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Publicación: 1976.
Productor, concepto, coordinación, notas: Michael Thorne.
Editor de cintas: Tony Faulkner.
Discográfica: Link House Records.
Diseño de portada: Mark Stevens.
Notas del sistema cuadrafónico: Keith Barker.
Producido para Hi-Fi News & Record Review Magazine England.
Edición limitada a 5000 copias.
Tracks:
Discos 1 y 2, cada lado con las mismas pistas pero con sistemas cuadrafónicos diferentes.
01 Single Position Sounds.
2:37
02 Paired Sounds.
0:33
03 Electric Footsy.
2:00
04 Mike Oldfield: Tubular Bells (extract from side one).
0:49
05 Mahler: Symphony 3 (extract).
2:46
06 Pink Floyd: Money.
4:30
07 Yohudi Menuhin / Stephane Grappelli: Just One of Those Things.
3:21
08 Bartok: Concerto for Orchestra (extract).
3:40
09 Mike Oldfield: Tubular Bells (extract from side one).
4:01
Tiempo total: 24:40 minutos.
Vinyl Long Play - Edición U.K:
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Portada.
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Contraportada.
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Carpeta.
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Interior carpeta.
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Inserto.
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Inserto.
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Etiqueta disco 1, lado 1: sistema cuadrafónico UD-4.
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Etiqueta disco 1, lado 2: sistema cuadrafónico SQ.
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Etiqueta disco 2, lado 1: sistema cuadrafónico CD-4.
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Etiqueta disco 2, lado 2: sistema cuadrafónico QS.
ResponderEliminarQuadrafile is an LP recording released in 1976 intended as a demonstration of four different systems of quadraphonic sound reproduction on phonograph records.
The record is a double album, with four sides containing identical material presented in each of the four LP based quadraphonic sound formats: SQ, QS, CD-4 and UD-4.
These had evolved as the result of four competing companies (CBS, Sansui, JVC and Nippon Columbia respectively) pursuing their own quadraphonic systems independently.
This, and the incompatibility of the systems were factors in the slow uptake and eventual downfall of quadraphonic recordings.
The project was put together by Mike Thorne, then editor of Studio Sound magazine. Able to persuade JVC and CBS via his own contacts, he soon found agreement from Sansui and Nippon Columbia and all four companies agreed to encode a side of the album each.
Assembling material was more difficult since compilations spanning record labels were not as commonplace as they eventually became.