and then sometimes abandoning them when yesterday's promise isn't quickly achieved.


In some selling circles four-channel sound is going through this period of uncertainty. Yet among those who have bought and lived with four-channel sound it has been given a resounding vote of approval.

Part of four-channel's selling problem has been compounded by a major recession; unrealistic expectations by some sellers on how rapidly four-channel sound would "catch on", consumer ignorance and confusion caused by competing systems, and finally the prime requirement of an adequate demonstration, something many hi-fi stores are not often equipped to perform.

  • Anmerkung : Auch hier im Januar 1975 steht es ganz klein zwischen den Zeilen wie auch in off-duty März 1975, in den USA begann die Rezession ein paar Jahre früher als bei uns und wurde anfänglich tot geschwiegen, bis es nicht mehr zu verheimlichen war.

Stereo no longer needs to be demonstrated to prove it is superior to monophonic sound. It is my contention that four-channel sound, for the time it has been in the market place, is doing better than stereo did in an equivalent time span.

Many people simply do not realize how long it has taken stereo to reach its current level of acceptance since it was first commercially introduced on tape in 1954.

They are not aware that stereo didn't 'take off' until stereo FM radio created a listening booth (six years later) for the stereo LP record. If you overlay the growth of stereo FM radio and the growth of equipment sales, and the sales of stereo recordings - the parallel is almost too neat.

And yet it was only two years ago that 50% of America's FM stations were capable of broadcasting stereo signals. Fortunately, today over 300 stereo FM stations are broadcasting some form of matrixed four channel sound and getting positive feedback from their listeners.


Sie werben sogar mit Hifi, aber es war kein Hifi, es war nur Quadro

Currently sales of four channel equipment are averaging about 15% of total dollar sales, with some dealers selling less, and some considerably more. The initially small trickle of releases is gradually growing into an increasing volume of recording releases in all four channel formats.

Early expectations about four channel were unrealistic. One item in a leading trade journal (1973) by a top spokesman in the component hi-fi business: "By the time the next CES opens, you aren't going to see any two-channel equipment." He went on to say he expected component manufacturers "to be demonstrating nothing but four channel equipment within the year".

However just two years before this he had said, "When I first heard it (four channel sound) I though it was a gimmick".

I find this gimmick description hard to understand. Since 1892, possibly starting with sound pioneer, Alexander G. Bell and a host of others, the goal of sound reproduction has been the simulation of the normal 360° sound field. The Institute of High Fidelity defined the biggest problem facing four channel's acceptance when it reported: "Our figures indicate that 99% of the market has heard of four channel sound, but only 1% has actually listened to it. That pretty well defines our job for the future".

Agreed, but I would like to add that of this 1 % most have been inadequately or superficially exposed to four channel sound. Sound is fragile and subtle as any person knows who has lived with or sold hi-fi equipment, and it must be demonstrated properly.


The good news about four channel is the solid satisfaction of the people who have bought and lived with it.

  • Anmerkung : Das ist absoluter Blödsinn und Unsinn. Die, die irgendwas an 4 Kanal gekauft hatten, verzweifelten an den 3 inkompatiblen Systemen und den misereablen Erklärungen (bzw. Verniedlichungen) der Hersteller von Hardware wie auch von Software. Allein die angebliche Stereo-Kompatibilität stand nur in den Broschüren und war technologisch völliger Quatsch. Der CD-4 Demodulator- Entwickler Lou Dorren hatte das genau zerlegt und dargestellt, was alles nicht funktionierte. Selbstveständlich konnte Loriot oder Dieter Hallervorden mit dem Trabbi auf Bundebahnschienen fahren und damt wären dann die Bahngleise sogar PKW kompatibel.

Over a period of a year I assembled a panel of 500 people who, from every indice, were a broadly based demographic group. They were asked to answer an extensive series of questions on the "Pros and Cons of Living with Four Channel Sound." I think some of the results should give four channel sound marketers something to ponder.
Here are just a few of the highlights of the survey:


  • 1) 60% reported that hearing four-channel sound in the home of a friend or acquaintance was the crucial influence that led to their purchase of some four-channel equipment. 20% said that a hi-fi store demonstration led to a purchase. 10%, a demonstration at a hi-fi show; 5% an industry demonstration.
  • 2) 80% of the responses indicated they thought four-channel sound could best be demonstrated in the home, or in a small, relatively "homelike" environment. Almost 40% of the respondents went out of their way to describe how poor or "disappointing" some of the demonstrations were they had heard at hi-fi shows and retail stores. "Unimpressive," "too many people competing with the sound," "hard to judge four-channel's merits from the demonstration," were typical comments. Perhaps the most universal complaint was they had not liked the particular demo material.
  • 3) Articles in hi-fi magazines or other news sources were about equal to the influence of friends and other authority figures in getting the respondents to investigate the merits of four-channel listening. Curiosity, perse, ranked high in getting the letter writer to look into "whether there really was something to this four-channel business." Many indicated that the easy Dynaco-type hook up (ambience recovery) requiring very little investment persuaded them to buy or investigate more sophisticated forms of four channel software and equipment.
  • 4) Over 50% indicated their biggest discovery and satisfaction in living with a four-channel system was the enhancement of their existing library of stereo recordings and FM broadcasts when played through some form of matrix decoder or synthesizer.
  • 5) Many letters indicated a disappointment with some four-channel recordings. Comments suggested the discovery that some two-channel recordings decoded better in the four-channel mode than some four-channel recordings.
  • 6) Experienced four-channel listeners who had graduated to more sophisticated forms of four-channel equipment such as logic matrix decoders, CD-4 demodulators or systems; discrete tapes, both Q-8, and reel-to-reel, put an increasing premium on channel separation and discreteness. For the experienced listener, reel-to-reel tapes were clearly the state of the art of four-channel listening.
  • 7) There was an even split between listeners who thought four-channel recordings did more for classical music compared to other forms of music and repertoire.
  • 8) 50% of the respondents said four-channel listening was a 100% improvement over stereo listening: 15%, a 75% improvement; 20%, a 50%; 10%, a 25% improvement, 3% said four-channel sound was an insignificant improvement or a step backward.



Recently, I interviewed 50 people in five widely separated hi-fi stores and discovered this disturbing data: over 55% of the people had this question in mind - "Won't a four-channel system make my stereo recordings obsolete ?". Paradoxically, the 500 people who lived with four channel learned that four channel brought more music out of stereo records, i.e. the enhancement of stereo recordings. This is the biggest point of ignorance not only among customers but in hi-fi stores; salesmen and managers.

Clearly, here is an industry educational job — particularly if you consider that since 1954, there has been made available some 15 billion dollars worth of stereo recordings, plus all that free stereo music available on FM radio.


This also indicates the self-defeating stupidity of considering that all we need is a single system of recording four channel. Obviously, we need both matrix and discrete systems.

Many manufacturers are now using four-channel systems that decode or demodulate both matrixed and discrete. Unfortunately, some manufacturers do not have decoders that work optimally for all matrix systems and the enhancement of stereo recordings.

This should not be too big a task, considering that excellent ICs at relatively low cost are now available for all systems. You may recall that for years we tolerated 5 or 6 record equalization positions on preamplifiers.

If you are going to include a logic matrix decoder for enhancement, in a complete four-channel system, why not have it give you maximum
channel separation, and minimum cross talk for especially encoded four-channel records?

  • Anmerkung : Hier schreibt der amerikanische Autor weiteren Marketing-Unsinn. Es sei selbst entlarvender Blödsinn, daß der Kunde nur eine Quadro Variante benötige. Wie wir heute wissen, hatte die Kundschaft mit den Füßen abgestimmt und seine Weisheit nicht geteilt. Auch die Erkenntnis, daß es ja inzwischen exzellente integrierte Schaltungen (Motorola) für die Matrix-Dekoder und den CD-4 Demodulator gäbe, kam in 1974 viel zu spät. Die alten Kunden hatten den Flop gemerkt und danach einfach nichts mehr - also nie wieder Quadro - gekauft.



Four-channel's main problem is first to demonstrate to listeners what a huge increment of improvement the buyer of four-channel equipment can get from his existing stereo library and the stereo recordings he will buy in the future.

Next, the industry should do more demonstrating of quad in good listening environments. My question to every seller of hi fi equipment is: "What dramatic increment of subjective listening improvement have you got to offer to today's hi fi buyer, if that buyer has already purchased a good stereo system, other than four-channel for an equivalent investment?"

Let's stop giving credence to that idea that either quad or stereo has been a gigantic plot to create obsolescence, as expressed in TIME (1969) "Oh, No, Not Again!".

"The hi fi industry, which periodically brings out new devices to make music listeners dissatisfied, is about to unwrap another surprise. After spending twelve years convincing the record-buying public that two ears are better than one, high-fidelity manufacturers have now embarked on a drive to prove that four ears are twice as good - at least."

This is sophisticated nonsense. Unfortunately, the industry cannot sample every potential customer with a four-channel system. They'd find out what my panel of 500 people who have actually bought four channel have found - that 95% of these listeners would not want to go back to stereo again and play most of their stereo recordings in the four channel mode.

QS Test Disc from Vector 4

Vector 4 (OVQS/4000) is a new label of Ovation Records which will specialize in state of the art 4-channel recording techniques. Side One contains test selections as well as dramatic placements of 4 corners, wall and ceiling sounds. An electronic wave literally washes over the listener from front to back and from back to front. Side Two contains various selections produced by Dick Schory which incorporate the latest mixing and 4-channel production techniques.

QS Test Disc from Project 3

Side One of the Project 3 QS test record (PR-401QS) contains a series of balance and frequency response tests as well as channel identification and phasing test signals. There are rumble and flutter tests for turntables and a series of sweep tones to check for room resonances.
Side Two contains various exciting musical selections to show off the QS system under some of the most difficult conditions.

THE FUTURE OF QUAD (vom Januar 1975)

The future of quad looks good to me if more people can be exposed to it under adequate listening demonstrations. As the number of quad buyers grow, the number of people who will convince their friends, and acquaintances will also grow in a geometric fashion. The satisfied user was the great unsung salesman for stereo and so will be the satisfied users for quadraphonic equipment.




The QS Four Channel Project Team has undertaken an active and aggressive schedule of participation in shows and exhibitions around the world. "Only by demonstrating our technology in encoding and decoding," said Jerry LeBow, QS Project Consultant, "can we most quickly convince record companies, radio stations and high-fidelity hardware manufacturers of the superiority of the QS 4-channel system.


"In June," he continued, "QS participated in the Consumer Electronics Show in Chicago. We had a demonstration room where we showed the QSE 4 and QSE 5B encoders, and also had our API console demonstration to show the new IC chip QS vario matrix decoders."

  • Anmerkung : Zum Veständnis - es gab bereits die zweigeteilte CES, die kleinere Winter CES im Januar und die Riesen-Sommer-CES im Juni. Weiterhin wird hier indrekt beim Namen genannt, was die europäischen Plattenhesteller sehr verärgerte. Die bei den Japanern zu kaufenden Matrix Coder kosteten ein richtige Stange Geld, man sprach von hunderttausend oder mehr Deutschen "Märkern" und die waren nach wenigen Monaten schon wieder überholt bzw. angeblich erheblich verbessert.
  • Was passiert, wenn der (oder ein) technische(r) Direktor (von Polygram zum Beispiel) alle halbe Jahre bei der Firmenleitung vorspricht, er müsse einen neuen Coder kaufen. Sie wefen ihn raus.



LeBow went on to say that in August 1974, QS participated in the Billboard Programmers Convention at the Plaza Hotel in New York City, where the QS Four Channel Project Team demonstrated the QSE 5B broadcast encoder to engineers, program directors and station management. It was at this show that the practical utilization of the QS synthesizer function of the QSE 5B broadcast encoder was first demonstrated.


Early in September 1974, the QS Four Channel Project Team participated in the New York Audio Engineering Society Show. They delivered two papers, one on IC chips and one on the QS synthesizers. Once again, the Team demonstrated encoding and decoding technology using API equipment as well as staging a broadcast using an actual transmitter and receiver.

"The first time people hear the QS 4-channel system," stated Mr. R. Ito, Project Manager, "they are amazed at its tremendous interchannel separation, clarity and musicality. Most people have assumed that a matrix system could not achieve the effect we have accomplished with the QS vario matrix system."

  • Anmerkung : Diese QS-Manager (allermeist von SANSUI) waren betriebsblind geworden, denn das Kind war schon in den Brunnen gefallen. Die Hifi-Studios hatten das alte Quadro-Zeug nicht mehr loswerden können und darum den ganzen Quadro Kram aus dem Angebot gestrichen. In dem off-duty Magazin fällt auf, daß die Japaner mit einem gewaltigen Neu-Angebot an neuen Stereo-Receivern doppelseitig in Farbe geworben hatten. Quadro war seit Anfang 1975 bereits am Absterben.



When the National Association of FM Broadcasters held their convention in New Orleans in October, the QS 4-channel Team was on hand to exhibit the QSE 5B broadcast encoder. The consensus of broadcasters who attended the demonstration was that 4-channel broadcasting now offered very real and practical opportunities.

Since the Project Team provided an actual transmitter and receiver setup, radio station personnel were able to listen to the stereo and mono capabilities of the QS encoding system as well as the drama of 4-channel radio transmission.

The QS Project will be on the road again through 1975. They will demonstrate in January at the Consumer Electronics Show in Chicago, and will also be participating in various Audio Engineering meetings, broadcasters' conventions, record merchandiser, seminars, etc. "It is our plan," said Mr. Ito, "to prove to everyone who has not yet heard QS 4-channel sound the amazing effectiveness of our matrix system."

ECONOMY DOWN - die Rezession ist da



Reports from reliable marketing sources indicate that sales of 4-channel receivers are substantial and continuing to grow steadily. This fact is particularly noteworthy when contrasted with the generally negative trend of today's economy.

Especially remarkable is the record of Sansui Electronics in the 4-channel market. Although the annual industry average for 4-channel equipment sales in terms of individual units is 12% to 15%, Sansui has experienced a sales showing of more than 30%.

  • Anmerkung : Auch das ist wieder mal Marketing Unsinn. Die Quadro Fans hatte natürlich gemerkt, daß nach den 300 QS-Platten einfach nichts Neues mehr nach kam. Die Hardware Umsätze gingen kontinuierlich in den Keller und konnten auch nicht hochgeredet werden. Die Hardware war nicht der Schlüssel zum Erfolg, die Platten waren der Schlüssel. Und bei den wenigen amerikanischen FM Stationen mit Quadro waren die wenigen Quadro-Bänder die Bremse. Man konnte eben 20 Stück 18cm Spulen nicht Woche für Woche abdudeln. Das war sogar den Dümmsten aufgefallen.



This success is credited by Mr. Hiroshi Tada, Executive Vice-President of Sansui, to the unique capabilities of the QS vario matrix system contained in Sansui 4-channel receivers.

This system offers QS and SQ decoding functions as well as the exciting presence of the QS synthesizer. Mr. Tada says, "We believe these functions give Sansui a distinct advantage over competition and are the reason for its exceptional growth."

Sansui 4-channel receivers are outstanding in the areas of high separation, musicality and clarity. What's more, the QS synthesizer makes possible the full utilization of all 2-channel software, including records, reel-to-reel tapes, cassettes and cartridges.

Mr. Tada stated, "We find that more and more customers are asking our dealers for receivers or amplifiers with the QS vario matrix system. These requests seem to be a direct result of the excellent comments the system has received throughout the industry".

Four-Channel Broadcasting in the U.S. Today (1974/75)

With the continuing sales growth of quadraphonic hardware, 4-channel broadcasts are in greater demand than ever before.

Since the Federal Communications Commission establishes the rules and regulations by which radio stations may operate, it is only possible to broadcast a matrixed signal in the U.S. at present. With that fact in mind, Sansui developed its QSE 5B broadcast encoder specifically for FM broadcasters.

After being made aware of the potential of the QS system, many engineers, program directors and station managements have adopted the QS system for 4-channel broadcasting. A few years ago only a few experimental stations such as WFMT in Chicago and WCRB in Boston were broadcasting 4-channel. Today there are more than forty stations transmitting QS 4-channel 24 hours a day.

  • Anmerkung : Es fällt auch wieder den unbedarftesten Leser auf, daß von den 3500 amerikanischen FM Sendern gerade mal weniger als hundert per Quadro ausstrahlen.



Radio stations can use Sansui's QSE 5B encoder in a number of ways. Any 4-channel source, discrete reel-to-reel tapes, Q8 cartridges, demodulated CD-4 discs, or live recording production, can be fed into the four inputs of the QSE 5B. The encoder creates an encoded 2-channel signal which can then be transmitted over normal stereo broadcasting facilities. The listener at home gets the original four channels of sound with more than 20 dB of interchannel separation by using the new QS vario matrix decoder. Since many radio stations prefer quad twenty-four hours a day, and since the amount of software available in any given format is relatively limited, Sansui has brought forth an additional option to the QSE 5B called the Quad Synthesizer.


Sansui's Quadraphonic Synthesizer supplies broadcast stations with the ability to feed any 2-channel signal into the encoder; this creates an encoded 2-channel signal. When decoded at home by the listener, the result is a surround quadraphonic effect. The encoder literally "stretches" the stereo into a horseshoe shape around the listener and spreads the ambient of reverberant sound across the rear of the sound field. The net effect is a totaMnvolvement for the listener in the music from any 2-channel source.

The radio station WQIV in New York City

Of special note is radio station WQIV in New York City which identifies itself as "Q4"; the 4 in the station's call letters is the Roman numeral IV. Qn the air WQIV promotes the fact that it is broadcasting 24 hours a day in the Sansui QS 4-channel presentation. Typical' comments are that Sansui's QS is maghificent and that the enhanced stereo effect, a by-product of the QSE 5B, makes stereo sound much wider.

In addition, hi-fi retailers have noted a dramatic increase in sales of 4-channel receivers wherever a 4-channel station begins such activity.

Larry Miller, Program Director of WQIV said, "We were looking at the various matrix options we had when we put WQIV on the air. After hearing the demonstration of the QSE 5B we had no doubt we had to have it. We obviously made the right decision because the reaction to our sound has been tremendous."

(40) STATIONS USING QS 4-CHANNEL (in End of 1974)

Among the stations that are heavily committed to utilizing and promoting QS 4-channel are:

1 KLOS Los Angeles, Cal. 95.5 ABC/Contemp. Pops & Rock
  KBBC Phoenix, Ariz. 98.7 News/Sports
  WPLR New Haven, Conn. 99.1 Progressive Rock
  WKRQ Cincinnati 101.9 Rock & Top Hits
  WQIV New York, N.Y. 104.3 Progressive Rock
  WMEF Ft. Wayne, Ind. 97.3 Bonneville
  WFMT Chicago, III. 98.7 Classic & Pops, Live
  WSHE Ft. Lauderdale, Fla. 103.5 Rock & News
  WWWW Detroit, Mich. 106.7 Progressive Rock
10 WEIZ Columbus, Ga. 100.1 EZ Listening
  WAYL Minneapolis, Minn. 93.7 Pops & Std.
  KADX Denver, Colo. 105.1 Popular Hits
  WRIF Detroit, Mich. 101.1 ABC Contemp. Pops
  WXXY Watkins Glen, N.Y. 104.9 MOR
  WMMS Cleveland, Ohio 100.7 Rock
  WRFM New York, N.Y. 105.1 Bonneville
  WORJ Orlando, Fla. 107.7 Progressive Rock
  WRNO New Orleans, La. 99.5 ABC/Rock
  KABL San Francisco, Cal. 98.1 Beautiful Music
20 WBUS Miami Beach, Fla. 93.9 Intelligent Listening
  WFMK Lansing, Mich. 99.1 Contemporary Pops
  KLOL Houston, Texas 101.1 Progressive Rock
  WYSP Phila., Penn. 94.1 Top 40's
  WYSL Buffalo, N.Y. 103.3 ABC Prog.
  KMET Los Angeles, Cal. 94.7 Contemporary Pops, Live
  KRAV Tulsa, Okla. 96.5 Bonneville
  WOOF Dothan, Ala. 99.7 CBS Prog.
  KRGN Las Vegas, Nev. 101.9 Million Seller Pops
  WGNE Panama City, Fla. 98.5 Pops/EZ for Adult
30 WABX Detroit, Mich. 99.5 Progressive Rock, Folk
  KTWN Enoka, Minn. 107.9 General Pops
  WBCN Boston, Mass. 104.1 Progressive Rock
  KYAC Seattle, Wash. 96.5 Black
  WHUD Peeksville, N.Y. 100.7 MOR, Showtune, News
  KYA-FM San Francisco, Cal. 93.3 Rock
  WEBN Cincinnati, Ohio 102.7 Rock & Pops, Live
  KCPX Salt Lake City, Ut. 98.7 Pop Rock
  KSFM Sacramento, Cal. 102.5 Album Rock
  WZMF Milwaukee, Wise. 98.3 Progressive Rock
40 WDHA Dover, N.J. 105.5 Contemporary MOR
  WGMZ Flint, Mich. 107.9 Bonneville
- Werbung Dezent -
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