A space in time quadraphonic vinyl1/1/2023 QS was the better performing Japanese format and SQ was the American one with more releases. It was kind of a VHS vs Beta kind of situation. When you see records that say that they’re in quad, many of which were usually the QS or SQ formats. Vintage Capitol Quadraphonic Advertisement #A SPACE IN TIME QUADRAPHONIC VINYL HOW TO#Then there’s the method of how to get more than two channels of audio on two channel formats like vinyl and radio… In the late 60s the ideas around this came about and several companies got into this part, the most widely used method was a way to use audio phasing to fold two channels into four channels then using a magic box to unfold the two channels back to four. This has been around for a long time and the Buchla 200 synth that Suzanne is known for using pioneered this concept in performance in the ‘60s. First, there’s the idea of sending audio to four discreet speakers. There are two concepts to consider when thinking about quad. It was really fun.įor those that aren’t familiar, can you give a basic background on quadraphonic sound? We already had artists challenging themselves with 3-5 hour “durational performances” at Moogfest and then decided to take it one step further, making them quadraphonic. Inspired by Suzanne Cianni’s sudden return to the quad-native buchla synth after 40 years away, I really dove in head first. However, it wasn’t until I was producing Moogfest that I got deep into true quadraphonic sound. I’m sure that’s what many people think of quad today some old format from the 1970s. Before then, I’d always known that quad records and eight tracks existed but never really tangibly thought of it. Years later, I was able to produce some surround sound records while working at Interscope and started to research quadraphonic releases of the 1970s. Then being from Oklahoma, I heard the Flaming Lips doing the experiments leading to Zaireeka. My first proper surround experience was through my neighbor Ron Smith who had a real surround sound receiver, playing a scene from his Top Gun VHS. It wasn’t really any sort of real surround sound, but these early experiments allowed me to perceive sound in a new way and get my brain exploring the possibilities. Later on, I got a boombox and would route that to the other channels to create a pseudo-surround experience. When I was a kid, you’d have your A&B speakers on your receiver, and I remember borrowing my brother’s or my parents’ speakers to have 2 speakers on each channel. How did you first get into quadraphonic sound? We spoke to Kamran about his history with spatial sound and why he believes the quadraphonic format can be a bridge to the future. The first call for submissions opens today with the creative prompt “Breathing Space.” The review panel includes Suzanne Ciani, Laura Escudé, Laraaji, Craig Leon, and Timeboy.įind more information about QUARK and Make Music in Space here: MMS is a national call for submissions to develop immersive quadraphonic work utilizing QUARK. The next phase of the effort continues with a project launching called Make Music in Space (MMS). #A SPACE IN TIME QUADRAPHONIC VINYL SOFTWARE#Last year, through the support of the National Endowment of the Arts, Kamran collaborated with non-profit radio station dublab to develop the Quadraphonic Universally Accessible Resource Kit (QUARK), a free software plugin that allows music makers and listeners to easily create and distribute quadraphonic spatial sound. In 2018, his label CyKiK released Cianni’s LIVE Quadraphonic, the first quadraphonic vinyl release in more than 30 years. His work with Moogfest, Interscope and SONOS Studio has led to projects with artists as diverse as Beck, Nine Inch Nails and Suzanne Cianni. He’s a producer, sound artist, designer, and engineer who has been working with spatial sound since the early 2000’s. Kamran V builds bridges between technology and artistry. Phil Cho speaks to the artist behind dublab’s new Quadraphonic Universally Accessible Resource Kit (QUARK).
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