B.B. KING - The Best of B.B. King [w/obi 4 CHANNEL RM SOUND] JAPAN EXCELLENT- LP

$

50

A1 Hummingbird Arranged By [Strings & Horns] – Jimmy Haskell* Backing Vocals – Clydie King, Merry Clayton, Sherlie Matthews, Venetta Fields Bass [Fender] – Bryan Garofalo Conductor – Leon Russell Drums – Russ Kunkel Guitar – Joe Walsh Piano – Leon Russell 4:33 A2 Cook County Jail Introduction 0:37 A3 How Blue Can You Get Bass [Fender] – Wilbert Freeman Drums – Sonny Freeman Piano – Ron Levy Saxophone [Alto] – Booker Walker Saxophone [Tenor] – Louis Hubert Trumpet – John Browning 5:08 A4 Caldonia Bass [Fender] – Klaus Voormann Clarinet – Bill Perkins Drums – Jim Gordon Harmonica – Duster Bennett Organ – Gary Wright Piano [Electric] – Rick Wright* Producer – Joe Zagarino Saxophone [Baritone] – Bill Perkins Saxophone [Tenor] – Bobby Keys Trombone – Chuck Findley Trumpet – Jim Price, Ollie Mitchell 3:18 A5 Sweet Sixteen Bass [Fender] – Wilbert Freeman Drums – Sonny Freeman Guitar – Mel Brown Piano – Ron Levy Saxophone [Alto] – Earl Turbinton Saxophone [Tenor] – Louis Hubert Trombone – Joe Burton* Trumpet – John Browning 7:04 B1 Ain't Nobody Home Arranged By [Horns] – Jim Price Backing Vocals – Carl Hall, Joshie Armstead*, Tasha Thomas Bass [Fender] – Klaus Voormann Drums – Jim Keltner Guitar – David Spinozza, John Uribe Organ – Gary Wright Piano – Jerry Ragovoy Producer – Joe Zagarino Saxophone – Bobby Keys Trombone – Jim Price Trumpet – Jim Price 3:37 B2 Why I Sing The Blues Bass [Fender] – Jerry Jemmott Drums – Herbie Lovelle Guitar – Hugh McCracken Piano – Paul Harris (2) 8:40 B3 The Thrill Is Gone Arranged By [Strings & Horns] – Bert DeCoteaux Bass [Fender] – Jerry Jemmott Drums – Herbie Lovelle Guitar – Hugh McCracken Organ – Paul Harris (2) Piano – Paul Harris (2) Piano [Electric] – Paul Harris (2) 5:28 B4 Nobody Loves Me But My Mother 3:05 Credits Producer – Bill Szymczyk (tracks: A1, A2, B2 to B4), Ed Michel (tracks: A1 to A5, B1 to B4) Vocals – B.B. King 

This appears to be a Quadraphonic pressing of some sort, but as we do not have a Quad system we are unable to verify this.  Below is the information from the internet about this specific '4 Channell RM Sound' system.

Quadraphonic Sound (originally called Quadphonic Synthesizer, and later referred to as RM or Regular Matrix)[1] was a matrix 4-channel quadraphonic soundsystem based on the same principles as laid down by Peter Scheiber, but developed by engineer Ryosuke Ito[2] of Sansui in the early 1970s. It was adopted by ABC, Advent, Bluesway, Candide, Command, Decca, Impulse, Longines, MCA, Pye, Turnabout and Vox record companies. It was freely licensed to record companies. The concept of Regular Matrix was often used a synonym to QS, but was actually a standard set by the Japanese governing body, which also embraced the QM and QX matrix systems. The QS matrix has been found to offer the advantages of excellent diagonal separation and stereo compatibility, and although the adjacent speaker separation is only 3 dB, this symmetrical distribution produces more stable quadraphonic images. The QS record track is as small as a conventional stereo track, so the maximum playing time is the same as conventional stereo records.

As early as 1969 engineer Peter Scheiber developed a matrix system very similar to QS.[3] He also was instrumental in many improvements to SQ (see above) quality, in collaboration with Martin Willcocks and Jim Fosgate. In the early 1970 Sansui introduce the Four Channel Synthesizer Decoder QS-1 and the QSE-1 Encoder based on the QS system in Japan and debuted export to the United States in March 1971. The channel separation was only 3 dB, but because of the human way of hearing it sounded relatively good. In 1973 Sansui introduced the QS Vario Matrix decoder with 20 dB separation in all directions. (The Vario Matrix decoder could also play SQ records on Phase Matrix mode with 6 dB separation. Later Sansui used front-rear logic on the SQ mode.) Two outboard decoders, the QSD-1 and QSD-2, as well as the QRX series of larger receiver-amplifiers, incorporated this matrix and up-conversion. Sansui's QS decoders also had good stereo-to-quad capabilities, wrapping the L-R panorama to LB-LF-RF-RB in a horseshoe topology. (The Vario Matrixdecoder could synthesize four channel sound with high separation - at least 12 dB.) The system was often called RM (Regular Matrix) when used on amplifiers or receivers by other trademarks than Sansui. Many Japanese trademarks like Pioneer or Kenwood had matrix decoders with two modes: - SQ and RM. JVC had two modes on their matrix decoder called Matrix 1 and Matrix 2. That decoder could play both SQ and QS records, but it was a simplified decoder. QS records could also be played on Marantz Vari-Matrix system. (European trademarks like Philips or Bang & Olofsen had only decoders for SQ or both SQ and CD-4 - but not QS.) QS records could give some quadraphonic effect, although far from accurate, when played on an SQ decoder. The QS matrix system was employed to create the five-channel Quintaphonic Sound system used for première engagements of the 1975 film Tommy. The left and right 35 mm magnetic soundtracks were QS-encoded to create four channels around the cinema audience, while the centre mag track was assigned to the speaker behind the screen. The mag FX track was unused. This channel layout came close (5.0) to the now common 5.1 surround sound layout. Usage[edit] QS Encoding Matrix Left Front Right Front Left Back Right Back Left Total 0.92 0.38 j0.92 j0.38 Right Total 0.38 0.92 -j0.38 -j0.92 j = + 90° phase-shift When played on a conventional two channel stereo equipment, the front channels are narrower than ordinary two channels because of the low separation. But the rear channels are heard from points outside the ordinary stereo spectrum. So the QS record gives a totally broader stereo picture than conventional two channel stereo. The point behind the listener is out of phase when played in two channel stereo and extinct in one channel mono listening. In mono the volumes of left and right points behind the listener is reduced with only 3 dB (in SQ 6 dB). (Source: Kjell Stensson: 4-kanalstekniken ännu i startgroparna, in Stereo Hi Fi Handboken 74, Svenska HiFi Institutet 1973, page 30).

Toshiba's high sound quality standard "PTS - DX - CLEAR SOUND SX - 68 (PTS - ? method)" affixed to the jacket. (Note that "PTS - DX - CLEAR SOUND SX - 68 (PTS - II system)" is a technology that Toshiba was using in 1971-72 , this effect is a clear sound with little distortion, The thing that the omission of the high region also improves.

JAPAN STEREO '4 CHANNEL RM SOUND PTS-DX CLEAR SOUND SX-68' PRESSING  VINYL ALBUM IN GATEFOLD SLEEVE WITH BOOKLET, OBI AND ORIGINAL ANTI-STATIC INNER SLEEVE.

MATRIX:  SIDE A:  ABCX-767-AQ 1S 3C /  SIDE B:  ABCX-767-BQ 1S .

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER, EDGE AND RING WEAR.  OBI, BOOKLET AND INNER SLEEVE VERY GOOD+ WITH NO SEAM SPLITS.

DISC[S]: EXCELLENT. NO MARKS OR SCRATCHES. CLEAN LABELS.

 
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