> Now, if it is BMX then it should be decodable in the same way I decode QS
(and SQ) as QS was based on RM
If it was from Calrec in 1974, it is more likely to be based on RM which
was based on QS (rather than the other way).
If the recording was made in a nice hall, you can hear the difference
between RM & UHJ (including the early 45J or the BBC Matrix H).
Set up your stereo monitoring speakers in the usual +/- 30 and use a
Greene/Lee neckbrace if required.
RM sounds like a Blumlein fig-8 @ 90 recording. The reverb should extend
nicely beyond the speakers and die away gently outside. In fact you could
consider RM an extension to Blumlein to get rid of the Front/Back
ambiguity.
UHJ in its various guises, heard in stereo, also has reverb extending
nicely beyond the speakers but the reverb will seem to cut off at a
definite point. eg as though you are listening through a wide doorway.
I have little experience of BMX on stereo.
Please make public this recording and scans of the cover and back of the
record sleeve.
The only person left who might have been involved at Calrec would be Ken
Ellis. I tried to contact him a few years ago to see if he still had
copies of the TEAC 3340 B-format tapes including some made at the Proms.
Anyone at Calrec now would have been a teen or even younger. eg Alan
Beaumont, Clem's son and Steve Farrar, Ken's son. They tell me Ken E is
still alive & appears from time to time.
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