I want to state up front that I have not heard the BSGT Qol. I, therefore, have no opinion one way or the other as to whether or not it improves the sound of any audio reproduction system.
I am responding to this forum topic since I am interested in the BSGT Qol system, and I am considering auditioning it.
However, it seems very strange to me that there is a lot of questioning and speculation in this forum about how the BSGT Qol works when the two patent applications for this technology are readily available for free at the U.S. Patent and Trademark Office website. The patent application numbers are 20110064230 and 20110158413.
The first patent application describes the method as follows:
"A first circuit is connected to the signal source and has an in-phase output therefrom coupled to one or more of the transducer voice coils, or mixer channels. A second circuit is connected to the signal source and produces an inverted phase output coupled to one or more of said plurality of voice coils, or mixer channels, to reproduce the discrete signal source through one or more transducers or mixer channels. The apparatus may have a reference signal circuit coupled to the discrete signal source for an in-phase reference signal and an anti-phase circuit coupled to the signal source for producing an out-of-phase signal output. Additionally a treble signal circuit is coupled to the discrete signal source and produces a phase layered treble signal output from the signal source while a bass signal circuit produces a phase layered bass signal from the signal source. An output circuit has the outputs from the reference signal circuit and the anti-phase signal circuit and from the treble signal circuit and from the bass signal circuit mixed to form a composite output signal. The treble and bass circuits may use a mixed left and right, dual mono, or multiple signal components of the discrete signal source. The anti-phase circuit mixes the left and right, dual mono, or multiple signal components of the signal source and has parallel circuit paths which invert the signals and then mixes the parallel path signals to form the anti-phase output. An audio reproduction process includes selecting a discrete signal source and using this signal to produce an in-phase reference signal and an anti-phase signal and a phase layered treble signal and a phase layered bass signal. Then mixing the reference signal with the anti-phase signal and the treble signal and the bass signal to form a composite output signal for driving a plurality of transducer voice coils, or mixer channels. From these modules, a substantially complete audio signal composite is formed." and "[0055] Phase layering uses a combination of inverted phase)(180.degree.) together with smaller sectional phase shifts, (e.g. 45.degree., 90.degree.) and so on, to establish a substantially whole signal that would otherwise be canceled using traditional in-phase and out-of-phase approaches. The result is a substantially complete audio signal that is whole, open, omni-directional, and multi-dimensional, having similar and like properties to the original sound event. Essentially, applying any number or mixture of these myriad techniques will produce a usable phase-layered signal. In essence, phase layering is a way of providing a substantially complete signal without canceling the in-phase signal. The use of a phase layered signal is to provide a continuity of phase relative information, or otherwise concealed information, as a modular component that layers in equally with the reference signal."
The second patent application describes the method as follows:
"[0038] Accordingly, the present invention is directed to a method and apparatus for an audio reproduction system that substantially obviates one or more of the problems due to limitations and disadvantages of the related art. As stated, the present invention applies to audio signals. This includes stereophonic signals as well as monophonic and multichannel signals. In accordance with one aspect of the invention, phase-layering is used to achieve a complete audio signal, as explained in the detailed description below. In accordance with another aspect of the invention, a complete audio signal is achieved by adjusting the gain for each of a pair of signals, such that the ratio approximates what is referred to herein as the golden ratio, where each pair of gain adjusted signals are then mixed to produce a corresponding audio output signal.
[0039] The golden ratio is, more specifically, a mathematical constant that is defined by two quantities, one larger quantity and one smaller quantity, where the ratio of the sum of the two quantities to the large quantity is equal to the ratio of the larger quantity to the smaller quantity. Numerically, the golden ratio equals one plus the square root of five divided by two which gives an irrational number that equals, approximately, 1.618. While the golden ratio has been used by artists and mathematicians in choosing proportions, and while the ratio is found in nature, it has never been applied to the mixing of audio signals in order to reveal otherwise hidden content buried in those signals."
I think it is clear from the descriptions in the patent applications that the signal magnitude and phase manipulations implemented by the BSGT Qol are inconsistent with high fidelity reproduction of the recorded audio signals. It may be true that the addition of multiple phase delayed versions of the recorded signals with particular magnitude ratios sounds more spacious and/or natural based on the hypothesis that this is what happens due to multiple reflections in natural reverberant environments. However, the phase delays and magnitude ratios described in the patent applications are not based on the specific natural environment of the recording, and are therefore, introducing artificial phase and magnitude variations to the recorded audio signal.
I think the debate in this forum comes down to the age-old, never-ending debate between high fidelity reproduction versus euphonic reproduction. This is a never ending debate since most of us do not have access to the recording events in order to compare the audio reproduction's fidelity to the original, and because what is euphonious (i.e., what sounds good) is in the ear-brain complex of the listener.
In this debate I am a centrist in that I want to start with high fidelity to the recorded signal, but I recognize the limitations of the current recording and reproduction technology in capturing and reproducing the natural "live" sound of instruments and voices in an acoustic environment, so that signal manipulation may be necessary to make the sound more realistic, natural, and alive without being harsh or fatiguing (which are my main criteria for euphonic sound).
It is good that BSGT lets one buy the Qol to try in one's system with a 30-day return policy so one can determine if it produces positive results for the listener that are worth its price to the listener.
On the other hand, given its fairly high price, I want to also try less expensive devices that make similar sonic improvement claims based on similar signal manipulations. In addition to devices mentioned in this forum, I am investigating the ambiophonics miniAMBIO 2.0 which retails for $150; the BBE sonic maximizer for $150 - $250 depending on model and where you buy it; and perhaps even an old Carver preamp/processor or receiver with "sonic holography" Note that the BBE and sonic holography devices date back to the 1980s or thereabouts, and received both accolades and vitriol from the audio community during their hey days. It is interesting that BBE is still in business and it seems to be selling mostly to the professional audio and musician community, but did not significantly impact consumer or audiophile audio equipment in the long run.
I am responding to this forum topic since I am interested in the BSGT Qol system, and I am considering auditioning it.
However, it seems very strange to me that there is a lot of questioning and speculation in this forum about how the BSGT Qol works when the two patent applications for this technology are readily available for free at the U.S. Patent and Trademark Office website. The patent application numbers are 20110064230 and 20110158413.
The first patent application describes the method as follows:
"A first circuit is connected to the signal source and has an in-phase output therefrom coupled to one or more of the transducer voice coils, or mixer channels. A second circuit is connected to the signal source and produces an inverted phase output coupled to one or more of said plurality of voice coils, or mixer channels, to reproduce the discrete signal source through one or more transducers or mixer channels. The apparatus may have a reference signal circuit coupled to the discrete signal source for an in-phase reference signal and an anti-phase circuit coupled to the signal source for producing an out-of-phase signal output. Additionally a treble signal circuit is coupled to the discrete signal source and produces a phase layered treble signal output from the signal source while a bass signal circuit produces a phase layered bass signal from the signal source. An output circuit has the outputs from the reference signal circuit and the anti-phase signal circuit and from the treble signal circuit and from the bass signal circuit mixed to form a composite output signal. The treble and bass circuits may use a mixed left and right, dual mono, or multiple signal components of the discrete signal source. The anti-phase circuit mixes the left and right, dual mono, or multiple signal components of the signal source and has parallel circuit paths which invert the signals and then mixes the parallel path signals to form the anti-phase output. An audio reproduction process includes selecting a discrete signal source and using this signal to produce an in-phase reference signal and an anti-phase signal and a phase layered treble signal and a phase layered bass signal. Then mixing the reference signal with the anti-phase signal and the treble signal and the bass signal to form a composite output signal for driving a plurality of transducer voice coils, or mixer channels. From these modules, a substantially complete audio signal composite is formed." and "[0055] Phase layering uses a combination of inverted phase)(180.degree.) together with smaller sectional phase shifts, (e.g. 45.degree., 90.degree.) and so on, to establish a substantially whole signal that would otherwise be canceled using traditional in-phase and out-of-phase approaches. The result is a substantially complete audio signal that is whole, open, omni-directional, and multi-dimensional, having similar and like properties to the original sound event. Essentially, applying any number or mixture of these myriad techniques will produce a usable phase-layered signal. In essence, phase layering is a way of providing a substantially complete signal without canceling the in-phase signal. The use of a phase layered signal is to provide a continuity of phase relative information, or otherwise concealed information, as a modular component that layers in equally with the reference signal."
The second patent application describes the method as follows:
"[0038] Accordingly, the present invention is directed to a method and apparatus for an audio reproduction system that substantially obviates one or more of the problems due to limitations and disadvantages of the related art. As stated, the present invention applies to audio signals. This includes stereophonic signals as well as monophonic and multichannel signals. In accordance with one aspect of the invention, phase-layering is used to achieve a complete audio signal, as explained in the detailed description below. In accordance with another aspect of the invention, a complete audio signal is achieved by adjusting the gain for each of a pair of signals, such that the ratio approximates what is referred to herein as the golden ratio, where each pair of gain adjusted signals are then mixed to produce a corresponding audio output signal.
[0039] The golden ratio is, more specifically, a mathematical constant that is defined by two quantities, one larger quantity and one smaller quantity, where the ratio of the sum of the two quantities to the large quantity is equal to the ratio of the larger quantity to the smaller quantity. Numerically, the golden ratio equals one plus the square root of five divided by two which gives an irrational number that equals, approximately, 1.618. While the golden ratio has been used by artists and mathematicians in choosing proportions, and while the ratio is found in nature, it has never been applied to the mixing of audio signals in order to reveal otherwise hidden content buried in those signals."
I think it is clear from the descriptions in the patent applications that the signal magnitude and phase manipulations implemented by the BSGT Qol are inconsistent with high fidelity reproduction of the recorded audio signals. It may be true that the addition of multiple phase delayed versions of the recorded signals with particular magnitude ratios sounds more spacious and/or natural based on the hypothesis that this is what happens due to multiple reflections in natural reverberant environments. However, the phase delays and magnitude ratios described in the patent applications are not based on the specific natural environment of the recording, and are therefore, introducing artificial phase and magnitude variations to the recorded audio signal.
I think the debate in this forum comes down to the age-old, never-ending debate between high fidelity reproduction versus euphonic reproduction. This is a never ending debate since most of us do not have access to the recording events in order to compare the audio reproduction's fidelity to the original, and because what is euphonious (i.e., what sounds good) is in the ear-brain complex of the listener.
In this debate I am a centrist in that I want to start with high fidelity to the recorded signal, but I recognize the limitations of the current recording and reproduction technology in capturing and reproducing the natural "live" sound of instruments and voices in an acoustic environment, so that signal manipulation may be necessary to make the sound more realistic, natural, and alive without being harsh or fatiguing (which are my main criteria for euphonic sound).
It is good that BSGT lets one buy the Qol to try in one's system with a 30-day return policy so one can determine if it produces positive results for the listener that are worth its price to the listener.
On the other hand, given its fairly high price, I want to also try less expensive devices that make similar sonic improvement claims based on similar signal manipulations. In addition to devices mentioned in this forum, I am investigating the ambiophonics miniAMBIO 2.0 which retails for $150; the BBE sonic maximizer for $150 - $250 depending on model and where you buy it; and perhaps even an old Carver preamp/processor or receiver with "sonic holography" Note that the BBE and sonic holography devices date back to the 1980s or thereabouts, and received both accolades and vitriol from the audio community during their hey days. It is interesting that BBE is still in business and it seems to be selling mostly to the professional audio and musician community, but did not significantly impact consumer or audiophile audio equipment in the long run.