![]() It’s actually easier than you might think. In collaboration with the non-profit dublab, we secured grants from the National Endowment for the Arts and were not only able to make the plug-in but have also been able to build creative and educational opportunities around quadraphonic music.ĭumb question here, but presumably both QUARK and Suzanne’s release, for our audience of audio folks, if they have four monitors they can set this up and here the four-channel dispersion natively, right? I developed it with my friend Brett Buddin who I met while I was producing Moogfest in North Carolina. It was an incredible experience, and I also learned that releasing quadraphonic was more difficult than it needed to be. Once I had the research and tools in place, I worked closely with Suzanne, all of these people plus our mastering engineer Scott Sedillo (at Grundman) to make the album possible. They connected me with a company in Australia called Involve Audio that was actually making new quadraphonic hardware, using their modern take on the encode/decode math that the Japanese company Sansui made in the 70s – called QS or Regular Matrix. Through the web forum Quadraphonic Quad, I eventually spoke with some quadraphonic collectors named “Quad” Bob Herndon and Odaka Shuichi. I spoke with a software engineer in France who made software for audiophile collectors to digitize and convert their old quad music. ![]() I met with the legendary mastering engineer Bernie Grundman to get his perspective – he mastered the quad of the 1970s. We invited Suzanne to perform her first solo synth performance in over 40 years.įortunately, we recorded the show and since I had experience producing DVD-Audio and SACD releases when I worked at Interscope records, I became curious: How is it that Suzanne Ciani, who was performing in quad since the late 60’s on her Buchla 200 synth, could have never released a quad record? My wheels were turning so I did some research. One of those was a concert in San Francisco at Gray Area. When I was working on Moogfest we had some satellite events in different cities in celebration of the forthcoming festival. I started down what became the QUARK path around 2016 when I first met her. I’m really just a fortunate partner here to connect the dots of the vision that she, Don Buchla, and others laid out so long ago. If there was ever a person to bring quad (and spatial music in general) to the masses, it’s Suzanne. Kamran: Suzanne is one of the most innovative artists that I have ever worked with. Peter: How did this project with Suzanne Ciani come about? Why is it relevant that it’s in quad? He tells us a bit about what’s up to, and how it could impact our work.Īnd, bonus – you can use the tool he’s using, his own QUARK, aka Quadraphonic Universally Accessible Resource Kit, now in beta. So while we get ready to listen in on his free workshop this week, I thought it’d be good to have some assigned reading. The thing with four speakers instead of stereo’s two.īut no one does 21st-century quad quite like KamranV. That quad, to those of you who remember it from the first time around. Here’s the twist: in this age of hyped-up n-dimensional spatial complexity, he’s singing the praises of quadraphonic. He co-created SONOS studio in its original LA location and Bedrock.LA in Echo Park, and he’s on the board of the legendary dublab.īut this week, KamranV is here to help us explore the world of spatial audio – with a resume that includes producing that work for folks like Nine Inch Nails, Beck, and Suzanne Ciani. He’s working with automation … and holograms. He developed his own home vinyl recorder, PHONOCUT. LA-based KamranV, aka CyKiK, seems almost omnipresent in his technological pursuits. Spatial Sound workshop by KamranV, with EXP_ KamranV connects past, present, and future and talks to us about how we can get quadraphonic when we work, in advance of a free workshop online this Friday. With the likes of Apple pushing the concept, spatial audio is fresh again.
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