DamianKastbauer

Excerpts from the vinyl record cover of THE WORLD OF HARRY PARTCH focused on marketing for the QUADROPHINIC format

Quadraphonic - the struggle and expense to convey the value proposition of “Columbia SQ QUADRAPHONIC” went all the way to marketing the technology as part of the music “package” 1/?

The SQ Quadraphonic Record: new, from the company that brought you the LP Inner sleeve image from THE WORLD IF HARRY PARTCH vinyl record - Front

A Record Collectors Guide to Quadrophonic Sound Inner sleeve image from THE WORLD IF HARRY PARTCH vinyl record - Back

Modulated Groove and Stylus Inner sleeve image from THE WORLD IF HARRY PARTCH vinyl record - Back

Left and Right Helical Modulations Inner sleeve image from THE WORLD IF HARRY PARTCH vinyl record - Back

If you made it this far, here’s a bonus: The entire inner sleeve is covered with diagrams and descriptions of Quadraphonic Sound

This thread is a clear case of what happens when you pick a record off the shelf on a Saturday morning and fall deep into historical parallels while the pounding sounds of marimbas and invented string instruments propel you through speculative conjunctions.

Ultimately, the people making decisions to embrace and adopt 3D Audio, while finding and creatively leveraging strengths of the format, ultimately determine its success. Just like the transition from Mono to Stereo.

Anyway, there’s some obviously willful naivety on my part as someone who hears the potential for 3D Audio to improve the way we experience sound as part of an interactive experience.

It’s not about selling (more) speakers in a room (although there ARE more speakers if you want/ can afford/ have room for them) it’s about trying to represent the worlds, spaces, and audio that already exists with precision in the experiences that are created.

With all of the major “platforms” providing 3D Audio (Spatial Audio) rendering, some even going as far to toggle it on by default (Apple), the adoption of 3D Audio isn’t in the hands of listeners (it’s already IN their ears) but in the content creators.

When it comes to the adoption of 3D Audio today, there’s one big difference. While Quad (and you could say 5.1/7.1/7.1.4) requires more speakers in a room, 3D Audio accommodates that while accommodating an “immersive” (positionally complex) mix to HEADPHONES. No new hardware required…

While “the ability to move elements of the program between any pair of speakers allows the utmost flexibility to artists, composers, and arrangers, and is passed on to the listener as a totally new experience”

…and now I feel the parallels to the current 3D Audio or Immersive Sound format push

Terminology continues on the back to impress listeners with science “a new double-helical modulation to encode” and simplicity “all-around-you presence of sound” of Quad

“This Columbia disc, when played through SQ QUADRAPHONIC systems, will provide the unique experience of fine QUADRAPHONIC separation and the “all-around" sound presence of four-channel listening…may also be played through any conventional stereo system as any other high fidelity stereo recording.”

The world of Harry Partch vinyl album cover - Front

The world of Harry Partch vinyl album cover - Back

QUADROPHONIC is boldly at the top of the front cover and text to describe (and prevent concerns of incompatibility!) at the bottom. Meanwhile the top of the back cover goes deep into the technology, before giving space to describe the actual music.

Excerpts from the vinyl record cover of THE WORLD OF HARRY PARTCH focused on marketing for the QUADROPHINIC format

Quadraphonic - the struggle and expense to convey the value proposition of “Columbia SQ QUADRAPHONIC” went all the way to marketing the technology as part of the music “package” 1/?

#GameAudioGDC

Excited to be able to share my talk on how I've been dealing with fatigue! It's by far my most personal talk ever 🫣 but I really wanted to share my experience in the hopes that it may help some others too 💚

I think this is something we should be talking about more so lmk if you relate 🫶

Welcome to the Fun House!

Approaching escape velocity: David Bowie - Ziggy Stardust, Neds Atomic Dustbin - Are You Normal?, Seefeel - Succour, Cosmic Tones Research - S/T, True Window A.H.A.S.T.H.A.F.T.C.T.T.C.O.T.E, Phantogram - Nightlife, Felt Out - Superfluid, Sleigh Bells - Reign of Terror

It's Friday, turn it UP! #LoudMusicSavesLives

The Hardcore Guide to Game Audio GDC 2026: What to do, hear and see when it comes to sound for games at GDC | A Sound Effect Game Audio Guru Damian Kastbauer gives you the ultimate guide to what to do, hear and see when it comes to sound for games at GDC 2026:

The Hardcore Guide to Game Audio #GDC2026 is available now at @asoundeffect.bsky.social! ✨

www.asoundeffect.com/gdc26/

Looking for details, insights, and a schedule of interesting audio things-to-do during this years Game Developers Conference? #GameAudioGDC #GameAudio #GameMusic

Audiokinetic at GDC 2026 This year, instead of Audiokinetic's usual spot on the GDC expo floor, we’re inviting you to join us at the AMC theatre!

GDC's just around the corner! 🗓️✨

We'll be back at the AMC Metreon with:
🎮 #Wwise developer presentations - Skywalker Sound, Cairn, Civ VII, haptics, and more!
📺 Private documentary screening
🎤 Karaoke!

All FREE to attend - no GDC pass required! Make sure you RSVP: hubs.ly/Q044XHxh0

#GameAudioGDC

You’re an adventurer and an audio advocate on the wild streets of San Francisco, where there’s safety in numbers (and a fair-share of dragons). It’s dangerous to go alone! Take this. I hope that there are some words and ideas to help you through the times ahead.

See you there!

You’ll need all your wits, a few maps, bag of holding, some gold (and likely a bit of magic) to get through. You’ll emerge having gained experience, witnessed wonders, and hopefully bent an ear, and had your ear bent, in the direction of all that’s good in the world of interactive audio.

Each year I attempt to frame the opportunities that exist in the biggest multiplayer game-of-game developers in the world.

A choose-your-own-adventure of: education, community, celebration, and camaraderie. There’s no wrong way to play, no points or high-scores.

The Hardcore Guide to Game Audio GDC 2026: What to do, hear and see when it comes to sound for games at GDC | A Sound Effect Game Audio Guru Damian Kastbauer gives you the ultimate guide to what to do, hear and see when it comes to sound for games at GDC 2026:

The Hardcore Guide to Game Audio #GDC2026 is available now at @asoundeffect.bsky.social! ✨

www.asoundeffect.com/gdc26/

Looking for details, insights, and a schedule of interesting audio things-to-do during this years Game Developers Conference? #GameAudioGDC #GameAudio #GameMusic

Sound is typically an afterthought because it’s misunderstood. It’s one of the most powerful tools in storytelling. It’s never too early to think about it. Make room at the table for your sound collaborators in pre production.

👇from Oscar winning sound designer, Randy Thom

Getting ready for GDC be like…👀

#iykyk #DucksOfGameAudio #GDC2026

#GameAudioGDC

Slug World 2026 Tuesday 3/10 Noon-Dark

A crowd in a park on a sunny day at Slug World 2025

Hey! Any folks attending GDC, with or without a ticket?

We're hosting a free event for devs from all walks, whether they work in games or adjacent to games.

It's just a quick BART ride from the Moscone Center!

Amazing! 🙏 I'll see your Cosmic Slop and raise you a Maggot Brain ✨ (I ALWAYS need more Melvins in my life!)

Amplitude Increased for the following: Bananarama - WOW!, Dead Kennedys - Collection, Elvis Costello - Armed Forces, Rhys Chatham + Nico Guerrero - Anthanor, Drop Nineteens - Fools, BEAK> - Live at Zebulon, Tara Clerkin Trio - S/T, Takashi Kokubo & Andrea Esperi - Music for Cosmic Garden