This website deals with all 150% HEARD – of the originally recorded medium
Which is better than a mere 57.7% HEARD, that a normal 2ch stereo produces
IT IS NOT PLAYED as a conventional 2ch Left/Right Stereo
But in our 1965 Back2Front Upper /Lower (full noise) 100%PLUS Format
Thus the sound/s you will hear – are mostly normal exce[t for a massively HEARD 42.3% of EXTRA content that you have NEVER heard any other way
Go ahead:
Shift your speakers vertically as instructed (1 inverted, high above the other)
Now play these files as LOUDLY as you like, as there is little chance of you destroying your speakers or your lovely amplifiers, that is, until reaching exceedingly high levels in loudness, but I doubt you will reach that loudness.
Pōkarekare Ana – Sung in Maori by Dame Kiri Te Kanawa, NZ. (Dawn 1st of Jan 2000)
There Are THREE “different” MONO tracks, within the first minute of this piece played this way, via our reformatted, remastered & re-recorded “transformativeness” method.
Highlighting differences in “our” 1965 analogue Back2Front (Upper/Lower) format & Modern Left & Right Stereo 2ch (only) which “shoves it all together into two channels, in any song, forcing the stereo to come to terms with a HIDDEN track, that is actually still containing 42.3% of hidden content, which although not heard, rips speakers apart
Thus: We offer Various Audio Tracks – that you can play (here) to compare
Listen with “both” sides of you brains (one ear apiece) and HEAR properly
Some are Initial Tests, Partial, or Complete takes, with some 2hr played-lists
PLUS: There are a few Super Extended Remasters, for Nightclub / Disco use
All “Mixed Together” (in here) – when remastered by @DJQUIX4U (Otago NZ)
Just some samples, from his own “REFORMAT, REMASTER & REMIX STUDIO”
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——————————— E N J O Y ——————————-
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But wait – there’s more – right at the very bottom, of this huge page….
When the Music’s Over – Turn Out the LIGHT
Until then, enjoy this ever growing list of uploads
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The solo runs from roughly the 16:38 mark to the 20:48 mark of this 21 minute+ track
Call Me (by Blondie) A “Swirling Surround Sound” Extended Version – (almost 8m)
Have You Ever Seen The Rain ? (This Way, That Way, & Everywhere Else Today)
In a “Multi-Flipped” 3-way Version, of (3D, 3-phased) Analogue Surround Sound
The Telegraph Road (by Dire Straits).
It’s Wild FM Radio . com’s @DJQUIX4U’s own rendition ..
In SUPER-ECHOED (wide mode) Analogue 3D surround sound effects ..
And YES it’s LOUD, PROUD & will ENSHROUD you in a THUNDERCLOUD !!!
Of “sound” …
Jim Reeves – This World Is Not My Home Anymore
Now you too, can gain not just all 100% of his originally recorded content.!!
You can (also) hear the echoes (& other audio effects), never heard in basic 57.7% stereo L&R systems
Hence why I dialled him IN & OUT as I manually adjusted the sound clips, as they were replayed, HERE inside MY recording / remastering studio, in the hinterlands of Central Otago, New Zealand, using our 1965 reformatting process, plus, doing as any DJ aught too, starting tracks, WHERE I WANT THEM – while dialling out the annoying “shadow dancing announcer’s comments, while playing ONE mono of the “reformatted audio”
……………………………………………………….
It may be just an (old) ADVERT !!!!!!!!!!!
But ? OH BOY, what a good one.
I have several but can’t be bothered cutting them out of lengthy recordings of airplay.
Done years ago on the internet – (inside a player) at a different WildFMRadio website.
(Singing – I Stayed Alive)
REFORMATTED & Remastered, via TRANSORMATIVESS means
In order to play ALL 100% of the original content as a vertical “dual-mono”
Plus the extra 50% of harmonics and and multiple direction echoes = 150%
All obtained ONLY from the original “bog standard” 2ch Left & Right stereo recording
Done in 2025 by @DJQUIX4U (out in New Zealand’s Central Otago “rural” hinterland)
Note:
Here in New Zealand, Central Otago’s “rural” hinterland is affectionately called:
“the sticks,” “behind the black stump”, or it’s in the “boonies,” (short for “boondocks”)
It’s an area that is far away from any city or town, or even civilization as you know it
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The following tracks have a lot of information added in their captions:
You DO NOT have to read them, but it will aide your understanding of why we have USED this very unique 1965 multiple channele spherical sound in just a quick downmixed 2ch “Playback” (format of ours), via any number of ANALOGUE speaker pairings, within a “Vertical Orientated Stack Array” (pictured above) which “plays” original / standard Left & Right 2ch formats, with it’s inherently bad 2ch of self-cancelation, in a basic recording format.
As by using the TRANSFORMATIVENESS of @DJQUIX4U’s 1965 invention:
We are able to REFORMAT & REMASTER “On the Fly”, as an original is PLAYED ONLY, when the output of that record’s player – goes directly into our device, hence it cannot self destruct any connected speaker – (there being none).
The resultant TRANSFORMED audio content, is no longer subject to the debilitating effects of all frontal 120 degree stereo “self-cancellations”, which is instantly RECORDED as our own fully copyrightable content
Artist: Savage Album: Don’t Cry Tonight Released: 1983 Genre: Italo Disco / Eurodisco
- Thus allowing any FUTURE listener to actually HEAR all of the available HEARD content, which was originally recorded, in the (recording only, lessor format of Left & Right), even if they only use their existing old made 2ch amplifier’s and their two connected speakers, which are now NOT a Left & a Right, but a Lower level general frequency channel, and an upper level general frequency channel, with a central “passive &/or active” true center channel , the white (whole) one, which contains a summation of ALL the other NINE natural analogue spherically surrounding channels, even though WE only provide you with TWO channels, that are on “opposite” (180 degree) sides of the total sphere, which thus between them, they hold ALL the secret channels of analogue, in it’s purest spherical form, able to be perfectly “played back, to any listener, who listens to the original work, created many years ago, and far, far away from where the listener is HEARING all of it’s 150% content, naturally (done without any digital sampling, if heard at our plcae, but sadly ffor the inernet, we too have to chop it into tiny pieces, that thankfully (mostly) reconstruct when played, or is that played-with” ?
…. Heard by you in a completely different context and “way” that you have ever thought to “hear” actually hear, anything recorded many years ago, in it’s natural state.
Even such as ABBA, which as a band, are now a pleasure to listen too, to finally be enjoying all their content, as HEARD sound, and NOT as a near-silent self-destructive, stereo speaker AND amplifier system destroyer.
LOVE AGAIN is the movie title, and this was Reformatted, remastered AND re-recorded, as we watched the film “play” on Netflix.
It’s GOOD, so go watch it now, it’s funny, serious and well – it IS a tear-jerker !!!
(thus you could be “droping some liquid”) !!
But bewarned, in regards to THIS (done “on the fly” reformatted) DUAL MONO 3D + 3PH + 3CH Audio as HEARD here, is NOT how you will hear it, on Netflix, as that is ONLY in the original Left & Right 2ch “self-cancelling” commercial RECORDING FORMAT which destroys nearly HALF of the original recorded content, simply because THAT incorrect format IS NOT SUITABLE for “playing back” anything which has ONLY been “recorded” in a RECORDING ONLY format.
This way – you get to hear it all, with @DJQUIX4U’s 1965 method off HEARING ???
EVERYTHING (ever recorded in a 2ch format) using a PLAYBACK format that DOES NOT EVER “self-cancel”, and thus provides, not ONLY the full 100% of the recorded sound content HEARD, but you also now get to hear “UP TO” another 50 % of the Harmonics and Echoes”, in every direction, as it is NOW all heard in the output – from a SINGLE (very tall) “Vertically Orientated” (multiple speaker), multiple channel way, in a “stereophonic” MONO TOWER, which does NOT create sweet spots, just pure 100% + audio output, in every direction.
But hey – !!!
Compare it to the original Left & Right (which although is centered, sounds flat?)
As that is where this reformatted, remastered & re-recorded audio starts from)
Go watch it now – over on Netflix:
LOVE AGAIN
via: https://www.netflix.com/watch/81627351
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There is EVERYTHING “we can do” with the oldies of our youth.
Even the once popular (having now slid into almost total obscurity) ?
ABBA – !!!
They made songs that no one HEARD correctly.
Oh sure, you heard that commercialised “front of house” Auditorium Sound.
In 2D flat area playback – with approximately 42.3% hidden by self-cancellation, long before YOUR EARS got to hear basic parts that were left (& right) “out there”
That anyone heard from near the back of the seating in some vast concert hall.
NO ONE heard what these artists (& their backing vocalists along with all the instrument players) always “heard” when all-together, up on any stage.
Enclosed in a hall, or away out in some grassy paddock on an open concert stage.
THIS – is how music should be heard – completely.!!!
All 100% PLUS.
With all 100% of the originally recorded content “available to listen too”
Not hidden away from your conscious hearing abilities, by cross-contamination from “interferences” – when similar tracks SELF-CANCEL “away” the best parts.
PLUS: All harmonics, summated crystal clear noises, and the many instrumental sounds, LOST behind two self-destructing smoking mirrors, called 2ch L&R Stereo
Both of your ears (that do the HEARING beside your brain) need all 100% content, which was originally recorded, in order for the brain to LISTEN correctly FOR YOU
Lift one feed away from one speaker (or lift a headset earpiece off your head, while keeping the other in place, to HEAR that speaker’s output, NOW do the opposite, by replacing that one and “lifting away” the other.
INSTANTLY you will hear the complete difference in these two channels.
ONE has everything (as seen) from the front, while the other has everything else, from both sides as well as from the rear (back of stage) that most people cannot hear as it’s too far away – behind the lead singer/s
Sometimes, you can even hear a band-member cough, during a live recording, which MOST studio technicians “later” try to PAN OUT, when in fact they cannot remove the sound, thus it gets hidden behind everything else, and NEVER amplified. By finding this and amplifying it massively, YOU now get to hear everything that the stage microphones “actually heard” before some studio technician (who didn’t like a particular track) “panned that sound away”..
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There is a LOT of written information as to why all these “Non-Interference”
Dual-Mono 180 degree Opposing, yet only 90 degrees OUT-of-PHASE chs.,
Are unable to interfere with each other, creating upto 150% of the Originally recorded musical medium, with almost 1/3rd of it containing Multiple Echoes (in all directions) and the harmonics of the two main “VERTICAL” channels
Multiple channel ANALOGUE “All-Around”©1965QUIX4U™, spherical audio system
My very own “unique” 1965 inventive ANALOGUE formatting method, using a device that I hand-made back then – (in June/July of 1965, when nearly 12 years of age), and which is something I myself have done “many times since” (in variations ways & via in-head methods, have altered circuit-designs thereof) as on-the-job, or up in the ceiling spaces, I have always had to be aware of any “need” to alter the design and thus redo the hand-built units, for numerous “as-sold installations” to many private, commercial and industrial “clients” – both here inside our great New Zealand, & elsewhere in the world, including that of a world renowned BIG-TOP “Circus” – who had performers & (until recently) animals from all points of the world, but who (until I demonstrated my little add-on system, in an open park area in 2005) HAD NEVER FOUND “anything comparable, for use in a BIG-TOP TENT enclosure – when scouring the world for a proper tent-type, multiple speakered audio surround sound system”, to discover THEY DID NOT EXIST, and so ???? just used a couple of on-satge MONO speakers, until discovering MY system which allowed them to have a fully interactive & immersive “surround sound system” that their BIG-TOP Circus Tent’s sem-circular seating area provided around that central stage, & in 2015, I discovered they were still happily using
Because using a basic “Left & Right normal stereo’s 2ch system” – had not only proved to be inefficient, for use in their LARGE SEMI-CIRCULAR (central tent display) “Arena” with it’s semi-circular “public seating area”, where the paying public soon discovered “severe distortions” of the basic stereo sound & voices, which occurred either side of the middle of their huge CIRCUS arena “stage” (apart from directly in front, in the central seating position), meant that they had to revert BACK to using “just” a simple MONO home-audio setup, played LOUDLY from the stage event itself, until one fateful mid spring evening, I was driving past the Alexandra Recreational Showgrounds, and “spotted them” there – erecting the BIG-TOP circus tent & ticket booth etc., to thus toss around my usual thought (in my head) – to stop and say… Hi I Have ..!!!!!!!!!!!
& Hey – I wonder if… ?????????????
Which is how come – I was able to approach their Sound Technician “saying”
I make my own multiple channel audio “surround sound systems” BY HAND
And would it be OK – if I demonstrated one to them ?
I always had my trusty (small) business briefcase with me – inside which were SIX pc speakers & a dual three-way kitset stereo amplifier plus a selection of my “compact cassette” music tapes etc, along with my old 1970’s Sony Walkman – a “stereo” TAPE & FM Radio Player – as well as enough MONO speaker extension cable leads to allow me to “position” the six speakers in a 360 degree “circular fashion” (of about 15 M diameter), centered around a mid-point set-up, being my portable DJ suitcase – which was all that I needed – for my PORTABLE battery operated demonstrator (display) – to allow me to PLAY MUSIC to demonstrate that people DID NOT KNOW that I had thus found the absolute perfect way to “reproduce” all 100% of any (ANY) 2ch L&R stereo recorded medium – EVER thought of, since the first stereo system was (commercially) made for the general public (circa 1934).
However – 1965 was good enough for me, a spirited Dairy & Sheep “farmer’s son”, a country boy – who didn’t mind rummaging through potentially lethal Agricultural & Horticultural “chemicals” or rotting furniture &/or carcasses of all types (organic, or not), as it was the BEST TIME – to make use of, the “back-country” FREEBIE (?) SHOPS, that adorned all roads near and far, especially around every town & local country community, being their PUBLIC open-pit (roadside) rubbish dumps, where EVERYTHING, from animal carcasses, to the latest and flashiest FAD of electrical & early electronic goods, could be TOSSED AWAY (at random) – even if still in reasonably good working condition, because they were the “good times” of the wool booms & other high income periods, with HIGH VALUE oversea export product sales.
As well as a “spending up large” public attitude – into “buying” whatever took their fancy.
Thus I was still trying to sell my (hand-made) “inventive devices” in the middle era of the 2,000’s – & it was thus why – I arrived that day, into the “park” where the circus was being set-up – for that next weekend’s TWO (circus) show events.
Being just before Sunset on the Thursday evening beforehand, I had come at a time when they “were” actually extremely busy – thus when I approached their sound technician, he told me to “Bugger Off”
(But if I wanted, I had the entire REST of the park, to setup whatever I had.!!! )
Thus somewhere away out on the Rugby grounds, I set up whatever I had there
So with just six tiny wee 2″ computer speaker boxes, along with the 1976 Sony Walkman – with it’s Red & Grey plastic casing, I waited around as I played the local FM stereo radio station’s tunes & waited, as the technician had said IF !!!!!!!!!!!!!
IF….
?
IF.
If he got a spare few moments, he’d come & have a quick listen (for a while).
Yeah I always had a LOT of pushback in those times – whenever I approached (“cold-turkey”) any person – whom I thought MAY have a use for my audio device.
You know – “in their situations” … !!!
So, after having been “wiped aside” by way too many unknowledgeable people beforehand, (by those who didn’t KNOW what they were “potentially” missing)?
I wasn’t all that certain he’d even bother coming out to thus “be finding me”, away out there – in the cold & dark recreational sports park area..
But see, I’m a stubbornly-cussed KIWI, who (even then, twenty years ago), KNEW
That if I had the chance, to “set up” my system anywhere outside, PEOPLE would gravitate towards the “unusual concert sounds” that they would then HEAR, in the cool dark country air, of the wide open places “near where I resided”.
Deep in the hinterland of Central Otago, down in the very middle of the “Large Island Block”, which we here – locally call the “MAINLAND” – at the South end, of New Zealand (Aotearoa).
Where even today – there are LOTS of places “that go almost silent” when the sun sets & the cool darkness of night-time arrives.
I always had my little suitcase “with me”, (whenever driving anywhere in my “OLD” 1996, Mitsubishi Delica 4wd STARWAGON “Work/ex-Farm” van) & so I was always ready for ANY opportunity (that presented itself to me), for that “possible sale” – for which I made “extremely little income from”, but which pleased me enough – as it “assisted” some unlearned (want-to-be”) future audiophile, to become conversant, with the idea that they too, had been “entrapped” into a society which regarded “standard L/R (common-mode) 2ch Stereo”, to be the Bee’s Knees – of any top end, high quality – Hi-Fi “sound system”, & so what could that “old rural farmer’s son” have – (that was HAND-MADE by him), which could possibly out-perform their store bought – mostly very expensive home stereo systems.??
Yet that is exactly what it did.
I had a small jiffy box, with a 9v battery fed, dual-stereo “kitset-amplifier sets” that I had made to fit into the wee box, with just enough “knobs” to control the TWO individual channel INPUTS & the two OUTPUTS to alter their “loudness” values, along with my own “hand-made” audio connector cordsets (with RCA & phono-plugs etc., attached), which I could “quickly” attach to anyone’s HOME (or car) stereo system, to ADD-ON any number of additional speaker (channels) as I wished, initially played directly from my wee SIX speaker portable unit, but if anyone became interested, I’d take them BACK to my (un-inspiring) normal people carrier, a seated 4WD VAN – to let them hear, my “own installed” extra sound system (inside), with THREE main channel 12″ 300watt sub-woofers, and an old house speaker “box” into which I had screwed-in, TWO 12″ 600watt speakers “face to face” with a half-inch spacer ring, to keep the two diaphragm surrounds from rubbing together as they “both” moved one way then the other, with the inline “inverted speaker cables connected, whereby ONE puled IN as the other pushed out, to behave as if JUST ONE HUGE SPEAKER that “output” a huge push of air, from both sides, and which was itself a summated MONO of the other three main sub-woofer speaker channels.
Thus it delivered a super-low range of “almost constant vibrations” in the lower audio register, whilst being able to operate as house type speakers do, if needed, to resume their normal general purpose speaker performance (if sent an upper/mid level output signal…
.!!!
It was a silly looking “cheap-as” ad-hoc speaker system (it ONLY had 25 speakers in it) that I had installed in box cabinets, or just held their enclosures onto “whatever” I could affix them onto, (in the back cargo & seating area of the van) so that they would NOT move around whilst I was driving anywhere, mostly at speed (including any OFF-ROAD areas, paddocks etc, as it was my fun van as much as it was my workshop, tool carrier, for both the farm and for my electrical servicing business, as well as for “long distance travelling”, to get parts & other components, in Dunedin – a good three hours drive each way from “home base””
I had hand-built the system into the van, as I didn’t have sufficient money at the time, to BUY everything I needed (as well as pay someone to do, what I thought I could do – myself)
Thus it became my mainstay demonstrator vehicle, as I built it (myself) as a 7.3+1 25 speakered install, using the smallest (cheapest) amplifiers I could buy NEW – from a Warehouse in Alexandra, to have as my own DEMONSTRATOR surround sound system, here in New Zealand, being the only way I knew how – to cheaply make a direct play method – (with an AUX 3.5mm stereo input, as well as a TAPE/FM Radio broadcast player/head unit, & it’s ten stack CD Changer) through hich I could invite anyone to “bring out” there MOST FAVOURITE STEREO CONTENT (tape, CD or .MP3 player etc) to have “something they cherished and loved, to compare this method, ove their own high alue home stereo system “with” (whilst knowing full wel, that as SOON as they heard that differently, in such a crystal clear way – at much “lower” loudness settings than they would themselves normally use, I knew I had them “fished out, hooked and that they would “literally” wind themselves in to be “landed” with one of my additional installs.
Thereby allowing them to “purchase my wares”, in the way of me installing them a system (of my own design) whereby with little extra effort, if at all, they could just enjoy MUSIC BETTER, without having, or needing, to replace or UPGRADE a single component or recorded material, and thus retained all knowledge of how to use & operate their own home stereo units, whilst kicking it UP into the extreme high-fidelity arena, that they had previously assumed they were IN, but weren’t.
I had see, A WELL PROVEN SALES METHOD of providing a massively complex, “multiple channel” (simply-plays-it) – ANALOGUE based – “home concert” audio speaker add-on system, just by utilising own 1965 invented system as an:
All-Around©1965/™QUIX4U Deplexer-Decoder DEMUX Up-Mix device.
That I have made full use & reuse of, ever since discovering how & why it worked, (away back in 1965), being something that no one anywhere else in the world, seemed to be aware of, (or even considered manufacturing) – a simple way of converting any genuine 2ch L&R stereo tune to PLAY all 100% of the originally “recorded” content, without it (automatically) SELF-CANCELLING a massive 42.3% of that content OUT of the listener’s ability to HEAR that sound – when it is played “BACK” by any common-mode L/R 2ch Stereo Player (that has been sold to people all over the “world”) ever since that 2ch ‘frontal lobe” 120 degree of separated STEREO content – was “downmixed” into a simple, easy to use, home audio format, whereby any stereo audio player, (commercially made) could “play it back” as if it was producing EVERYTHING it possibly could, of the original recording.
WHICH IT NEVER HAS, as any 2ch L&R stereo (of a separational triangulation design), which uses two speakers deliberately spaced apart by about ten feet, with EACH being about a 60 degree angular-split “either side of straight ahead”, (& thus 120 degrees apart) from a listener’s sweet spot, where the two signal outputs, “arrive” across the triangular shaped area into a listener’s head ten feet in front of their stereo component players, (whereby the LISTENER is themselves, a part of the “properties” of the sound field produced), that cannot replicate anything originally recorded in full 360 degrees sound, when the mere “missing 42.3% instantly degrades it down to “just 7.7% MORE than” a bog standard 50% MONO output – via ONE speaker – thus it CANNOT REPRODUCE ALL 100% that any other 2ch L&R stereo recorder – recorded anything HEARD by the two stereo microphones placed about the “same positions”, as the speakers would be set.?
BUT WHY?
Well there’s a funny thing about sine waves, they are things, of something called energy, which if INTERFERRED WITH during their voyage across clean-air space, between a speaker and a listener’s ear (either ear – OR BOTH as I will explain).
The LEFT speaker needs TWO sine waves to travel (in straight lines) from the speaker itself, DIRECT to whichever EAR the listener is to hear that sine wave “energy”
The same occurs to the opposite RIGHT side, as do the same sine wave path’s “take” – on the left side.
Now – even though sound travelling rates are super fast, there will ALWAYS ?
A small time difference, between when a sound reaches the EAR on the same side as that speaker, compared to the time it takes to get to the ear on the opposite side of the listener’s head.
The same as all old one channel gramophones, and the earlier single channel AM Radio broadcasts “did”, which were the gold standard when radio broadcasting was first born?
However in those days it didn’t matter as BOTH ears heard the same output from ONE speaker position, so nothing interfered with the sine waves – to either ear.
The inherent PROBLEM with a “spaced apart by ten feet” two speakers sending sine waves OUT on approximately the SAME signal loudness levels AND with both sine waves “using” the same graphical definition “of a standing wave form” – a huge problem is created.
The LEFT signal to the LEFT ear takes the same time to get to the LEFT ear, as the other does when the RIGHT signal goes to the RIGHT ear – which means BOTH paths have no interference and have a clean path (with no loss of quality)
BUT, the same cannot be said for the inner “crossed over pathways” !!!!!
The LEFT speaker’s output to the RIGHT EAR – has to force it’s way through the “almost exact same signal sine wave” CROSS_OVER_AREA …
As the RIGHT speaker’s output to the LEFT EAR “uses” when it too has to force it’s way – through the other speaker’s ALMOST THE SAME – SINE WAVE SIGNAL that came from the other speaker.
THAT my friends is the problem.
Neither signal will remain CLEAR, as both rush through the same “air-space” while losing energy as each rubs off ENERGY through the interference with the other signal while BOTH signals mere a little and boost or decay whatever SINE WAVES are on “opposite polarities” – and thus swap properties with each other, while causing a loss of time travel, with each, during their forcing through “of” the other signal “in passing” before eventually arriving LATE at their respective, waiting ear.
THAT milli-second LOSS in time to arrive, causes a disturbance in the mind, making the listener THINK that the sound has been sent from FURTHER AWAY, as the angles of incidence, between one “late” arriving signal and it’s “same signal” from the one speaker, took a quicker path to get to the ear it went into) and thus was MUCH LESS TIME TAKEN thanthe same signal took into the opposite INSIDE ear, which the brain computes as if the “loudspeakers were in ONE position” directly ahead, yet the tim delays in the signals, means – maybe theyare VERY wide apart, and all the time the brain is being fed “crossed and delayed signals” it has to listen the the LOT quality as the two sine waves interfered with and thus reduced he quality of themselves in passing.?
So the brain has to assume, the two speakers are MUCH wider apart – yet as BOTH have last too much quality each, therefore the total quality actually drops.
STEREO is thus not as GREAT as it would appear to be, yet that’s what we have all been fed, by the so-called experts, who manufacture the stereo products WE have to buy, in order to “play-with”, in order to listen to any 2ch L&R stereo audio.
MY FORMAT, on the other hand, has NO self diluting loudness or quality problems.
WHY?
Because neither channel is able to:
1/- Cross over a signal path of one channel, with respect to the other signal path
2/- Neither speaker is even OUTPUTTING the same sine wave ANGLES
And as such do NOT interfere in any way, with a different sine wave pattern.
3/- As the two signals output different frequencies, at different beat times,
The two signals aren’t even similar and thus cannot add value, or reduce it, with resect to the OTHER signal’s “sine wave”, thus both retain their original quality.
&
4/- ?
MOST importantly, this is because BOTH speakers are at the exact same floor position with regards to the other, so BOTH travel the “same angles” to get to the respective ear SIDES, & therefore NEITHER EAR is compromised with inferior sound, and the BRAIN also has to work less, as each signal arrives at each ear, at precisely the same time as it’s polar opposite “arrives” – as BOTH take the same angular path, without interferences – to get to that ear “in the correct time frame”.
All signals arrive to the two ears at precisely the same times, and at the same signal strengths (on both sides), from the two different outputting speakers.
This leads to a lower SPL, that is needed to hear all sound TONES clearly, and thus the listener relaxes more, while enjoying the musical content that can NOW be heard and as
sound” is HEARD all that much clearer, the loudness is not an issue that needs a higher setting, in fact you will be turning the “loudness” controller down, as there won’t be the same need to raise it above – a natural level.
There is an E XTRA quality which has zoomed in ahead of me, and that is where that CENTRAL speaker comes into play.
As the signals are MUCH cleaner than NORMAL stereo, the ears and the brain will have more relaxation, which allows both to be used as other needs arise, which means less stress and a safer ear protection, than you , or I, ever had before,
PLUS – if an on-board aux. amplifier is used, the two different signals that have been “sent in by wire” are also able to be summated, providing an EXACT CENTRAL CHANNEL between these two and with another “different” sine wave angle.
The allows another channel (or more) to be heard between and apart (outside) from the initial two channel signal placements, meaning an even greater number of virtual speaker signals will “eke out” of the others, as each expands into the space the others don’t use (each with it’s own peculiar sine wave “angles” – and if the speakers are SET at either end of a long hallway or wide room, exactly opposite each other, the resultant “arrivals” still won’t cross over the other’s nor interfere BEFORE each sine wave reaches your ears.
As then the “midway” speaker will be self-positioned, exactly in the center – at the very heart of the room.
PLUS, with center of cabinet “extra MONO being powered on, the overall signa quality will improve further, to become about 140% to 150%.
A far cry from the 57.7% that YOUR normal 2ch L&R stereo can produce (with it’s distortions), and a lot more than a single 50% normal L/R mono rom an AM radio.
Now look at FM RADIO with it’s digital FM signals being beamed to, & from, space – to anywhere on the planet. yet people are still being suckered into buying a barely better than a simple MONO sound RECEIVING system, as if the DIGITIZING of smaller and smaller file sizes, had ANYTHING to do with AUDIO quality – long before it could replicate nature’s own 3D surround sound effects, in every DIFFERENT angular plane – of a spherical sound field.
Yet that is what people are used too, have never been enlightened f anything else (as even the manufacturers of hi end “so called” quality products, aren’t even aware of what THEYTOO are missing, as no one has contested the idea, since the “so-called” (self proclaimed) AUDIO EXPERTS went away from ANALOGUE systems, in preference to DIGITAL “things” (when in reality – digitizing was ONLY DONE to create extra space on a recording medium, by shrinking the file sizes needed to store that content in a recoverable way from the recorded medium.
IT WAS NEVER ABOUT QUALITY.
Purely a way to get MORE SONGS onto & into, smaller and smaller audio playback products.
THAT any user HAD to buy updated models and storage units, JUST for the playing back, of store bought “audio” sound recorded materials.
Me – I never had enough “spare” money to buy everything I could have bought, if I hadn’t known (already) about a far better way to replay the sounds I had already bought.?
Now – moving “onwards and downwards”..
READ ON… think Less and HEAR more.
GET READY (to be a DJ, at the end of this instruction)
After you have opened the first surprise of “hidden content”
Or (if desired) you may simply play the 7x clips
(with adverts that weren’t cut out at the end of some those seven clips).
So (after reading this wee pre-amble) get ready for SEVEN “short audio clips, to run through 3,369 secs of play-back”
FOR ANOTHER (also ? well ? um) … HIDDEN SURPRISE.
OK “read on” McDuff, for the more important STUFF.
I have found a “work around” in good ole Kiwi fashion
Being an initial playable LIST of song/tracks FOR YOU.
That I NEED YOU FOR (as I think you can be) – the:
DJ !!!!! (& do it all by yourself), if you are quick enough ?
Yes, quick enough, to start the next track in time, to stop any stray adverts – “from playing” (after the last track nears it’s end), as YOU will need to be quick – to pause “them” after starting the NEXT track, so that adverts on the end of the previous track DON’T play, (at the end of the previous clip) which WILL be breaking through if you FAIL to “start/pause” tracks correctly.
So (get ready to) put your left-click mouse-point (?) …
BUT WAIT …
You have to: READ ALL OF THE INSTRUCTION FIRST.
Yes, ALL OF THE INSTRUCTIONS – for all seven clips (below)
Before you can become – your (I mean OUR) – personal DJ.
Playing a shortlist of 7 clips, for a SINGLE LONG-SONG/TUNE
All 3,396 seconds worth across 7 clips (ONE continuous tune)
Now (make sure you KNOW what it is that you will be doing):
Before you reveal this HIDDEN PLAYLIST
(no, not the one on Reformatting, which isn’t hidden below).
GET READY…
Now – Click >HERE< (and toggle this hidden area underneath) And – THEN – PLAY THIS FIRST >|< (But Remember adverts)
Plus – every now & then I forget – and just run (with a playlist)
Such as these from elsewhere … until ?
(Until) I select some hard and fast tracks that I like playing.
And if I forget what I was doing (here) .. and playlist them as a single track? With assortments of various “others recorded”, instead of just concentrating
Just start/pause” all the others (first) – so that are “pre-set” & awaiting you to start each – to thus be following ON from the NEAR the end of each other, but YOU WILL need to get ready as you will NEED to “overlap these” for a few seconds (especially those that have adverts, tagged onto the end of the tracks)
So UNPAUSE the next, as soon as the previous “now playing” track nears it’s end.
Caution: The NEXT TRACK has an advert starting at 9:05 BEFORE the end of clip
(Having just DJ’d all of that 3,396 seconds worth, of the ONE song/tune)
Enjoy this last clip – as it runs the song OUT
Or redo it all again as a single continuous/contiguous “playlisted/play”.
But this time try & DJ (it) correctly, by “snipping out those adverts” !!!
The one’s I didn’t get to stop (before they included themselves).
(Hence why the lengthy tune/song of TRANCE “broke apart – as it did”.
………..
Thus – P.S:
I am sorry for all stupid adverts, that BROKE the continuous recording of the song
Which I had to break – into smaller clips (whilst redoing the re-record), of TRANCE
I will try someday, to come back to thus insert the “correct” audio only clips, by removing the annoying “follow on adverts”
But until that happens, enjoy trying to be a DJ (and get everything running smoothly), and yes – it is possible to do it.
Next it’s ABBA – well – it is, played-through in my version’s way of “playing with” these tracks ..
Before playing any Abba songs (below this notice) that are after the “hidden” playlist ^above^ (you forgot to DJ, like a pro)
Remember always:
All of these are as is, while some are lengthened, & others Ultra Extended, yet all have been deliberately (done on the fly – as they played through my device) “Reformatted & Remastered”, then simply intermixed / jointly together, as a singular positioned DUAL-MONO “TOWER” speaker output, (if positioned normally in one of my super tall vertical stacked array tower units, between the floor and the ceiling “as displayed” up at the top of almost every page in this website), by applying these two different MONO feeds to the amplifier’s L & R outputs, which I have renamed as being the vertical position of the L=LOW/Depth channel’s 50% (being the low depth “backing and surround” effects) – in the same way as the R=Right (for Height) 50% is “played-out” from the top half of the verticle stack, as a “vertical” MONO positioned UP-MIX of two different MONO tracks – one 50% being the full HEIGHT effects & lead Vocal “front-of-stage” sounds, & the lower half of the unit being fed the complete opposite content of another 50% HEARD value of the previously hidden third stereo channel’s 3D (third) dimension itself, which is just as we have always said, everything occurs in THREES, which makes sense when you HEAR all of the BACK track’s (low/depth) MONO tones – that are interplayed simultaneously with the normally heard FRONTAL (top) half of the content, thereby creating an extra HARMONIC “virtual” central channel effect (as has been achieved here, in may or these reformatted plays) as the direct DEMUX & “Up-Mix” result occurs when the analogue reformatting process that @DJQUIX4U discovered inside the hidden content of any (and yes we do mean any) genuine 2ch stereo’s left & right “played-as” content is reformatted this way – and how EASY it eventually became for us to reproduce almost without human intervention – the (many) multiple channels of ANALOGUE surround sound, “up to and BEYOND a mere ten channels” that could easily be SEEN “to be acting ELECTRICALLY differently” – (by using at least ten small “filament globes” that were used as VISUAL VU meters), using “my own home science experiment”, in 1965, of hard wiring all ten globes in a variety of colours, (or naked/white as the first globes were) which – when wired directly into those resultant speaker circuits, (that is being fed into the extra speaker channels), shows what is happening with voice coil currents, when specifically done that way – to allow me to see and balance all speaker feeds (from the one DJ Control position, up to a certain power level, that allows all ten speakers to output (almost exactly) what they were being individually fed, in a balanced way, compared to all other speaker levels around that entire system, when all were fed different signals to one another, even though they were “all” sourced from one original 2ch L&R stereo recording – but reproduced in my much larger channel systems via as many channels as we wanted to use, (in the 1970’s) for our CB Club’s Friday Night musical dance events – (called “CIRCLE DISCO”).
This was after hearing them hidden inside some two channel stereo reel-to-reel 1950’s and 1960’s taped recordings, during 1965, that had been fudged by “over-dubbing-them” (sometimes even by re-recording across one or other channel by incorrectly playing them in the wrong direction) – when @DJQUIX4U was trying to reconnect the two tape head leads, inside a dual directional tape recorder that had been pulled apart (in frustration), after accidentally breaking a glass amplifier valve, (with no way to replace it) & without knowing exactly what @DJQUIX4U was doing. he knew instinctively what he’d heard, that it was “locked in there somewhere” – still all contained as 100% of the originally recorded material – that he had then created his DEMUX Up-Mix inventive device (from).
Having discovered where multiple channels of ANALOGUE (DEMUX Up-Mix) channels actively hide & thus reside (in plain view), I/we can reproduce them in any order or intermixing manner, that we decide upon, to create whatever effect we wish to be heard, be that as a complete surround sound system in a large room/hall, or like this – as a seemingly stereo dual-mono recording, that can be “played” by ordinary commercially made 2ch stereo systems, YET SOUND so totally different with depth and presence, to what an ordinary recording in 2ch L&R stereo format can provide..
These tracks (heard here) is just one method we can use, with a Height & Depth perception added to the natural width that mutiple instruments and vocals provide.
Here you will now hear, the complete 100% of whatever original content we “play-with”, PLUS all the extra harmonics of the TWO “different channel” feeds, when these are (simultaneously) playing OUT of the DUAL-MONO “outputs” (of our reformatting and remastering work), which is now totally complete, with multiple echoes of various instrumental sections.
This gives MORE than the full 100% of the original audio content.
Hopefully I will be able to shrink this descriptive information over time, but for now, if you don’t want to read it – just play the various tracks, one at a time.
There are many in plain sight, and a few others “well hidden” (under various layers of typed info)
This reformat method of hidden info – can be seen below
If you >> click here <<
re:
This reformat method of remastering (on the fly) is an original played AS IS
> “To allow this reformatting of mine to be recorded”
It was part of my amazing invention – created (via innovative means) many years ago, in 1965 – when I discovered multiple ANALOGUE “spherical” sound
channels, all hidden within any 2ch stereo recording format (apart from my own replay “playback” format that is, which is NOT a recording format at all), whereby all 100% of the originally recorded 2ch Left & Right stereo content is reproduced correctly, as TWO differently composed analogue channels of a different type of content, which when replayed at the “same time” (as if it was played TOGETHER simultaneously), produces the otherwise HIDDEN content that was originally available for the various microphones to collect, before all were downmixed (by studio technicians), into a basic “raw” 2ch stereo format (as THAT was the best way to record, and then “sell” any stereo audio piece).
HOWEVER it wasn’t, and still isn’t, the best way to replay (reproduce) that 2ch content for anyone to HEAR correctly, without having a huge missing section of content REMOVED (by self-cancellation), occurring between similar sine waves – that try to occupy the same physical sound space at the same time, hence there are areas (within the generic area around two speakers, in any FLAT horizontal direction), whereby SOME sine waves ADD strength to the sine waves that are in sync, (on the same positive cycle), versus a different effect occuring when those 2chs are OUT of sync, with a large portion, being 42.3% that because of how sine waves “ebb and flow”, these out-of-phase sounds instantly “self-cancel” (down to ZERO sometimes), removing the full loudness of those oppositely phased sine waves, meaning that for about 57.7% of the time, the two played channels, set at a 120 degree separation angle, BUT ON THE SAME SIDE “of the sine wave’s graph-polarity-pattern”, boost one another a little louder, while the inverse occurs, when these are OUT of SYNC (out of phase) with each other channel’s of sine waves which interfere and FIGHT for the same space in oppositely equal values, means thet a whopping 42.3% is dragged right down to ZERO sine wave activity.
(silence, through self-cancellation of HEARD CONTENT is what it’s called)
Whereas, by ONLY changing the initial recording format, from a horizontally orientated & “spaced apart” microphone positioning – in a 120 degree “arc” arrangement (of the collected sounds, for recording onto tape or vinyl – for commercial sale (thereof), which is why I have reformatted THESE into this one unique format (of my own 1965 innovative creation), which converts the actual method of producing “dual mono” sine wave SOUNDS, into a vertically orientated multiple channel pairing, is to enable a listener to gain the fullest reproduction of ALL 100% of the originally recorded sounds, (called content), by way of TWO completely different MONO channels. that are output on the same ANGLE from inside a single tower unit, by a TALL “vertically stacked array, of different speakers” – which creates another 50% of “indeterminate position” harmonics, that appear both inside and outside of any multiple set of speaker positions, along with multiple-directional echoes – that float “in any direction” at the same time, thus adding a third dimension, as a 3rd channel
In other words, it’s a surreal effect when this sound effect is heard, as one realises “how much is actually hidden” (within a flat area of a horizontally created arc of sound), as it is squeezed together by a bog standard 2ch (flat) area of sound, vs the symetrically placed multiple “level” of 3PH (3-Phased), 3D (3-Dimensional), 3Ch. (3-channel) DUAL MONO sounds, that radiate in all directions at all different heights, from one physically located “floor standing” DUAL-MONO vertically orientated tower of multiple speaker positionings.
I need to redo other descriptions (above & below) to remove some of the duplicate information, which only serves to “clog up” this LIST of .mp3 files.
Bear with me, (or if not, then: “please be patient with me”) as it could take me a while, as I tend to embelish, instead of removing (details); whenever editing
Without any further embelishment – GO BACK, to the top of his page, and actually & properly, listen to the list (above) that I uploaded earlier.
Or copy/paste this link, to refresh via: https://WildFMRadio.com/Audio/
More will follow. as I’m into completely several new & old, multiple hour long audio House, Dance, Disco & Trance reformatted and thus remastered audio (analogue) musical tracks, at the moment …. & ? >> CLICK HERE <<
I will simply “bang them in”, wherever I feel theres a lot of short sound tracks,
That need a much longer one between them (Up ^^^ There).
Whereas at the very bottom of this page – ?
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When The Music’s Over – Turn Out The Light
Welcome to the Wildest FM Radio (on the doht com) ... The website Where You Become - "Your-Own-DJ". 