Seeking Insights on Quadraphonic SACD Playback Setup from the 2000s

TheRealOC

TheRealOC

Junior Audioholic
Morning all,

I'm looking into Super Audio CDs (SACDs) and am particularly interested in how enthusiasts set up their systems in the 2000s for quadraphonic playback. I'm interested in replicating the quadraphonic listening experience using SACDs that re-release the classic quad mixes of the 1960s, such as those by Santana.



I've sourced an original PlayStation 3 that supports SACD playback to use as my player. However, I'm curious about the amplification setups that were used specifically for SACD quadraphonic playback during that era. Here are my questions:

1) Amplification Method: For those who experimented with quadraphonic SACD playback in the 2000s, how did you amplify the audio? Was there a specific line of quadraphonic amplifiers or decoders that was popular or recommended for SACDs?

2) Player Configuration: Did your SACD player function merely as a source, requiring an external decoder or amplifier to manage the quadraphonic output? Or, did it include integrated decoding capabilities, allowing direct connection to speakers?

3) Recommended Equipment: If specific quadraphonic SACD amplifiers or decoders were in use, could you recommend any models? Were these devices attempting to replicate the functionality of their 1960s/70s counterparts, or were they more of a modern reinterpretation?

Thanks in advance for any advice!
 
Bobby Bass

Bobby Bass

Senior Audioholic
Morning all,

I'm looking into Super Audio CDs (SACDs) and am particularly interested in how enthusiasts set up their systems in the 2000s for quadraphonic playback. I'm interested in replicating the quadraphonic listening experience using SACDs that re-release the classic quad mixes of the 1960s, such as those by Santana.



I've sourced an original PlayStation 3 that supports SACD playback to use as my player. However, I'm curious about the amplification setups that were used specifically for SACD quadraphonic playback during that era. Here are my questions:

1) Amplification Method: For those who experimented with quadraphonic SACD playback in the 2000s, how did you amplify the audio? Was there a specific line of quadraphonic amplifiers or decoders that was popular or recommended for SACDs?

2) Player Configuration: Did your SACD player function merely as a source, requiring an external decoder or amplifier to manage the quadraphonic output? Or, did it include integrated decoding capabilities, allowing direct connection to speakers?

3) Recommended Equipment: If specific quadraphonic SACD amplifiers or decoders were in use, could you recommend any models? Were these devices attempting to replicate the functionality of their 1960s/70s counterparts, or were they more of a modern reinterpretation?

Thanks in advance for any advice!
Unfortunately I have no experience with quadraphonic sound since my system in the 70s which I thought was awesome at that time. Your mention of Santana caught my eye. I’ve been buying the CD reissues either new or old and they all sound amazing On my 2.2 music system.
 
TheRealOC

TheRealOC

Junior Audioholic
Unfortunately I have no experience with quadraphonic sound since my system in the 70s which I thought was awesome at that time. Your mention of Santana caught my eye. I’ve been buying the CD reissues either new or old and they all sound amazing On my 2.2 music system.
Since the CD reissues have a quadrophonic mix, I’m assuming they would sound similar to the original records.

i don’t know about original Super Audio CD players but I don’t think PS3 consoles have a built-in quadrophonic decoder with similar I/O to this one (with two RCA inputs, and four outputs)


So I was thinking maybe people used specialized Super Audio CD quadrophonic amps back in the 2000s? Or maybe they hooked up their Super Audio CD players as a source to their old 1970s quad amps?
 
TLS Guy

TLS Guy

Seriously, I have no life.
Morning all,

I'm looking into Super Audio CDs (SACDs) and am particularly interested in how enthusiasts set up their systems in the 2000s for quadraphonic playback. I'm interested in replicating the quadraphonic listening experience using SACDs that re-release the classic quad mixes of the 1960s, such as those by Santana.



I've sourced an original PlayStation 3 that supports SACD playback to use as my player. However, I'm curious about the amplification setups that were used specifically for SACD quadraphonic playback during that era. Here are my questions:

1) Amplification Method: For those who experimented with quadraphonic SACD playback in the 2000s, how did you amplify the audio? Was there a specific line of quadraphonic amplifiers or decoders that was popular or recommended for SACDs?

2) Player Configuration: Did your SACD player function merely as a source, requiring an external decoder or amplifier to manage the quadraphonic output? Or, did it include integrated decoding capabilities, allowing direct connection to speakers?

3) Recommended Equipment: If specific quadraphonic SACD amplifiers or decoders were in use, could you recommend any models? Were these devices attempting to replicate the functionality of their 1960s/70s counterparts, or were they more of a modern reinterpretation?

Thanks in advance for any advice!
It was all a mess back then. The only way to get the true effect was with a discrete four track reel to reel tape recorder, with four discrete playback amps and controls.
So you needed four speakers, in each corner, powered by four discrete amplification chains. There was no center channel.

Now this is the crazy part. These recordings were issued on two channel LP, with an analog encode/decode system. It was even crazier as different labels used different decoding systems. That was not much of an issue, as none of them worked well. What was crazier, the Japanese manufacturers picked one system or another, like CBS SQ for instance. Electrovoice manufactured a universal decoder, that you inserted in the tape loop. I still have mine around in storage.

Now, some of those discrete four channel tape masters have been issued on SACD, which can reproduce discrete four channel Quadraphonic sources.

However, in the SACD system the rear channels which should be in rear corners, or close, will get sent to the surrounds which are on the side, whereas the rear channels should go to the rear backs. You could of course connect your rear backs, if you have them, to the surround speaker outputs.

Pentatone Classics did issue a number of recordings from the old Philips catalogue recorded by Polyhymnia, mastered on four track Studer tape machines. I have a few of those and I do not know if they are still available.

What I can tell is that my DDDSur actually does a good job with those discs from an SACD player connected to my Marantz 7705 AVP by HDMI

I also have number of those matrix Quadraphonic LPs from that era, but the Dolby upmixer does a far better job then any analog matrix decoder ever did.

I would not put a lot of resources into this. This brief analog Quadraphonic craze is just an interesting footnote to audio history and essentially an amusing one, when you reflect on it. Of course manufacturers were pushing their four channel receivers like crazy, that had "joystick" controls on the front to balance out the four speakers.
Speaker manufacturers were eager to sell four rather then two speakers. Tatty and very nasty four channel systems 'in a box" abounded, just like HTIBs.

The craze was hyped unbelievably. This was all to the industry's benefit and remarkably little to the benefit to the consumer.
 
T

Trebdp83

Audioholic Ninja
If I read one more post about “rear back” speakers… The rear speakers are surround back speakers when using 7.1 or more speakers. DSU is the appropriate acronym for the Dolby Surround upmixer though the Dolby logo followed by DSur is displayed on any AVP/AVR using it.

Denon/Marantz displays include the signal/decode + selected up mixer. Yamahas display signal/sound mode while Onkyo just the Dolby logo and DSur
IMG_4613.jpeg

IMG_4616.jpeg

IMG_4614.jpeg

But, that’s off topic.

The original”Fat” PS3 60GB was a beast and supported SACD. I went through two of them as well as a few XBOX 360 units. PS3 supported HDMI 1.3 while XBOX 360 just HDMI 1.2. So, no lossless multichannel signals from XBOX.

Now, while PS3 supported input signals such as DTHD, DSD and DTS HD MA, it could not bitstream them. But, it could decode them and send the signal as LPCM over HDMI. The output settings needed to be set from bitstream to LPCM to avoid bitstreams of lossy Dolby and DTS 5.1 cores. Some hate player decoded signals and those with newer receivers at the time that could decode DSD wanted to see DSD displayed on their units as well as DTHD and DTS HD MA.

The audio output settings of the PS3 were not simple as they concerned games, movies and music disc playback. SACD requires layer output settings as well. MULTI needs to be selected for output of multichannel tracks of featured discs.

Before the PS3, I had a Denon Universal player with multichannel analog outputs connected to the multichannel analog inputs of a Denon receiver for SACD. I went on to an Oppo at one point and am now using a Sony UBP-X800M2 to play CD, DVD, DVD-AUDIO, Blu-ray/4KBlu-ray and SACD.

The X800M2 can bitstream DSD to my receiver that can in turn decode it. No, I cannot hear a difference in sound when I set the player to decode DSD like the PS3 and output 176/24 multichannel PCM to the receiver.

The PS3 can be connected via HDMI to any new AVP/AVR. If connected directly to a TV, the TV and receiver need to support eARC to handle the bandwidth of the uncompressed multichannel PCM signal of the PS3. A straight decode of the signal without any up mixing by an AVP/AVR will result in sound output to the appropriate speakers concerning the signal.

Oh, and for those playing around with an old PS3, it does not support Dolby MAT 2.0 and cannot retain Atmos metadata for transmission over LPCM. An uncompressed multichannel PCM 7.1 signal will be output for any Dolby Atmos track played through it. A connected AVP/AVR will not receive Atmos metadata or any Dolby indicators and simply recognize a multichannel PCM signal. One would need to apply an up mixer to the signal for output to virtual or actual height speakers.

Some may have speaker configurations of 5.1 that may be close to a quadraphonic configuration. Some with 7.1 and up not so much. Everything old is new again as quadraphonic systems used identical monopole speakers all the way around. Years later, bipole and dipole speakers would be used in surround sound systems. Systems incorporating height speakers for new object based formats use monopole speakers all the way around now as well. While not as easy to do as with a quadraphonic configuration, matching speakers all the way around would be the optimal configuration.

There is no AVP/AVR that I know of that steers DSD surround/rear signals of 5.1/4.0 tracks to surround back speakers in a 7.1 or more configured system. Though, newer Integra/Onkyo/Pioneer receivers do it for Dolby 5.1 signals in 7.1 or more configurations as does IMAX DTS processing of IMAX Enhanced DTS 5.1 signals in various AVRs.
 
ryanosaur

ryanosaur

Audioholic Overlord
FWIW, I have some DTS 5.1 CDs which are encoded for Rear Center and does not use the Front Center. That Rear Center signal is parsed to the Rear L and Rear R.
Front Center receives no signal on these mixes.

I haven't tried any Quadrophonic mixes on my system so cannot speak to how they may work. I would hope that a good production would only activate Front L/R and probably Surround L/R as they are most likely to be closest to an ideal placement.

Just short of moving Speakers for an encoding structure that isn't really spec'd by anyone anymore, this would be the most likely situation.

Would be curious if Dolby has any notes about 4ch mixes using Dolby processing. *shrugs But not enough to dive into that pool. ;)
 
lovinthehd

lovinthehd

Audioholic Jedi
I didn't setup a quad system back in the day, as I didn't have a tape deck and didn't want the vinyl version nor a new receiver for such. These days I use a few different bluray players that can do multich sacd (Oppo and a few Sony models) and my avrs can handle dsd via hdmi. My PS3 was too new to work with sacd, always wanted one of the older ones as they can be rigged to rip sacd.

I do now in more recent years use and collect multich SACDs, many recordings are the old quad mixes (I have that Santana Buddy Miles disc as well as the first two Santana albums). With my surround systems the playback thru L/R and surrounds is close enough to those old original four of the same speaker in the corners setups.

If you're on FB you might try this group as they are actively using old receivers, decoders, vinyl, and discuss recordings etc https://www.facebook.com/groups/405946026422420
 
TLS Guy

TLS Guy

Seriously, I have no life.
If I read one more post about “rear back” speakers… The rear speakers are surround back speakers when using 7.1 or more speakers. DSU is the appropriate acronym for the Dolby Surround upmixer though the Dolby logo followed by DSur is displayed on any AVP/AVR using it.

Denon/Marantz displays include the signal/decode + selected up mixer. Yamahas display signal/sound mode while Onkyo just the Dolby logo and DSur
View attachment 67071
View attachment 67074
View attachment 67075
But, that’s off topic.

The original”Fat” PS3 60GB was a beast and supported SACD. I went through two of them as well as a few XBOX 360 units. PS3 supported HDMI 1.3 while XBOX 360 just HDMI 1.2. So, no lossless multichannel signals from XBOX.

Now, while PS3 supported input signals such as DTHD, DSD and DTS HD MA, it could not bitstream them. But, it could decode them and send the signal as LPCM over HDMI. The output settings needed to be set from bitstream to LPCM to avoid bitstreams of lossy Dolby and DTS 5.1 cores. Some hate player decoded signals and those with newer receivers at the time that could decode DSD wanted to see DSD displayed on their units as well as DTHD and DTS HD MA.

The audio output settings of the PS3 were not simple as they concerned games, movies and music disc playback. SACD requires layer output settings as well. MULTI needs to be selected for output of multichannel tracks of featured discs.

Before the PS3, I had a Denon Universal player with multichannel analog outputs connected to the multichannel analog inputs of a Denon receiver for SACD. I went on to an Oppo at one point and am now using a Sony UBP-X800M2 to play CD, DVD, DVD-AUDIO, Blu-ray/4KBlu-ray and SACD.

The X800M2 can bitstream DSD to my receiver that can in turn decode it. No, I cannot hear a difference in sound when I set the player to decode DSD like the PS3 and output 176/24 multichannel PCM to the receiver.

The PS3 can be connected via HDMI to any new AVP/AVR. If connected directly to a TV, the TV and receiver need to support eARC to handle the bandwidth of the uncompressed multichannel PCM signal of the PS3. A straight decode of the signal without any up mixing by an AVP/AVR will result in sound output to the appropriate speakers concerning the signal.

Oh, and for those playing around with an old PS3, it does not support Dolby MAT 2.0 and cannot retain Atmos metadata for transmission over LPCM. An uncompressed multichannel PCM 7.1 signal will be output for any Dolby Atmos track played through it. A connected AVP/AVR will not receive Atmos metadata or any Dolby indicators and simply recognize a multichannel PCM signal. One would need to apply an up mixer to the signal for output to virtual or actual height speakers.

Some may have speaker configurations of 5.1 that may be close to a quadraphonic configuration. Some with 7.1 and up not so much. Everything old is new again as quadraphonic systems used identical monopole speakers all the way around. Years later, bipole and dipole speakers would be used in surround sound systems. Systems incorporating height speakers for new object based formats use monopole speakers all the way around now as well. While not as easy to do as with a quadraphonic configuration, matching speakers all the way around would be the optimal configuration.

There is no AVP/AVR that I know of that steers DSD surround/rear signals of 5.1/4.0 tracks to surround back speakers in a 7.1 or more configured system. Though, newer Integra/Onkyo/Pioneer receivers do it for Dolby 5.1 signals in 7.1 or more configurations as does IMAX DTS processing of IMAX Enhanced DTS 5.1 signals in various AVRs.
I think rear backs is a better term and less confusing. Having surrounds and rear surrounds confuses a lot of people. So I do purposely avoid the term rear surrounds.
 
TLS Guy

TLS Guy

Seriously, I have no life.
I didn't setup a quad system back in the day, as I didn't have a tape deck and didn't want the vinyl version nor a new receiver for such. These days I use a few different bluray players that can do multich sacd (Oppo and a few Sony models) and my avrs can handle dsd via hdmi. My PS3 was too new to work with sacd, always wanted one of the older ones as they can be rigged to rip sacd.

I do now in more recent years use and collect multich SACDs, many recordings are the old quad mixes (I have that Santana Buddy Miles disc as well as the first two Santana albums). With my surround systems the playback thru L/R and surrounds is close enough to those old original four of the same speaker in the corners setups.

If you're on FB you might try this group as they are actively using old receivers, decoders, vinyl, and discuss recordings etc https://www.facebook.com/groups/405946026422420
You are correct actually. Whether the the old Quadraphonic recordings are sent to the surrounds or rear backs makes little difference. On my old Marantz video disc player their are analog outs and I do have a switch where I can switch between surrounds and rear backs for the those back channels and it really makes inconsequential difference.

I can tell you though using the Dolby upmixer with those old Quad recordings sounds the best on my rig.
 
ryanosaur

ryanosaur

Audioholic Overlord
I think rear backs is a better term and less confusing. Having surrounds and rear surrounds confuses a lot of people. So I do purposely avoid the term rear surrounds.
I vote for simply Surround and Rear.

Rear Back is redundant.

:)
 
lovinthehd

lovinthehd

Audioholic Jedi
You are correct actually. Whether the the old Quadraphonic recordings are sent to the surrounds or rear backs makes little difference. On my old Marantz video disc player their are analog outs and I do have a switch where I can switch between surrounds and rear backs for the those back channels and it really makes inconsequential difference.

I can tell you though using the Dolby upmixer with those old Quad recordings sounds the best on my rig.
Can't say I've had the experience of them playing back in the rear surrounds....
 
TLS Guy

TLS Guy

Seriously, I have no life.
Can't say I've had the experience of them playing back in the rear surrounds....
Well, you have not missed anything significant, but doing that gets you back to the speaker arrangement that is virtually identical to the old quadraphonic speaker layout.
I would not say this is a must do at all, but if you are curious enough it takes a few DIY skills, and also a separate system unless you put the switching in the speaker circuit, which I don't recommend.
 
lovinthehd

lovinthehd

Audioholic Jedi
Well, you have not missed anything significant, but doing that gets you back to the speaker arrangement that is virtually identical to the old quadraphonic speaker layout.
I would not say this is a must do at all, but if you are curious enough it takes a few DIY skills, and also a separate system unless you put the switching in the speaker circuit, which I don't recommend.
Actually in the system I generally play them in my surrounds are better placed (and more capable speakers as well). My rear surrounds are not well placed for such.
 
davidscott

davidscott

Audioholic Ninja
quadraphonic , wow a name from the 1970's.
Agreed but I never owned any quadraphonic media or equipment, so I have no idea how good or bad it sounded. I did set up a fake quad sound using 2 rear speakers out of phase back in the early 80s and it sounded ok. But I quickly went back to 2 channel once I bought my new Advents.
 
T

Trebdp83

Audioholic Ninja
I think rear backs is a better term and less confusing. Having surrounds and rear surrounds confuses a lot of people. So I do purposely avoid the term rear surrounds.
It's "Surround Back" actually and those thinking their own terms are better suited for those channels aren't helping matters concerning confusion.

Marantz AV7705:
Screenshot 2024-04-21 at 1.05.36 PM.png
 
TLS Guy

TLS Guy

Seriously, I have no life.
It's "Surround Back" actually and those thinking their own terms are better suited for those channels aren't helping matters concerning confusion.

Marantz AV7705:
View attachment 67100
I am fully aware of how it is labelled on the unit. However, we have had confusion among members here about which is which with two surround labels. I know I am not alone in using the term surround backs. May be in future I will use both, with rear back in parenthesis.
 
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