WSTLNZ & QUIX4U
Our commitment to audio.

We remaster Stereo Audio:
Using our 1965 method of:
“Analogue 3D Surround Sound”
With our Vertical Tower Format

This is done via Transformativeness

Changing the normal Left+Right via Our Back2Front format, using your Speakers, as (L=)Low & (R=)Height

This gives 100% “surround sound”
From just one position, in Three-D
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As: HEIGHT, WIDTH & DEPTH
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No need now for multiple positions Of surround sound speakers, as they Can “all” be placed into the same …
Single (Upright) MONO position.

We call it our:
WSTLNZ™
“Vertical Stack Array”
©2024
Using our 1965 innovative circuits

Ultra Extended “Reformatted & Remastered”.
Originally named when released as 2ch. frontal stereo “play” but which we have REFORMETTED into @DJQUIX4U’s single position DUAL-MONO “vertical stack Array” – being a sound playback system, whereby you “now” (SIXTY YEARS after @DJQUI4U initially heard all of this in a cow-byre’s cream separator room, and later around a paddock’s fence-line nearby) – exactly what @DJQUIX4U has heard, along with all of us, this absolutely unique playback method, of using TWO different MONO feeds, that are fed BACK via two independent speaker channels, which combine when played together “as if just a single channel”.
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A MONO so to speak, yet MONO it is – ONLY in a horizontal plane, when vertically, it is MULTIPLE CHANNELS with TWO different MONO sine wave patterns, that are functionally 90 degrees apart, yet heard 180 degrees apart, with ZERO interference between either, to provide NO sweet spot, but absolutely NO dead spots either..

When simply “intermixed” together, as a singular positioned DUAL-MONO “TOWER” speaker, (positioned normally in one unit between the floor and the ceiling), by applying to the vertical position of the L=LOW/Depth channel’s 50% (being the low depth “backing and surround” effects part of the tower) – in the same way as the R=Right (for Height) 50% is “played-out” (from the top half of the tower’s stack), that is/was combined therein – as a vertical MIX of two different MONO tracks being the (1st) 50% from the full HEIGHT & lead Vocal “front-of-stage” main-beat sounds channel, & the lower half of the unit being fed the complete (2nd) 50% of the previously hidden 3rd stereo channel’s 3D (third dimension) “itself”, which is – as we have said, containing all of the BACK track’s (low/depth) MONO – that when we have interplayed BOTH simultaneously – there is an extra HARMONIC 3D 3phased “central channel effect” which has also seemingly been achieved (here) in this, our ANALOGUE SURROUND “sound” format, as the direct DEMUX & “Up-Mix” result – of the unique reformatting process – that was originally discovered (long ago in 1965), when @DJQUIX4U discovered how to reproduce (many) multiple channels of ANALOGUE surround sound, “up to and BEYOND a mere ten speaker feed channels” that could (back then) be seen “visually} as LIGHT – by using ten small “filament globes” as VISUAL VU meters, using (a then, 12 year old’s “home-science-experiments-circuitry” of hard wiring) all ten globes directly fed from across those found 10 speaker channel’s speaker voice coil circuits, specifically done that way to allow each channels SOUND to seen as visually reactive LIGHT, to allow for the re-balancing of all feeds – up to a certain power level, to allow all ten speakers to output “exactly what they were fed”, at similar SPL levels, when all were fed different signals (to one another), via as many channels as we were about to use, (all ten) for our CB Club’s Friday Night Disco Dance “events” (that we called “CIRCLE DISCO” for obvious reasons), which we “set-up” all around a Masonic Lodge Hall (Kilwinning No. 109 at Alexandra, in Central Otago, South Island, New Zealand, here in the South Pacific Rim) – which entailed outfitting the hall with multiple speakers in a circular fashion around the upper wall/ceiling areas, with phase split “tweeters, mids and bass” all at different heights up each wall at whatever position those speakers were “placed” – each with integrated lights on their bass speaker cabinets AND a LOT of colour TV sets around the very top of the walls, (most partially unusable but with some colours able to be used, as rainbow coloured “staged-pattern” effects – around the room/hall), as this was all arranged by @DJQUIX4U – AND a local TV repair / serviceman – who combined their talents, to TRIGGER the many TV set’s to produce various patterns in specific colours, each according to where it was to be placed, with the RED pattern TV near the RIGHT channel’s position, the CYAN pattern TV near the Left Rear, and with Magenta, Blue, Yellow, Orange, Lemon & Lime, and any others we could make (from partially defunct colour TV’s that he could source) such that the many speakers also had a visual impact with their related TV patterns FED from signals produced by those specific speakers, thus any BASS at one speaker was directly responsible for the particular pattern of the TV on the wall directly above it, along with a nicely similar coloured globe used by the DJ at the front stage, to balance the output sound levels for each and every song that was “played” (creating a spherical “disco room”, that was enjoyed by all who came, saw and danced within).

This was only made possible, by @DJQUIX4U spending many hours, days, and months, since mid 1965, (for over SEVEN years until our CIRCLE DISCO started), after hearing all of those previously hidden channels (well, hidden somewhere) inside the “two channel” reel-to-reel 1950’s and 1960’s taped recordings, that he accidentally fudged by “over-dubbing-them” (sometimes even by re-recording across one or other channel – even some were done by incorrectly playing them in the wrong direction) – when trying to reconnect the two tape head’s recording leads, he had earlier ripped out, when attempting to repair the VALVE amplifier after dropping an unknown valve onto the concrete floor, where it’s glass smashed into way too many pieces to allow him to READ whatever model valve it was, (before it broke), and as such he tried to rewire it with some small electronic amp kits, to no avail, then tried putting the valves back in, with whatever “trial valves” he pulled from old salvaged TV sets “to try and get it working again”, only to HEAR those fudged tapes on his neighbours GOOD tape/player machine, where he could actually play and hear what he’d done when trying to solder various wires onto the heads, without knowing exactly what he was doing.

But as he by then knew, instinctively, that what he’d heard “was locked in there somewhere”. he spent those seven years finding and then using them – all contained as 100% of the originally recorded material – that he had then created as HEARD sounds, on those fudged tapes – away back in 1965.

THUS: Having discovered where those many multiples of ANALOGUE channels were hidden, he then used his own designed and hard wired, DEMUX Up-Mixer “to play all together” whatever channels he wished, around a cow-byre’s paddock “fence-line” where he’d strung as many salvaged speakers as he could find, (with all nine channels being supported in a circular fashion, and ONE on a high post in the middle of the paddock), such that he later used the same exact principle design to build multiple channel surround sound systems “for sale”, (manufactured inside his 1999 incorporated NZ Company, the one he initially created for his patented “360+ degrees” HINGE concept, being now our family’s company), thus we can reproduce these audio systems – with multiple channels, in any numbered order, from a mere 3 up to 25 & beyond.. as @DJQUIX4U had already calculated the maximums to be at least 16.44 MILLION channels that were existing “on each angular plane”, with over 64.77 million available to be found, on all FOUR planes of a TETRAHEDRON “triangle pyramid”, (being the smallest 3D volumetric shape, to be called a “volume” to be controlled, as a 2D 2ch system is ONLY comprising an area of sound, on ONE flat plane, and with the two channels ONLY being separated by that 120 degrees of mic positioning, during recording, the output ONLY can ever be described as an AREA of sound, with just 7.7% of the recorded content HEARD by a standard 2ch system).

However we can also intermix them all, in any manner that we decide upon, to create whatever effect we wish “to be heard”.

HOWEVER: On the original recording of this lengthy track (in it’s original stereo 2ch mode) it was named as:
“The Telegraph Road”.

UP ABOVE at the top of this page…

Being where you will now “hear”, the complete 100% originally recorded content, PLUS the extra harmonics of the TWO “different channel” feeds, that are playing OUT of the DUAL-MONO “outputs” (via your own PC’s, or smartphone’s, L&R speaker channels) of this – our reformatting and remastering work, that is now totally complete with multiple echoes of various instrumental sections, which gives this MUCH MORE than the full 100% of the original audio content – (thus extracted by reformatting from a standard 2channel left + right configuration), such that it was easily remastered in this fashion – as well as being slightly “rebalanced” by altering the loudness of the usual MONO at the front, (by lowering that amplified section), to allow the non-amplified “missing” section, to be heard in it’s fullness – by utilising a little known principle, that of playing BOTH the full front and the full back, as TWO completely different MONO tracks, extracted from that original piece, which when reassembled together & “played like this” (in a vertically altered 3rd dimension), these will recombine to produce a proper 3D spherical surround sound (inside one ‘s head) not only the normal tones and the harmonics of the two reformatted track versions, but as if a THIRD channel was included IMMEDIATELY BETWEEN those two – (as in somewhere between them – somewhere near the center itself, which is why we “put” that single speaker there – in the centre, which MAY or may not be, driven as a summated channel between the other two?).

And yet – (without the summation being amplified in the middle as a booster) … it “this extra harmonic effect” is ONLY heard inside the listener’s head, something that can be found to NOT actually exist “outside the speakers themselves” IF PLAYED without the other speaker’s MONO being present, easily heard by “deliberately” turning off one of these two MONO speaker feeds, or done by removing one headphone speaker (or the other) whilst it plays, which will instantly prove that the 3rd channel (in the centre or elsewhere, that you hear), DOES NOT EXIST, outside of your head – as it’s the way your brain “reassembles those two MONO sounds”, (which is where YOU hear all the other subtle musical positions, between the very front and the very back), with everything else being an illusion that your own brain creates “from the two MONO tracks” it hears with both ears, which funnily enough can also be heard by the tone deaf, in either ear, or by half deaf people (one deaf ear) – or the totally deaf by “watching the lights” in the ten way video’s he has on his 4 YouTube channels.. , (which means that these harmonics are thus, only heard deep inside your human brain, when just TWO speakers are used).

HOWEVER, by actually interconnecting those in-between channel speakers, to a FEEDER that we can DEMUX / Up-Mix into, we can manipulate EXACTLY where those sounds should emanate from, to provide a fullness not elsewhere able to be produced, as all DIGITAL “virtual surround sound systems” are precisely THAT – VIRTUAL, & thus = not real (ie: Not Natural)
ANALOGUE has always been the only NATURAL “anything” …

THIS is the alternate stereo effect “of” having all 100% content being provided by the FRONT channel’s 50% (as a singular MONO) – “but only if combined” with the BACK channel’s 50% (as the other singular MONO) – when all is fed into a single “floor” UNIT, positioned as a vertical stack array, however as time has gone along – it is something which thankfully, has also been found by us, to be just as effective in “any plane” – be that vertical (one original stereo speaker placed high up and immediately above the other lower speaker as in our single unit TOWER concept) – but also as inside your stereo headphones too, or wherever YOU position the two speakers YOU USE, be that at each end of a long hall, or away outside across a lawn or paddock, as we have done across many rows of trees by placing the vans’ speakers as far apart as possible (at the time), to recreate a LIVE performance effect, that could be heard not only across ONE orchard, but over a main road and across another orchard as well, where “it’s workers” heard a distinctive (all areas) montage of lively sounds and echoes that bounced off nearby hills, such that the hearing of these sounds, sent some of them “searching” for the source, being my van with it’s seemingly small 7.3+1 (ten channels with FOUR subs all played within a fifty meter stretch of cables, being several rows of trees) the analogue surround sound from inside, was LOUD ENOUGH for me “up on a Hydralada, (as I was using one, to prune fruit trees, that year).
Thus by using ten speakers (as we intended it to be heard in our Circle Disco back in the 1970’s and early 1980’s), I can still get as much sound as I need from anything ever recorded, on a “bog standard” 2ch stereo commercially released recording, however pressed in vinyl or bound inside a tape or as FILED in a PC’s .mp3 audio track system (all done easily by us, from our 1965 conceived “circular analogue” 9+1 multiple channel PLUS CENTRE CHANNEL, total “all-around©™” surround sound system’s DEMUX Up-Mix device, or devices), being the same as that which we played to the “general public” in our FREE Friday Night “youth disco & dance” events, held during the 1970’s to early 1980’s, to allow the youth of our day, somewhere to co-mingle without alcohol, with the best versions of the music of the day, being stuff they thought they knew, until hearing it OUR WAY, (the complete spherical CIRCLE DISCO way) as a standard “horizontal plane” & as a vertical plane and another, being the plane from Back2Front, being the full spherical sound of our third dimensional Analogue Surround Sound System, which when heard any which way, in an infinite plane configuration, whether or not the speakers are above and below the other, or beside each – or as far apart as your cables will allow, in any direction, where YOU the listener, can still get this extra 50% harmonic 3D 3phase sound occurring, where it has NEVER been heard before, “scattered” all around and along the path between one and the other speaker. Meaning that instead of simple frontal WIDTH of a commercially made 2ch. stereo recording (and the standard 2ch horizontal FRONTAL stereo’s 57.7% playback), you get a converted Back2Front version that provides MORE than the 100% we presumed it would, when it also provides for ALL of the pastel shades between any point (on a spherical shape) between absolute front, and absolute rear, unlike even the original artists thought when they produced their FINAL COMPOSITION themselves, or that their recording studio technicians told them had been finalised, (before being sent to pressings for vinyl or for public release by compact cassette tape or via CD’s/DVD’s and later by MP3 files from PC’s & via internet plays, but as the “piece” would sound LIKE, as none have ever heard of it – reproducing their sound recordings, in this 3D 3phased image
This – which is what @DJQUIX4U has done since 1965.

Please enjoy this, and know now, that ever since 2channel stereo was conceived and able to be recorded and replayed COMMERCIALLY – For Sale, the entire public audience has been CONNED into just hearing a meagre 57.7% of the 100% originally recorded content – that you are NOW hearing from these two “re-used” L/R speaker channels, that are (harmonically) producing far more content, than a mere 100% – when heard “together” (by being played “together”, simultaneously, as if ONE single speaker’s output).