![]() The quad record has an extra track, of sorts - very similar if not exactly the same as the end of Side 2. The other extra bit can be found at the end of Side 1. This solo takes the place of the doo-doo pseudo scat thing David Gilmour does. It comes in at 2:58, after the first chorus, ending at 3:29 before the “how I wish” part. But they haven’t heard the lap steel solo in it before. Most of the people I know can probably sing the title track word for word. There are things you have never heard before. It’s actually stunning, and I’m prepared to say you have not really heard this album until you have heard the quad mix. I found Wish You Were Here and Dark Side of the Moon on Marketplace. My partner says we have greater priorities before one of these takes up space in our front room. This past fall, I managed to cobble together a vintage system which will play all of these formats, except reel-to-reel. SQ just needs a decoder and four speakers. With the exception of quad reel-to-reels, the closest thing to the sound of quad 8-tracks was Q4 quad vinyl records which require a high-end Shibata or similar stylus to play as well as a demodulator. These 8-tracks only have two programs instead of four, so there’s no ka-clunking to a different program in the middle of a song like most carts. Those carts are extremely expensive and scarce because they are true quad - unique or “discrete” signals sent to each of the four speakers. Finally, a quad mix was also later done for Atom Heart Mother (1970).Īll of these are available as SQ-coded quadraphonic vinyl records, or discrete quadraphonic 8-track cartridges. Wish You Were Here (1975) was the next album to be mixed for quad, I believe one year after its release. We’re talking about Pink Floyd here - a band whose entire catalog I owned by age 15.įloyd put out quadraphonic versions of three of its albums - Dark Side of the Moon (1973) was the first, which engineer Alan Parsons mixed for quad when it was being made. So imagine my surprise when I discovered my favourite classic rock band had released official, proper, mainstream music I’d never heard. That’s when grunge came along and I was off to plaider pastures. For example, getting to know Stormbringer, Cahoots, Wild Life or Technical Ecstasy.Įssentially, I’d pretty much memorized the Harmony Encyclopedia of Rock and heard it all by the time I was 18. We’d already sought out and finished with some of the less-popular releases from bands with bonafide classics we were first introduced to. Led Zeppelin was over and he knew the rest of the catalog off by heart - who played what, where and how it was recorded, when the piano came in during the outro, what instruments were used, etc etc etc. One of my friends actually had a plan to try to avoid listening to Physical Graffiti, because he wanted to save something. I think we were in Grade 8 or so when we started to notice ourselves skimming the bottom of the barrel when it came to classic rock-era bands. Today: Our hero bravely wades into the cool quadraphonic waters of classic Pink Floyd. Without further ado, allow me to introduce you to Area Resident’s Stylus Counsel. I expected him to ignore me or politely decline instead, he sent me this column the next day. After I premiered his most recent release, I told him that if he ever wanted to write something for the site, I’d be happy to run it. And as you might expect, he’s a lifelong music nerd and record collector with encyclopedic knowledge, deep shelves and an unhealthy obsession with beloved old formats like quad and 8-track. Even more impressive: When he’s not doing that, he’s a full-time journalist. The prolific Ottawa indie-rock singer, songwriter, multi-instrumentalist and producer has written and recorded half a dozen outstanding albums in as many years - mostly alone and in his basement. And you’ve probably been as impressed as I am - by both the quality and quantity of his output. If you’ve spent any time lurking around this place, you’ve probably come across music by Area Resident.
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