If you make your own rips of SQ material here's what I would suggest. Take a good mono record, play it while monitoring the rear channels and carefully adjust for no output from the rears. Note these settings and use as a good starting point for your next SQ rip. The resulting file should then be pretty well balanced and phase aligned (at least in time, not phase angles of each channel - that's a different problem). Give it a try and let me know if it helps. Thank you so much for the wonderful work you have done on your multi matrix decoder. This is my first time posting to any QQ thread since I joined the group a few years ago. I am rather surprised about the small activity on this thread, so I've decided to answer your call for suggestions.įirst a little about myself, I am a retired former IT professional from business processing. I have no scientific programming experience in DSP. Also, I have no experience in the recording industry. I became interest in the surround sound technologies in the early 70s and have been following the development of these technologies since. I have listening experience with several of the components described on this forum including the Tate II and lately the Surround Master. I also have experience with the Adobe Audition scripts. Like you, I have been intrigued by the ideas of Lynn Olsen and have read through the original patent papers for this technology long ago. Let me walk you through the results of a couple of tests I have completed with your decoder. First of all I have obtained the SQ and QS Test Tones from the website.Īnd after learning the basics of the Plogue Bidule platform, have processed the test tones through your decoder. ![]() I am assuming that these tones are accurate as is claimed on the website. The first test was of your version of QS Vario Matrix. The results are shown from the screen print using Audacity. The test shows the signal processed through 8 points of the circle. Viewing from left to right the test tone is decoded for CF, LF, LS, LB, CB, RB, RS, RF, and finally returning to CF. ![]() I did not change any parameters, which you can adjust, but used the default settings. The channels shown from top to bottom are LF, RF, LB, and RB. Some wonderful things are happening here.ġ. 707, that magic number, in each of the LF and RF channels. There is no crosstalk in the rear channels.Ģ. LF is completely isolated at full power.ģ. ![]() ![]() LS is shown at a reduced power level with some cross-talk to the channels of the right side.ĥ. CB is shown at the reduced power level with no crosstalk to the front channels.ħ. RS is shown at a reduced power level with some crosstalk to the channels of the left side.ĩ. CF is shown similar to its original description (see number 1 above).īravo. This was only one test and involved no listening on my part. I know from other listings on this forum, that the phase of the output is also important in establishing a clean image. Perhaps one the other readers will step forward. I would hope to see similar results for the SQ test. (Note this is the opposite direction from the QS example) A screen print for that test follows.įirst I would like to draw your attention to the fact that the test tones travel in the following order: CF, RF, RS, RB, CB, LB, LS, LF and finally CF again. You have produced a fine start for the SQ shadow vector. Again I used the default settings for the parameters in your component. CF is produced at full power in both the left and right channels.
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