Stereophonic sound

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all-in-one boombox units and the like, are incapable of recreating a realistic stereo image. Originally, in the late 1950s and 1960s, stereophonic sound was marketed as seeming "richer" or "fuller-sounding" than monophonic sound, but these sorts of claims were and are highly subjective, and again, dependent on the equipment used to reproduce the sound. In fact, poorly recorded or reproduced stereophonic sound can sound far worse than well-done monophonic sound. Nevertheless, many record companies released stereo "demonstration" records to help promote stereo. These records often included instructions for setting up a stereo system, 'balancing' the speakers, and a variety of ambient recordings to show off the stereo effect. When playing back stereo recordings, the best results are obtained by using two identical speakers, in front of and equidistant from the listener, with the listener located on a center line between the two speakers. In effect, an

2316: 512: 693:) was developed. As in the Carnegie Hall demonstrations six months earlier, Fantasound used a separate film containing four optical soundtracks. Three of the tracks were used to carry left, center and right audio, while the fourth track carried three tones which individually controlled the volume level of the other three. The film was not initially a financial success, however, after two months of road-show exhibition in selected cities, its soundtrack was remixed into mono sound for general release. It was not until its 1956 re-release that stereo sound was restored to the film. 169: 2452: 1218: 51: 295: 1320:

rumble – but only in the lateral plane. So, even though with all other factors being equal, the vertical plane of recording on disc had the higher fidelity, it was decided to record vertically to produce higher-fidelity recordings on these new materials, for two reasons, the increase in fidelity by avoiding the lateral rumble and to create incompatibility with home phonographs which, with their lateral-only playback systems, would only produce silence from a vertically modulated disc.

2348:"45/45" single-groove system. Whereas the stylus moves horizontally when reproducing a monophonic disk recording, on stereo records, the stylus moves vertically as well as horizontally. One could envision a system in which the left channel was recorded laterally, as on a monophonic recording, with the right channel information recorded with a "hill and dale" vertical motion; such systems were proposed but not adopted due to their incompatibility with existing phono pickup designs (see below). 59: 1789:. It had a high level of channel separation and could even be used to broadcast two separate mono signals – for example for language studies (with two languages at the same time). But tuners and receivers with the pilot-tone system were sold so people in southern Sweden could listen to, for example, Danish radio. At last Sweden (the Televerket) decided to start broadcasting in stereo according to the pilot-tone system in 1977. 1243: 1111: 707: 294: 2194:

techniques use a spacing of at least 17 cm or more. 17 cm roughly equals the human ear distance and therefore provides the same interaural time difference (ITD) or more, depending on the spacing between microphones. Although the recorded signals are generally intended for playback over stereo loudspeakers, reproduction over headphones can provide remarkably good results, depending on the microphone arrangement.

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coupled with the lack of vertical compliance of the mono cartridges available in the first ten years of stereo. These factors would result in the stylus 'digging into' the stereo vinyl and carving up the stereo portion of the groove, destroying it for subsequent playback on stereo cartridges. This is why one often notices the banner PLAY ONLY WITH STEREO CARTRIDGE AND STYLUS on stereo vinyl issued between 1958 and 1964.

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capable of counter-clockwise as well as conventional clockwise recording. Each master was run separately through the plating process, lined up to match, and subsequently mounted in a press. The dual-sided stereo disc was then played vertically, first in a system that featured two tonearms on the same post facing one another. The system had trouble keeping the two tonearms in their respective synchronous revolutions.

2083:(24 in), the time delay (time-of-arrival difference) for a signal reaching the first microphone and then the other one from the side is approximately 1.5 ms (1 to 2 ms). If you increase the distance between the microphones, you effectively decrease the pickup angle. At a 70 cm (28 in) distance, it is approximately equivalent to the pickup angle of the near-coincident ORTF setup. 2145: 2839: 2120: 2095: 2075: 1369:

Century. In this system all the low-frequency rumble was in the left channel and all the high-frequency distortion was in the right channel. Over a quarter of a century later, it was decided to tilt the recording head 45 degrees off to the right side so that both the low-frequency rumble and high-frequency distortion were shared equally by both channels, producing the 45/45 system we know today.

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monophonic system since a stereo system contains two preamplifiers, two amplifiers, and two speaker systems. In addition, the user would need an FM stereo tuner, to upgrade any tape recorder to a stereo model, and to have their phonograph fitted with a stereo cartridge. In the early days, it was not clear whether consumers would think the sound was so much better as to be worth twice the price.

1663: – with 5XX transmitting nationally the right channel, and local BBC stations broadcasting the left channel on mediumwave. The BBC repeated the experiment in 1926, using 2LO in London and 5XX at Daventry. On June 12, 1946 a similar experimental broadcast using two stations was conducted in Holland, which was mistakenly thought to be the first in Europe and possibly the world. 2496:). The end product using this process often bears little or no resemblance to the actual physical and spatial relationship of the musicians at the time of the original performance; indeed, it is not uncommon for different tracks of the same song to be recorded at different times (and even in different studios) and then mixed into a final two-channel recording for commercial release. 1338:

2.7 mils (69 μm), the disc size was increased from 12 inches (30 cm) to the same 16 inches (41 cm) as those used in early talking pictures in order to create further incompatibility. Now, not only could the records not be played on home equipment due to incompatible recording format and speed, they would not even fit on the player, which suited the copyright holders.

1731: 1566:, another small label, produced its own stereophonic demonstration disc on multicolored vinyl so that stereo dealers would have more than one choice for demonstration. With the supplied special turntables featuring a clear platter lighted from underneath to show off the color as well as the sound, the stunt worked even better for Bel Canto, whose roster of jazz, easy listening and 447:, which used an enormous array of microphones hung in a line across the front of an orchestra. Up to 80 microphones were used, and each fed a corresponding loudspeaker, placed in an identical position, in a separate listening room. Several stereophonic test recordings, using two microphones connected to two styli cutting two separate grooves on the same wax disc, were made with 2295:

loudspeaker systems (rather than headphones), each ear, of course, hears sound from both speakers. The audio engineer may, and often does, use more than two microphones (sometimes many more) and may mix them down to two tracks in ways that exaggerate the separation of the instruments, in order to compensate for the mixture that occurs when listening via speakers.

999:. Essentially, although Todd-AO was also available to others, the format became Fox's premier origination and presentation apparatus, replacing the CinemaScope 55 mm system. Current DVDs of the two CinemaScope feature titles were transferred from the original 55 mm negatives, often including the separate 35 mm films as extras for comparison. 1524:

three times the cost of monaural recordings, which retailed for around $ 2.95 to $ 3.95 apiece for a standard monaural LP. Even two-track monaural tape which had to be flipped over halfway through and carried exactly the same information as the monaural LP – but without the crackles and pops – were being sold for $ 6.95.

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results in loss of separation, instead used the left center and right center channels for LFE (low-frequency enhancement) utilizing the bass units of the otherwise redundant intermediate front speakers, and later the unused HF capacity of these channels to provide for stereo surround in place of the mono surround.

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Due to the lack of differences in time-of-arrival/phase ambiguities, the sonic characteristic of X-Y recordings has less sense of space and depth when compared to recordings employing an A-B setup. When two figure-eight microphones are used, facing ±45° with respect to the sound source, the X-Y setup is called a

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various elements; this left noticeable and unsatisfactory artifacts in the sound, typically sounding "phasey". However, as multichannel recording became increasingly available, it has become progressively easier to master or remaster more plausible stereo recordings out of the archived multitrack master tapes.

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featured railroad and other sound effects designed to engage and envelop the listener. This demonstration disc was introduced to the public on December 13, 1957 at the Times Auditorium in New York City. Only 500 copies of this initial demonstration record were pressed and three days later, Frey advertised in

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is formed, with the angle between the two speakers around 60 degrees as seen from the listener's point of view. Many higher quality multichannel (two-channel and beyond) speaker systems, then and now, include detailed instructions specifying the ideal angles and distances between the speakers and the

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Descriptions of stereophonic sound tend to stress the ability to localize the position of each instrument in space, but this would only be true in a carefully engineered and installed system, where speaker placement and room acoustics are taken into account. In reality, many playback systems, such as

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label released the first mass-produced stereophonic disc. Sidney Frey, founder and president, had Westrex engineers, owners of one of the two rival stereo disk-cutting systems, cut a disk for release before any of the major record labels could do so. Side 1 featured the Dukes of Dixieland, and Side 2

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had been recording in a side-to-side (lateral) format since shortly thereafter. Each format developed on its own trajectory until the late 1920s when electric recording on disc, utilizing a microphone, surpassed acoustic recording which required a loud performance into what amounted to a megaphone in

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was often used to synthesize Left Center and Right Center from a combination of Left and Center and Right and Center, respectively, or, for effects, the effect could be "panned" anywhere across the five stage speakers using a one-in/five-out pan pot. Dolby, who did not approve of this practice, which

797:, utilized seven discrete sound tracks on full-coat magnetic 35 mm film. The system featured five main channels behind the screen, two surround channels in the rear of the theater, plus a sync track to interlock the four machines, which were specially outfitted with aircraft servo-motors made by 2821:

Blumlein lodged the patent for 'binaural sound', in 1931, in a paper which patented stereo records, stereo films and also surround sound. He and his colleagues then made a series of experimental recordings and films to demonstrate the technology, and see if there was any commercial interest from the

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groove. The Westrex system provided for the polarity of one channel to be inverted: this way large groove displacement would occur in the horizontal plane and not in the vertical one. The latter would require large up-and-down excursions and would encourage cartridge skipping during loud passages.

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of the Nederlandse Omroep Stichting (Dutch Broadcasting Organisation), the total angle between microphones is 90° and the distance is 30 cm, thus capturing time-of-arrival stereo information as well as level information. It is noteworthy that all spaced microphone arrays and all near-coincident

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in New Haven, Connecticut, which was temporarily authorized to concurrently operate a second transmitter. Left and right audio was distributed to the two transmitters by dual microphones, placed about 7 inches (18 cm) apart in order to mimic the distance between a person's ears. Doolittle ended

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At that time, AM radio had been around for roughly a decade, and broadcasters were looking for better materials from which to make phonograph records as well as a better format in which to record them to play over the narrow and thus inherently noisy radio channel. As radio had been playing the same

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was released on September 30, 1952. The format was a widescreen process featuring three separate 35 mm motion picture films plus a separate sound film running in synchronization with one another at 26 fps, adding one picture panel each to the viewer's left and right at 45-degree angles, in

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on April 9 and 10, 1940, used three huge speaker systems. Synchronization was achieved by making the recordings in the form of three motion picture soundtracks recorded on a single piece of film with a fourth track being used to regulate volume expansion. This was necessary due to the limitations of

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in the late summer of 1931. His earliest notes on the subject are dated 25 September 1931, and his patent had the title "Improvements in and relating to Sound-transmission, Sound-recording and Sound-reproducing Systems". The application was dated 14 December 1931, and was accepted on 14 June 1933 as

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invariably only had a single set of speakers – which could lead to the somewhat disconcerting effect of the actor being on one side of the screen whilst his voice appeared to come from the other. Blumlein declared to his wife that he had found a way to make the sound follow the actor

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Grammy pulse – Volumes 2 à 3 – Page vi National Academy of Recording Arts and Sciences (U.S.) – 1984 "After all, stereo sound was developed in 1931, but it took until 1958 for the first stereo LPs to be sold. Keeping in mind corporate and bureaucratic red tape, we could easily be in for a long haul

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In the Westrex system, each channel drives the cutting head at a 45-degree angle to the vertical. During playback, the combined signal is sensed by a left-channel coil mounted diagonally opposite the inner side of the groove and a right-channel coil mounted diagonally opposite the outer side of the

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in Pittsburgh, Pennsylvania during July and August 1960. In April 1961 the FCC adopted stereophonic FM technical standards, largely based on a Zenith-General Electric proposal, with licensed regular stereophonic FM radio broadcasting set to begin in the United States on June 1, 1961. At midnight in

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began recording sessions in stereo in mid-1954, and by that time even smaller labels in the U.S. such as Concertapes, Bel Canto and Westminster along with major labels such as RCA Victor began releasing stereophonic recordings on two-track prerecorded reel-to-reel magnetic tape, priced at twice or

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process; but soon afterward, the demand for such recordings and the equipment to play them grew, and Cook's company, Cook Records, began to produce such records commercially. Cook recorded a vast array of sounds, ranging from railroad sounds to thunderstorms. By 1953, Cook had a catalog of about 25

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Every one who has been fortunate enough to hear the telephones at the Palais de l'Industrie has remarked that, in listening with both ears at the two telephones, the sound takes a special character of relief and localization which a single receiver cannot produce... This phenomenon is very curious,

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would be. The recording is then played back through headphones, so that each channel is presented independently, without mixing or crosstalk. Thus, each of the listener's eardrums is driven with a replica of the auditory signal it would have experienced at the recording location. The result is an

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are at the same place, typically pointing at an angle between 90° and 135° to each other. The stereo effect is achieved through differences in sound pressure level between two microphones. A difference in levels of 18 dB (16 to 20 dB) is needed for hearing the direction of a loudspeaker.

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It was eventually determined that the bandwidth assigned to individual FM stations was sufficient to support stereo transmissions from a single transmitter. In the United States, the FCC oversaw comparison tests, conducted by the National Stereophonic Radio Committee, of six proposed FM standards.

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on the market capable of playing it. After the release of other demonstration discs and the respective libraries from which they were culled, the other spur to the popularity of stereo discs was the reduction in price of a stereo cartridge, for playing the discs–from $ 250 to $ 29.95 in June 1958.

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RPM recording had been perfected for the movies in 1927, the speed of radio program transcriptions was reduced to match, once again to inhibit playback of the discs on normal home consumer equipment. Even though the stylus size remained the same as consumer records at either 3 mils (76 μm) or

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started using three tracks instead of one to record the musical selections of movie soundtracks, and very quickly upgraded to four. One track was used for dialogue, two for music, and one for sound effects. The very first two-track recording MGM made (although released in mono) was "It Never Rains

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techniques, which artificially separate signals into several tracks. The individual tracks (of which there may be hundreds) are then "mixed down" into a two-channel recording. The audio engineers determine where each track will be placed in the stereo "image", by using various techniques that may

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Even though a monophonic cartridge will technically reproduce an equal blend of the left and right channels, instead of reproducing only one channel, this was not recommended in the early days of stereo due to the larger stylus (1.0 mil or 25 micrometres vs. 0.7 mils or 18 micrometres for stereo)

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The left and right channels are produced through a simple matrix: Left = Mid + Side; Right = Mid − Side (the polarity-reversed side signal). This configuration produces a completely mono-compatible signal and, if the Mid and Side signals are recorded (rather than the matrixed Left and Right), the

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Five years later, Bell Labs was experimenting with a two-channel lateral-vertical system, where the left channel was recorded laterally and the right channel was recorded vertically, still utilizing a standard 3-mil 78-RPM groove, over three times larger than the modern LP stylus of the late 20th

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An experimental format in the 1920s split the signal into two parts, bass and treble, and recording the treble on its own track near the edge of the disc in a lateral format minimizing high-frequency distortion, and recording the bass on its own track in a vertical fashion to minimize rumble. The

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was created by the same company in order to use a larger form of the system (55 mm instead of 35 mm) to allow for greater image clarity onscreen, and was supposed to have had 6-track stereo instead of four. However, because the film needed a new, specially designed projector, the system

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in London using his vertical-lateral technique. Much of the development work on this system for cinematic use did not reach completion until 1935. In Blumlein's short test films (most notably, "Trains at Hayes Station", which lasts 5 minutes 11 seconds, and, "The Walking & Talking Film"), his

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In the 1960s, it was common practice to generate stereo versions of music from monophonic master tapes, which were normally marked "electronically reprocessed" or "electronically enhanced" stereo on track listings. These were generated by a variety of processing techniques to try to separate out

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Conversely, and with the benefit of no damage to any type of disc even from the beginning, a stereo cartridge reproduces the lateral grooves of monophonic recording equally through both channels, rather than through one channel. Also, it gives a more balanced sound, because the two channels have

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The combined stylus motion is, in terms of the vector, the sum and difference of the two stereo channels. Effectively, all horizontal stylus motion conveys the L+R sum signal, and vertical stylus motion carries the L−R difference signal. The advantages of the 45/45 system are that it has greater

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Another failed experiment in the late 1920s and early '30s involved recording the left channel on one side of the disc and recording the right channel on the other side of the disc. These were manufactured on twin film-company recording lathes which ran in perfect sync with one another, and were

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Blumlein began binaural experiments as early as 1933, and the first stereo discs were cut later the same year, twenty-five years before that method became the standard for stereo phonograph discs. These discs used the two walls of the groove at right angles in order to carry the two channels. In

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There have been cases in which two recording lathes (for the sake of producing two simultaneous masters) were fed from two separate microphones; when both masters survive, modern engineers have been able to synchronize them to produce stereo recordings from a time before intentional stereophonic

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The special pseudo-stereo circuit – invented by Kishii and Noro, from Japan – was patented in the United States in 2003, with already previously issued patents for similar devices. Artificial stereo techniques have been used to improve the listening experience of

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reported, "What has prompted the industry to embark on establishing high-fidelity standards now, according to engineering executives involved in the project, is chiefly the rapid march of the new television technologies, especially those that are challenging broadcast television, such as the

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Numerous early two-track-stereo reel-to-reel tapes as well as several experimental stereo disc formats of the early 1950s branded themselves as binaural, however they were merely different incarnations of the above-described stereo or two-track mono recording methods (lead vocal or instrument

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that would have been experienced by the listener had he or she been in the same place as the model head. Because of the inconvenience of wearing headphones, true binaural recordings have remained laboratory and audiophile curiosities. However "loudspeaker-binaural" listening is possible with

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The development of acetate, bakelite, and vinyl, and the production of radio broadcast transcriptions helped to solve this. Once these considerably quieter compounds were developed, it was discovered that the rubber-idler-wheel-driven turntables of the period had a great deal of low-frequency

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The progress of stereophonic sound was paced by the technical difficulties of recording and reproducing two or more channels in synchronization with one another and by the economic and marketing issues of introducing new audio media and equipment. A stereo system cost up to twice as much as a

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Stereophonic sound attempts to create an illusion of location for various sound sources (voices, instruments, etc.) within the original recording. The recording engineer's goal is usually to create a stereo "image" with localization information. When a stereophonic recording is heard through

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This uses two parallel omnidirectional microphones some distance apart, capturing time-of-arrival stereo information as well as some level (amplitude) difference information – especially if employed in close proximity to the sound source(s). At a distance of about 60 cm

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in Washington, D.C. over multiple Class A telephone lines. Leopold Stokowski, normally the orchestra's conductor, was present in Constitution Hall to control the sound mix. Five years later, the same system would be expanded onto multichannel film recording and used from the concert hall in

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are placed in strategically chosen locations relative to the sound source, with both recording simultaneously. The two recorded channels will be similar, but each will have distinct time-of-arrival and sound-pressure-level information. During playback, the listener's brain uses those subtle

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between 1974 and around 1990. The first such transmission was in 1974 when the BBC broadcast a recording of Van Morrison's London Rainbow Concert simultaneously on BBC2 TV and Radio 2. After that it was used for many other music programmes, live and recorded, including the annual BBC

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Each groove needed its own monophonic needle and cartridge on its own branch of the tonearm, and each needle was connected to a separate amplifier and speaker. This setup was intended to demonstrate Cook's cutter heads at a New York audio fair. It was not intended to promote the

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reproducers were completed and delivered by Century and Ampex, respectively, and 55 mm release print sound equipment was delivered by Western Electric. Several samples of 55 mm sound prints can be found in the Sponable Collection at the Film and Television Archives at

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recordings are a notable exception. They are more likely to be recorded without having tracks dubbed in later as in pop recordings, so that the actual physical and spatial relationship of the musicians at the time of the original performance can be preserved on the recording.

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Following experimental FM stereo transmissions in the London area in 1958 and regular Saturday morning demonstration transmissions using TV sound and medium wave (AM) radio to provide the two channels, the first regular BBC transmissions using an FM stereo signal began on the

209:) sound is reproduced over multiple loudspeakers. By varying the relative amplitude of the signal sent to each speaker, an artificial direction (relative to the listener) can be suggested. The control which is used to vary this relative amplitude of the signal is known as a 1179:

to 70 mm so that they could be shown on a giant screen with six-track stereophonic sound. Unfortunately however, many of these presentations were only pseudo stereo, utilizing a somewhat artificial six-track panning method. A process known somewhat derogatorily as the

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record out of it. This consisted of two separate channels cut into two separate groups of grooves running next to each other, one running from the edge of the disc to halfway through and the other starting at the halfway point and ending up towards the label. He used two

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the experiments primarily because a lack of available frequencies on the congested AM broadcast band which meant that it was not practical for stations to occupy two frequencies, plus it was cumbersome and expensive for listeners to operate two radio receivers.

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matrixing technology licensed to Dolby Labs from Sansui, this system can produce the same left, center, right and surround sound of the original CinemaScope system of 1953 by using a single standard-width optical track. This important development, marketed as

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release prints, and productions shot in either 65 mm or to save money, in 35 mm and then blown up to 70 mm. In these instances, the 70 mm prints would be mixed for stereo, while the 35 mm reduction prints would be remixed for mono.

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The term "binaural" that Cook used should not be confused with the modern use of the word, where "binaural" is an inner-ear recording using small microphones placed in the ear. Cook used conventional microphones, but used the same word, "binaural", that

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For analog TV (PAL and NTSC), various modulation schemes are used in different parts of the world to broadcast more than one sound channel. These are sometimes used to provide two mono sound channels that are in different languages, rather than stereo.

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and produced by Warner Bros. Unlike the 4-track mag release-print stereo films of the period which featured four thin strips of magnetic material running down the length of the film, inside and outside the sprocket holes, the sound system developed for

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Japanese television began multiplex (stereo) sound broadcasts in 1978, and regular transmissions with stereo sound came in 1982. By 1984, about 12% of the programming, or about 14 or 15 hours per station per week, made use of the multiplex technology.

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The advent of multitrack magnetic tape and film recording of this nature made high-fidelity synchronized multichannel recording more technically straightforward, though costly. By the early 1950s, all of the major studios were recording on 35 mm

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After this disappointing experience with their proprietary CinemaScope 55 mm system, Fox purchased the Todd-AO system and re-engineered it into a more modern 24 fps system with brand-new 65 mm self-blimped production cameras

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that he would send a free copy to anyone in the industry who wrote to him on company letterhead. The move generated such a great deal of publicity that early stereo phonograph dealers were forced to demonstrate on Audio Fidelity Records.

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directed the construction of a sound stage equipped for multichannel recording for 20th Century Fox studios. Several soundtracks from this era still exist in their multichannel elements, some of which have been released on DVD, including

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Additionally, surface noise tends to be picked up in a greater capacity in the vertical channel, therefore a mono record played on a stereo system can be in worse shape than the same record in stereo and still be enjoyable. (See

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Most multichannel recordings are stereo recordings only in the sense that they are stereo "mixes" consisting of a collection of mono and/or true stereo recordings. Modern popular music, in particular, is usually recorded using

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The revived dual transmitter tests were of limited success, because they still required two receivers, and with AM-FM pairings the sound quality of the AM transmissions was generally significantly inferior to the FM signals.

3625: 1814:, which allows the transmission of stereo sound on AM stations; HD Radio's lack of compatibility with C-QUAM along with other interference issues has hindered HD Radio's use on the AM dial. For Digital Audio Broadcasting, 3261: 1818:

audio streams are used. DAB is one of the Digital Radio formats that is used to broadcast Digital Audio over terrestrial broadcast networks or satellite networks. DAB is extended to video, and the new format is called

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In the US, stereo magnetic tape recording was demonstrated on standard 1/4-inch tape for the first time in 1952, using two sets of recording and playback heads, upside-down and offset from one another. A year later,

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Beginning in 1957, films recorded in stereo (except for those shown in Cinerama or Todd-AO) carried an alternate mono track for theatres not ready or willing to re-equip for stereo. From then until about 1975, when

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This coincident technique employs a bidirectional microphone facing sideways and another microphone at an angle of 90°, facing the sound source. The second microphone is generally a variety of cardioid, although

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For AM broadcasting very few stations transmit in stereo, in part due to the limited audio quality of the majority of receivers, and the scarcity of AM stereo receivers. Various modulation schemes are used for

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it approximates to the theory of binauricular audition, and has never been applied, we believe, before to produce this remarkable illusion to which may almost be given the name of auditive perspective.

850:. Unfortunately, as of 2012, the stereo magnetic tracks to both these films are considered lost forever. In addition, a large percentage of 3-D films carried variations on three-track magnetic sound: 54:

How stereophonic sound systems work. The main diagram shows a simplified situation in nature. The inset shows the electronic simulation. Notably, such electronic systems require more than one speaker.

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equal fidelity as opposed to providing one higher-fidelity laterally recorded channel and one lower-fidelity vertically recorded channel. Overall, this approach may give higher fidelity, because the

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1952 saw a renewed interest in the United States in stereo broadcasting, still using two stations for the two channels, in part in reaction to the development of two-channel tape recordings. The

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a reproducing means.) EMI cut the first stereo test discs using this system in 1933, but it was not applied commercially until a quarter of a century later, and by another company entirely (

1627:) radio used two separate transmissions to individually send the left and right audio channels, which required listeners to operate two receivers in order to hear the stereo effect. In 1924 835:, dubbed WarnerPhonic, was a combination of a 35 mm fully coated magnetic film that contained the audio tracks for left, center and right speakers, interlocked with the two dual-strip 2459:

In common usage, a "stereo" is a two-channel sound reproduction system, and a "stereo recording" is a two-channel recording. This is cause for much confusion, since five (or more)-channel

2222:) or, more recently, a combination of hardware and software. Multitrack Studio, from Bremmers Audio Design (The Netherlands), uses special filters to achieve a pseudo-stereo effect: the 995:

BFC ... "Blimped Fox Camera") and brand-new 65 mm MOS cameras (Mitchell FC ... "Fox Camera") and brand-new Super Baltar lenses in a wide variety of focal lengths, first employed on

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rule limited station owners to one AM station per market. But many station owners now had access to a co-owned FM station, and most of these tests paired AM and FM stations. On May 18

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was issued U.S. patent 1,513,973 for the use of dual radio transmissions to create stereo reception. That same year Doolittle began a year-long series of test transmissions, using his

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specification includes two channels by default, and so a mono recording on CD either has one empty channel, or else the same signal being relayed to both channels simultaneously.

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Company), and dubbed StereoDisk. Stereo sound provides a more natural listening experience, since the spatial location of the source of a sound is (at least in part) reproduced.

3690: 3257: 1381:(1913–2002), who already had become famous by designing new feedback disk-cutter heads to improve sound from tape to vinyl, took the two-channel high-fidelity system described 366:, who patented stereo records, stereo films, and also surround sound. In early 1931, Blumlein and his wife were at a local cinema. The sound reproduction systems of the early 1643:

In 1925 it was reported that additional experimental stereo transmissions had been conducted in Berlin, again with two mediumwave transmissions. In December of that year the

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The speakers produced sound levels of up to 100 decibels, and the demonstration held the audience "spellbound, and at times not a little terrified", according to one report.

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began experimenting with multichannel sound in the early 1930s as noted above. The first commercial motion picture to be exhibited with stereophonic sound was Walt Disney's

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dynamic range on optical motion picture film of the period, however, the volume compression and expansion were not fully automatic, but were designed to allow manual studio

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circuit, which aimed to preserve the directional effect when sound from a spaced pair of microphones was reproduced via stereo headphones instead of a pair of loudspeakers;

1080:, and was no more expensive to manufacture in stereo than it was for mono. The format employs the same Western Electric/Westrex/Nuoptix RA-1231 recorder, and coupled with 3613:, April 25, 1925, pages 867–870. The transmitting wavelengths of 268 and 227 meters correspond to frequencies of 1120 (WPAJ's normal frequency) and 1320 kHz respectively. 2710: 2688: 2242:

monophonic recordings or to make them more "saleable" in today's market, where people expect stereo. Some critics have expressed concern about the use of these methods.

928:

system featured only a monaural track, but through subaudible tones, it could change the direction of the sound to come from the left, right or both directions at once.

595:

in New York City gave a demonstration of two-channel stereophonic motion pictures, developed by Bell Labs and Electrical Research Products, Inc. Once again, conductor

3622: 2403:

by the inventor as was a requirement for patenting in the U.S. and elsewhere at that time. (Blumlein was killed in a plane crash while testing radar equipment during

3602: 1527:

Stereophonic sound came to at least a select few living rooms of the mid-1950s. Stereo recording became widespread in the music business by the 3rd quarter of 1957.

3990: 3836: 2665: 1597:

Although both monaural as well as stereo LP records were manufactured for the first ten years of stereo on disc, the major record labels issued their last monaural

3560: 2185: 1894:, in which the audio portion of the show was carried over a local FM stereo station. In the 1960s and 1970s, these shows were usually manually synchronized with a 4335: 3713: 1902:

delivery of both television and radio programs made this fairly tedious process of synchronization unnecessary. One of the last of these simulcast programs was

3924: 2172: 2156: 839:

system projectors, one of which carried a mono optical surround track and one that carried a mono backup track use in the event anything should go wrong.

2871: 1563: 3766: 2737: 1519:, on stereophonic magnetic tape, however, they were never officially released, though they have long been available on pirated LPs and CDs. In the UK, 1394:

grooves with a 500 Hz crossover in the inner track to try and compensate for the lower fidelity and high-frequency distortion on the inner track.

809:

for mixing purposes, and many of these so-called individual angles still survive, allowing for soundtracks to be remixed into stereo or even surround.

786:

addition to the usual front and center panel, creating a truly immersive panoramic visual experience, comparable in some ways to today's curved screen

323:

to a suite of rooms at the Paris Electrical Exhibition, where listeners could hear a live transmission of performances through receivers for each ear.

4053: 3585: 1890:

After the advent of FM stereo broadcasts in 1962, a small number of music-oriented TV shows were broadcast with stereo sound using a process called

1012:

was used for the first time in films, most motion pictures – even some from which stereophonic soundtrack albums were made, such as

2895: 1706:. By 1954, WQXR was broadcasting all of its live musical programs in stereophonic sound, using its AM and FM stations for the two audio channels. 3678:, October 1925, pages 416, 544–546. The transmitting wavelengths of 430 and 505 meters correspond to approximately 698 and 594 kHz respectively. 2218:

have been used to create the impression that the sound was originally recorded in stereo. These techniques first involved hardware methods (see

402:

Recording two channels in the single groove of a record using the two groove walls at right angles to each other and 45 degrees to the vertical;

1682:

and its sister FM station, WGNB, collaborated on an hourlong stereophonic demonstration. On October 23, 1952 two Washington, D.C. FM stations,

931:

Because of the standard 35 mm-size film, CinemaScope and its stereophonic sound was capable of being retrofitted into existing theaters.

4292: 4204: 4119: 1378: 319:

demonstrated the first two-channel audio system in Paris in 1881, with a series of telephone transmitters connected from the stage of the

3667: 4266: 577:, who was present at the demonstration, commented that it was "marvellous" but "somehow unmusical because of the loudness." "Take that 3687: 1312:

shellac discs available to the public, it was found that, even though the playback system was now electric rather than acoustic, the

650: 4076: 2662: 1022: – were still released in monaural sound, stereo being reserved almost exclusively for expensive musicals such as 2230:

adds a small delay in signal timing between the two channels, a delay barely noticeable by ear, but contributing to an effect of

2053: 1594:(AFSD 5851). By the end of March, the company had four more stereo LPs available, interspersed with several Bel Canto releases. 4224: 2685: 2340:

in stereo, it took four years for the first stereo LPs to be sold. In 1958, the first group of mass-produced stereo two-channel

1986:

is the audio standard used for Digital TV in North America, with the capability for anywhere between 1 and 6 discrete channels.

107:

Stereo sound has been in common use since the 1970s in entertainment media such as broadcast radio, recorded music, television,

2808: 4182: 3471: 3304: 2136:

stereo width can be manipulated after the recording has taken place. This makes it especially useful for film-based projects.

485:

Bell Laboratories gave a demonstration of three-channel stereophonic sound on April 27, 1933, with a live transmission of the

393:

The use of a coincident pair of velocity microphones with their axes at right angles to each other, which is still known as a

2485: 2160: 1578:

The first four mass-produced stereophonic discs available to the buying public were released in March 1958 –

1197:

5.1 in the cinema, which retained the Dolby Stereo 70 mm 5.1 channel layout, and more recently with the introduction of

468:, is the earliest known surviving intentional stereo recording. The performance was part of an all-Russian program including 4018: 3382: 3258:"Waler Gieseking plays Beethoven: Piano Concerto No. 1 in C, Op. 15 & Piano Concerto No. 5 in E-flat, Op. 73, "Emperor"" 4244: 3544: 2528:

of gain for both channels and will attenuate one channel as the control is turned, leaving the other channel at 0 dB.

2183:

placed 17 cm apart at a total angle between microphones of 110°, which results in a stereophonic pickup angle of 96° (

443:

was also investigating techniques for stereophonic recording and reproduction. One of the techniques investigated was the

3360: 1260: 1128: 728: 1810:, the official method for most countries in the world that transmit in AM stereo. More AM stations are adopting digital 1838: 4371: 583:", he said. "I didn't know what it was until they got well into the piece. Too much 'enhancing', too much Stokowski." 4327: 3710: 2048: 2040: 1678:

and KOMO-FM in Seattle, Washington conducted an experimental broadcast, and four days later Chicago AM radio station

1667: 1282: 1150: 754: 343: 816:

was still playing only in New York City, most moviegoing audiences heard stereophonic sound for the first time with

736: 346:. Both were services available by coin-operated receivers at hotels and cafés, or by subscription to private homes. 3192: 3088: 1707: 644: 3590:"Radiotelephony". Patent issued November 4, 1924 to Franklin M. Doolittle for application filed February 21, 1924. 3218: 3166: 3140: 3114: 3062: 1820: 976:. The subsequently abandoned 55/35 mm Century projector eventually became the Century JJ 70/35MM projector. 600: 456: 253: 2304:

listening position to maximize the effect based on, often extensive, testing of the particular system's design.

1863:, with one audio channel broadcast via television and the other over the ABC radio network. By the same method, 192:. The signal is then reproduced over multiple loudspeakers to recreate, as closely as possible, the live sound. 4397: 2852:

Robert Alexander (2013). "The Inventor of Stereo: The Life and Works of Alan Dower Blumlein". p. 83. CRC Press,

1303:

had been recording in a hill-and-dale (vertically modulated) format on his cylinders and discs since 1877, and

1264: 1132: 732: 638: 599:

was on hand to try out the new technology, recording onto a special proprietary nine-track sound system at the

300:"Wandering Dragon Plays with Phoenix" Part One of Twelve, possibly the earliest "accidental stereo", made as a 2863: 382:. The patent covered many ideas in stereo, some of which are used today and some not. Some 70 claims include: 3879: 3763: 2734: 1995: 1967: 1909: 1856: 1468: 129: 4050: 2892: 1841:

in New York City to 31 theaters across the United States, included a stereophonic sound system developed by

4156: 3857: 2440: 1018: 81:) in such a way as to create the impression of sound heard from various directions, as in natural hearing. 17: 3908: 3892: 3732: 3648: 4424: 3799: 3747: 1883: 1024: 886:, the movie industry moved quickly to create simpler and cheaper widescreen systems, the first of which, 1938:

systems delivered many stereo programs utilizing this method for many years until prices for MTS stereo

1898:

tape recording mailed to the FM station (unless the concert or music originated locally). In the 1980s,

1652: 944: 605: 3581: 2226:

filter directs low frequencies to the left channel and high frequencies to the right channel, and the

948:, were released in 35 mm CinemaScope reduction prints. To compensate, the premiere engagement of 4434: 2834: 1887: – by using ABC-affiliated AM and FM stations for the left and right audio channels. 1770:

in Los Angeles became the first three stations to begin broadcasting using the new stereo standards.

1501: 1497: 996: 579: 474: 2481: 4429: 2499: 1570:, pressed onto their trademark Caribbean-blue vinyl sold well throughout 1958 and early into 1959. 1419:

recorders. Around 300 recordings were made of various symphonies, most of which were seized by the

852: 818: 717: 632: 464: 379: 229: 4304: 2256:

Engineers make a technical distinction between "binaural" and "stereophonic" recording. Of these,

408:

Using hybrid transformers to matrix between left and right signals and sum and difference signals;

268:

microphone arrangements produce stereo recordings with minimal phase difference between channels.

4208: 4126: 2335: 1925: 1253: 1121: 721: 42: 2590: 1851: 1548: 1540: 1516: 613:

in 1937, after which the tracks were mixed down to one for the final soundtrack. A year later,

544: 511: 486: 452: 3664: 3599: 3283: 2925: 1710:

began a weekly series of live stereophonic broadcasts in November 1952 using two AM stations,

1415:

The first stereo recordings using magnetic tape were made in Germany in the early 1940s using

4270: 3987: 3970: 3833: 3531:

Sylvan Fox, "Disks Today: New Sounds and Technology Spin Long-Playing Record of Prosperity",

3498: 3441: 3424: 3408: 3326: 3240: 3008: 2168: 1815: 1628: 1048: 914: 891: 624: 3557: 3515: 2761:(London), Nov. 6, 1895, p. 7. "Post Office Electrical Engineers. The Electrophone Service", 2057: – although at the time, only the network's New York City flagship station, 2595: 2585: 2489: 2300: 2190: 2051:

in 1984. Sporadic network transmission of stereo audio began on NBC on July 26, 1984, with

1899: 1873: 1867:

Television and the NBC Radio Network offered stereo sound for two three-minute segments of

870: 842:

Only two other films featured this unique hybrid WarnerPhonic sound: the 3-D production of

836: 685: 553: 532: 528: 524: 500: 2061:, had stereo broadcast capability. Regular stereo transmission of programs began in 1985. 1946:, though the most popular cable TV station that drove up usage of stereo simulcasting was 1573:

When Audio Fidelity released its stereophonic demonstration disc, there was no affordable

1347:

overhead in this scheme limited the playing time to slightly longer than a single even at

338:

This two-channel telephonic process was commercialized in France from 1890 to 1932 as the

8: 4073: 3036: 2969: 2368:

signal is usually of low power, and is thus less affected by the intrinsic distortion of

2274: 2180: 1904: 1782: 1775: 1718:

station, which meant the stereo listening area did not extend beyond the college campus.

1436: 1304: 1221: 1042: 1030: 973: 902: 898: 897:. Major Hollywood studios immediately rushed to create their own unique formats, such as 656: 614: 574: 520: 325: 257: 217:

mono signals together, a complete, yet entirely artificial, sound field can be created.

141: 2569: 2543: 2257: 2251: 1574: 1554: 1492: 1452: 1202: 906: 610: 460: 428: 261: 97: 1655:, participated in the first British stereo broadcast – a concert from 1504:, the success of which led to the practice of regularly recording sessions in stereo. 4221: 3873: 3026:"Fantasound" by W.E, Garity and J.N.A.Hawkins. Journal of the SMPE Vol 37 August 1941 2548: 2493: 2420: 2377: 1943: 1475: 1460: 1081: 596: 592: 562: 548: 490: 469: 448: 440: 373:

across the screen. The genesis of these ideas is uncertain, but he explained them to

339: 172:

Two microphones set up to record a piano simultaneously, which creates a stereo sound

168: 2798: 1217: 4178: 3300: 2424: 1512: 1508: 1444: 794: 781: 419: 276: 151: 1097:) widescreen films, most commonly projected at aspect ratios of 1.75:1 or 1.85:1. 4228: 4080: 4057: 4022: 4015: 3994: 3931: 3860:. Radio World. February 1, 2007. Archived from the original on September 10, 2012 3840: 3770: 3717: 3694: 3671: 3629: 3606: 3564: 3386: 3013: 2899: 2741: 2692: 2669: 2538: 2521: 2512: 2477: 2473: 2331: 2164: 2086:

This technique can produce phase issues when the stereo signal is mixed to mono.

2044: 1746: 1715: 1535: 992: 938: 494:

Philadelphia to the recording labs at Bell Labs in New Jersey in order to record

436: 374: 305: 301: 201: 31: 4240: 316: 281: 3711:"Dutch Regard 'Stereophonic Broadcasting' Experiment as Significant for Future" 2564: 1660: 1432: 1198: 1036: 932: 424: 320: 124: 93: 3356: 2967:

Nelson B. Bell, "Rapid Strides are Being Made in Development of Sound Track",

2451: 1463:

began recording a number of its sessions in stereo, including performances by

952:

used a six-track magnetic full-coat in an interlock, and a 1961 re-release of

50: 4418: 2618: 2388: 2132:

described the usage of an omnidirectional transducer in his original patent.

2129: 2108: 2028: 1983: 1520: 1483: 1424: 1313: 1300: 1194: 1163:

Producers often took advantage of the six magnetic soundtracks available for

827: 806: 772: 558: 479: 395: 359: 358:

Modern stereophonic technology was invented in the 1930s by British engineer

265: 249: 241: 185: 38: 2463:

systems are not popularly described as "stereo", but instead as "surround".

924:

VistaVision took a simplified, low-cost approach to stereophonic sound; its

4367: 2640: 2468: 2404: 2341: 2279: 2176: 2036: 1975: 1955: 1939: 1895: 1881: – including scenes from Disney's latest animated feature, 1860: 1742: 1567: 1464: 1086: 1071: 1058: 1009: 665: 619: 156: 108: 89: 244:

the positions of the recorded objects. Since each microphone records each

84:

Because the multi-dimensional perspective is the crucial aspect, the term

2574: 2460: 2407:, and he, therefore, never reduced the system to actual practice through 2268:

that includes external ears and ear canals; each microphone is where the

2261: 2227: 1737:

Model 350, ca. 1961: the first FM multiplex stereo tuner sold in the U.S.

1632: 1455:

audible in the background) are the only recordings still known to exist.

1416: 1206: 967:

Eventually, 50 complete sets of combination 55/35 mm projectors and

918: 910: 680: 519:

Later that same year, Bell Labs also demonstrated binaural sound, at the

495: 432:

original intent of having the sound follow the actor was fully realized.

236: 74: 3623:"Stereoscopic or Binaural Broadcasting in Experimental Use at New Haven" 3214: 3188: 3162: 3136: 3110: 3084: 3058: 88:

also applies to systems with more than two channels or speakers such as

2553: 2520:

can mean the amount of signal from each channel reproduced in a stereo

2103: 1979: 1656: 1479: 1474:

Later in 1952, more experimental stereo recordings were conducted with

1404: 1267: in this section. Unsourced material may be challenged and removed. 1164: 1135: in this section. Unsourced material may be challenged and removed. 1094: 1053: 1013: 690: 505: 309: 189: 78: 2911:

B.B. Bauer, "Some Techniques Toward Better Stereophonic Perspective",

2630:

Franklin Doolittle's former WPAJ, now located in Hartford, Connecticut

2344:

was issued, by Audio Fidelity in the US and Pye in Britain, using the

1690:, conducted their own demonstration. Later that month New York City's 58: 2893:

Stokowski, Harvey Fletcher, and the Bell Labs Experimental Recordings

2621:

had used for his experimental stereo records almost 20 years earlier.

2579: 2559: 2265: 2219: 2006: 1921: 1916: 1891: 1799: 1767: 1711: 1699: 1691: 1687: 1675: 1648: 1602: 1448: 925: 921:, the latter of which used up to four separate magnetic soundtracks. 776: 669: 245: 4393: 4153:"Forum für Mikrofonaufnahme und Tonstudiotechnik. Eberhard Sengpiel" 1382: 1242: 1110: 706: 689:, released in November 1940, for which a specialized sound process ( 3786:"Two WDRC Stations Will Present 'Binaural' System Demonstrations", 2203: 1982:, MP2 audio streams are widely used within MPEG-2 program streams. 1935: 1811: 1803: 1734: 1698:, initiated its first stereophonic broadcast, which was relayed to 1679: 1420: 883: 823: 768: 256:

can occur if both tracks are played back on the same speaker. This

206: 2941:"Sound Waves 'Rock' Carnegie Hall as 'Enhanced Music' is Played", 2524:. Typically, a balance control in its center position will have 0 1341: 1076:

The Westrex Stereo Variable-Area system was developed in 1977 for

284:

prototype at the Opera during the World Exhibition in Paris (1881)

3476: 2525: 2416: 2345: 2269: 1695: 1683: 1487: 1428: 985: 887: 368: 232:

to encode the relative positions of objects and events recorded.

176:

Stereo sound systems can be divided into two forms: the first is

4152: 1978:

is used. The EIAJ FM/FM subcarrier system is used in Japan. For

4045: 4043: 2639:

The comb filter allows range of manipulation between 0 and 100

2286:

isolated on one channel and orchestra on the other sans lead.)

2264:. In binaural recording, a pair of microphones is put inside a 2139: 1859:(America) network were broadcast with stereophonic sound in 75 1833: 1807: 482:

orchestration, excerpts of which were also recorded in stereo.

414: 62:

Time difference in a stereophonic recording of a car going past

4033:

For example: Jack Gould, "TV: Happy Marriage With FM Stereo",

3956:"A Television First! Welk Goes Stereophonic" (advertisement), 3764:"2 Stations, 2 Mikes, 2 Radios Give Broadcast Realistic Sound" 2598: – the physical reconstruction of the spatial sonic field 2356:

compatibility with monophonic recording and playback systems.

2144: 1423:

at the end of World War II. The recordings were of relatively

2069: 2027:

that created it), is the method of encoding three additional

1971: 1929: 1831:

A December 11, 1952 closed-circuit television performance of

1486:. In February 1954, the label also recorded a performance of 961: 798: 37:"Stereo" and "Stereophonic" redirect here. For the band, see 4040: 2119: 2094: 2074: 1605:

and radio promotional materials which continued until 1975.

4326:

Borgerson, Janet; Schroeder, Jonathan (December 12, 2018).

3457:

Alfred R. Zipser, "Stereophonic Sound Waiting for a Boom",

2148: 2058: 2032: 1785:

invented a different stereo broadcasting system called the

1763: 1759: 1754: 1730: 1703: 1636: 936:

proved impractical, and the two films made in the process,

787: 184:

stereo in which a live sound is captured, with any natural

1758:

their respective time zones on June 1, General Electric's

1056:

with a strong reliance on sound effects or music, such as

2803: 2392: 1959: 1947: 1864: 1842: 1644: 1316:

on the disc would mask the music after just a few plays.

363: 3925:

Start of experimental stereo broadcasting 28 August 1962

248:

at a slightly different time, the wavefronts are out of

2998:, Second Edition, Elsevier, Focal Press (2008), 240 pp. 2089: 1175:, featured four-track stereophonic sound and were then 793:

The Cinerama audio soundtrack technology, developed by

228:

means sound recording and sound reproduction that uses

2711:"Stereo Microphone Techniques: Are the Purists Wrong?" 2114: 1623:

The earliest approach to stereo (then commonly called

459:

in March 1932. The first (made on March 12, 1932), of

4092:

Les Brown, "Hi-fi Stereo TV Coming in 2 to 4 Years",

4010:

Sedman, David. The Legacy of Broadcast Stereo Sound.

150:, "sound, tone, voice") and it was coined in 1927 by 27:

Method of sound reproduction using two audio channels

1942:

dropped. One of the first stereo cable stations was

1507:

Shortly afterward, RCA Victor recorded the last two

4357:

before stereo TV is as natural as having two ears."

2833: 1974:is widely used in Europe, except in Germany, where 1845:. The first several shows of the 1958–59 season of 1592:

Marching Along with the Dukes of Dixieland Volume 3

4325: 2765:(London), Jan. 15, 1913, p. 24. "Wired Wireless", 1601:in 1968, relegating the format to 45 RPM singles, 664:, feature the only stereophonic recordings of the 4328:"How stereo was first sold to a skeptical public" 2556: – generalized MS-Stereo to three dimensions 2476:) to more sophisticated and extensively based on 1295: 213:(panoramic potentiometer). By combining multiple 4416: 3858:"Commentary: Dick Burden on FM Stereo Revisited" 2155:These techniques combine the principles of both 1932:stereo sound with TV rendered this unnecessary. 1871:on October 21, 1958. On January 30, 1959, ABC's 603:in Philadelphia, during the making of the movie 515:Bell Labs binaural demonstration at World's Fair 3943:"Theater to Have Special Sound System for TV", 2202:In the course of restoration or remastering of 1342:Two-channel high fidelity and other experiments 4016:http://journal.sonicstudies.org/vol03/nr01/a03 3819:, Oct. 26, 1952, p. X-11. "Binaural Devices", 1745:stereo system is used throughout the world by 1588:Lionel – Lionel Hampton and his Orchestra 1543:' second stereo demonstration record, ca. 1958 1212: 538: 4222:A Review and an Extension of Pseudo-Stereo... 4205:"Hyperprism-DX Stereo Processes—Quasi stereo" 4150: 4120:""The Stereophonic Zoom" by Michael Williams" 3632:(correspondence from Franklin M. Doolittle), 3472:"Bel Canto Stereophonic Demonstration Record" 2380:for more on lateral and vertical recording.) 2173:Office de Radiodiffusion Télévision Française 1989: 1714:in conjunction with a very low-powered local 1232: 668:Orchestra as it was during its heyday of the 551:, intended for but not used in Walt Disney's 3545:RCA Victor Red Seal Labelography (1950–1967) 2472:vary from very simple (such as "left-right" 2140:Near-coincident technique: mixed stereophony 1580:Johnny Puleo and his Harmonica Gang Volume 1 1478:and a group of New York studio musicians at 1089:, finally brought stereo sound to so-called 353: 252:; as a result, constructive and destructive 4267:"Psycho acoustic pseudo-stereo fold system" 4243:. Freepatentsonline.com. October 21, 2003. 3644: 3642: 2864:"A hundred years of stereo: fifty of hi-fi" 735:. Unsourced material may be challenged and 622:, recorded on June 21, 1938, for the movie 139: 127: 3909:"Three fms meet date for multiplex stereo" 3499:Audio Fidelity Bombshell Had Industry Agog 2793: 2791: 2070:A-B technique: time-of-arrival stereophony 1962:, began offering stereo programs in 1984. 1410: 342:, and in England from 1895 to 1925 as the 4297:, Time magazine, Jan. 20, 1961" 3442:Mass Produced Stereo Disk is Demonstrated 3409:Mass Produced Stereo Disc is Demonstrated 3385:. Thedukesofdixieland.com. Archived from 2902:, stokowski.org, accessed March 1, 2012. 2708: 2111:. The sonic image produced is realistic. 1584:Railroad – Sounds of a Vanishing Era 1283:Learn how and when to remove this message 1151:Learn how and when to remove this message 755:Learn how and when to remove this message 240:differences in timing and sound level to 235:During two-channel stereo recording, two 3639: 2718:Journal of the Audio Engineering Society 2450: 2143: 2118: 2093: 2073: 1729: 1618: 1534: 1216: 510: 292: 275: 167: 111:, cinema, computer audio, and internet. 57: 49: 4394:"AES Professional Audio Reference Home" 4374:from the original on September 25, 2006 3971:Dealers: Lawrence Welk Leads in Stereo! 3363:from the original on September 27, 2011 2788: 2709:Lipschitz, Stanley (November 9, 1986). 2054:The Tonight Show Starring Johnny Carson 1171:Some films shot in 35 mm, such as 631:In the early 1940s, composer-conductor 14: 4417: 4338:from the original on December 24, 2018 4241:"Pseudo-stereo circuit—Patent 6636608" 3264:from the original on February 27, 2024 3143:from the original on December 16, 2016 3117:from the original on November 25, 2015 3091:from the original on November 23, 2016 3065:from the original on December 22, 2016 2954:"New Sound Effects Achieved in Film", 2695:, Henry George Liddell, Robert Scott, 2672:, Henry George Liddell, Robert Scott, 2399:in the U.K. the same year, it was not 2025:Broadcast Television Systems Committee 1511:broadcast concerts by famed conductor 915:Twentieth Century-Fox Film Corporation 525:dummy with microphones instead of ears 4159:from the original on October 17, 2011 3241:Commercial Binaural Sound Not Far Off 3221:from the original on November 8, 2020 3195:from the original on December 3, 2003 2245: 586: 543:Utilizing selections recorded by the 4400:from the original on October 2, 2017 4185:from the original on October 4, 2011 3636:, March 22, 1925, Section 6, page 6. 2123:Mid-Side stereo microphone technique 2090:X-Y technique: intensity stereophony 2064: 1265:adding citations to reliable sources 1236: 1133:adding citations to reliable sources 1104: 733:adding citations to reliable sources 700: 3307:from the original on April 27, 2019 3169:from the original on April 12, 2007 2874:from the original on March 29, 2023 2862:Fox, Barry (December 24–31, 1981). 2861: 2855: 2811:from the original on August 7, 2008 2115:M/S technique: mid/side stereophony 1762:in Schenectady, New York, Zenith's 1100: 205:stereo, in which a single-channel ( 24: 4303:. January 20, 1961. Archived from 4247:from the original on June 15, 2011 3701:, September 26, 1925, pages 55–56. 2822:fledgling film and audio industry. 2799:"Early stereo recordings restored" 2748:, December 31, 1881, pages 422–23. 2735:"The Telephone at the Paris Opera" 2325:A compilation of LP stereo banners 1224:stereo system, having two speakers 25: 4446: 3327:Tape Trade Group to Fix Standards 1668:Federal Communications Commission 1530: 1441:Orchester der Berliner Staatsoper 4269:. Patentstorm.us. Archived from 4207:. March 31, 2008. Archived from 3748:"Binaural Feature at Parts Show" 3342:"Hi-Fi: Two-Channel Commotion", 2314: 2307: 2197: 1970:is used mainly in the Americas. 1708:Rensselaer Polytechnic Institute 1443:and a 1944 or 1945 recording of 1241: 1188: 1109: 705: 4386: 4360: 4350: 4319: 4285: 4259: 4233: 4215: 4197: 4171: 4144: 4112: 4109:, July 28, 1984, sec. 1, p. 46. 4099: 4086: 4067: 4027: 4004: 3988:Expect Giant TV Stereo Audience 3980: 3963: 3950: 3937: 3918: 3902: 3886: 3850: 3826: 3809: 3793: 3780: 3757: 3741: 3726: 3704: 3681: 3658: 3616: 3593: 3574: 3550: 3538: 3525: 3508: 3491: 3464: 3451: 3434: 3418: 3401: 3375: 3349: 3336: 3319: 3293: 3276: 3250: 3233: 3207: 3181: 3155: 3129: 3103: 3077: 3051: 3029: 3020: 3001: 2988: 2976: 2961: 2948: 2935: 2918: 2905: 2886: 2785:Pristine Classical CD PASC422). 2633: 2624: 2610: 2446: 2434: 2206:records, various techniques of 2167:) techniques. For example, the 2098:X-Y stereo microphone placement 2078:A-B stereo microphone placement 1792: 1725: 1608: 1252:needs additional citations for 1209:in 2010 and 2012 respectively. 1120:needs additional citations for 1065: 1052:. Stereo was also reserved for 1002: 964:with a six-channel soundtrack. 3899:, April 24, 1961, pages 65–66. 3777:, October 24, 1952, page A-24. 3775:Washington (D.C.) Evening Star 2996:Surround Sound: Up and Running 2846: 2827: 2772: 2769:(London), June 22, 1925, p. 8. 2751: 2728: 2702: 2679: 2656: 1958:'s second television network, 1915:The BBC made extensive use of 1753:These tests were conducted by 1451:'s Piano Concerto No. 5 (with 1435:'s Symphony No. 8 directed by 1296:Lateral and vertical recording 1193:Dolby Stereo was succeeded by 350:recording technology existed. 163: 13: 1: 4105:Peter W. Kaplan, "TV Notes", 3960:, September 10, 1958, p. A-7. 2650: 2013:Multichannel television sound 1996:Multichannel television sound 1968:Multichannel television sound 1826: 1802:, of which the best-known is 1469:Cincinnati Symphony Orchestra 1427:, thanks to the discovery of 1372: 877: 675: 651:The Day the Earth Stood Still 504:(1940) in what Disney called 288: 3834:Binaural Music on the Campus 3790:, October 29, 1952, page 26. 3655:, November 3, 1952, page 97. 3425:Audio Fidelity advertisement 3346:, November 17, 1957, p. XX1. 2985:, September 11, 1937, p. 40. 2699:, on Perseus Digital Library 2676:, on Perseus Digital Library 2455:Label for 2.0 sound (stereo) 2273:accurate duplication of the 1778:network on August 28, 1962. 1547:In November 1957, the small 531:were sent out over separate 114: 7: 4079:September 22, 2009, at the 3893:"Finally, FCC Okays Stereo" 3806:, December 8, 1952, page 9. 3723:, August 24, 1946, page 16. 3688:"Stereoscopic Broadcasting" 3357:"Jazzbeat October 26, 2007" 3009:Mickey Mouse Goes Classical 2531: 2289: 2151:stereo microphone technique 1879:The Peter Tchaikovsky Story 1877:made a stereo broadcast of 1403:stereo records for sale to 1213:Modern home audio and video 844:The Charge at Feather River 696: 539:Carnegie Hall demonstration 405:A stereo disc-cutting head; 154:, by analogy with the word 10: 4451: 3930:November 19, 2018, at the 3823:, March 21, 1954, p. XX-9. 3651:by Franklin M. Doolittle, 3634:Cincinnati (Ohio) Enquirer 3301:"Thor Johnson (1913-1975)" 2926:Radio Adds Third Dimension 2913:IEEE Transactions on Audio 2898:November 28, 2010, at the 2740:February 25, 2021, at the 2510: 2506: 2334:'s May 1954 conducting of 2249: 1993: 1990:MTS: Stereo for television 1653:Daventry, Northamptonshire 1233:Stereo experiments on disc 1069: 983: 979: 606:One Hundred Men and a Girl 280:Diagram of Clément Ader's 271: 36: 29: 4227:December 6, 2007, at the 4096:, Oct. 25, 1979, p. C-18. 4021:October 15, 2014, at the 3878:: CS1 maint: unfit URL ( 3535:, August 28, 1967, p. 35. 3516:CBS Discloses Stereo Step 3461:, August 24, 1958, p. F1. 3383:"Harry R. Porter history" 3290:, September 1952, p. 216. 2973:, April 11, 1937, p. TR1. 2423:Inc, as the successor to 2383:Although this system was 1912:was approved by the FCC. 1498:Boston Symphony Orchestra 645:Anna and the King of Siam 580:Pictures at an Exhibition 547:, under the direction of 475:Pictures at an Exhibition 354:Modern stereophonic sound 140: 128: 4181:. Multitrackstudio.com. 4051:Japan's Stereo TV System 4012:Journal of Sonic Studies 3915:, June 5, 1961, page 58. 3815:"News of TV and Radio", 3754:, May 26, 1952, page 73. 3738:, June 2, 1952, page 46. 3697:by Captain H. J. Round, 3628:January 7, 2022, at the 3037:"The CinemaScope Wing 5" 2945:, April 10, 1940, p. 25. 2668:August 28, 2023, at the 2603: 2330:Although Decca recorded 2262:stereoscopic photography 2039:. It was adopted by the 1839:Metropolitan Opera House 1613: 853:It Came from Outer Space 465:Prometheus: Poem of Fire 413:1934, Blumlein recorded 380:UK patent number 394,325 230:stereographic projection 188:present, by an array of 30:Not to be confused with 4368:"Stereo disc recording" 4037:, Dec. 26, 1967, p. 67. 4001:, Oct. 20, 1958, p. 12. 3993:August 6, 2024, at the 3977:, Oct. 13, 1958, p. 23. 3947:, Dec. 5, 1952, p. B-8. 3839:August 6, 2024, at the 3769:March 16, 2021, at the 3721:Foreign Commerce Weekly 3716:March 11, 2021, at the 3693:March 10, 2021, at the 3649:"Binaural Broadcasting" 3605:August 6, 2024, at the 3600:"Binaural Broadcasting" 3563:August 6, 2024, at the 3558:Mfrs. Strangle Monaural 3522:, March 31, 1958, p. 9. 3505:, Dec. 22, 1962, p. 36. 3448:, Dec. 16, 1957, p. 27. 3431:, Dec. 16, 1957, p. 33. 3415:, Dec. 16, 1957, p. 27. 3333:, July 10, 1954, p. 34. 3247:, Oct. 24, 1953, p. 15. 2958:, Oct. 12, 1937, p. 27. 2915:, May–June 1963, p. 89. 2697:A Greek-English Lexicon 2674:A Greek-English Lexicon 1926:Eurovision Song Contest 1562:Also in December 1957, 1500:under the direction of 1411:Magnetic tape recording 1361:RPM on a 12-inch disc. 892:screen presentation of 862:The Stranger Wore a Gun 639:How Green Was My Valley 100:sound systems are also 43:Stereo (disambiguation) 3670:June 25, 2024, at the 3017:, January 1941, p. 65. 2691:March 9, 2021, at the 2591:Sweet spot (acoustics) 2456: 2186:Stereo Recording Angle 2179:) calls for a pair of 2152: 2124: 2102:Here, two directional 2099: 2079: 2047:for stereo television 1852:The Lawrence Welk Show 1738: 1635:broadcasting station, 1549:Audio Fidelity Records 1544: 1541:Audio Fidelity Records 1539:Label and sleeve from 1517:NBC Symphony Orchestra 1431:. A 1944 recording of 1225: 771:demonstration film by 618:But What It Pours" by 545:Philadelphia Orchestra 516: 487:Philadelphia Orchestra 453:Philadelphia Orchestra 435:In the United States, 336: 313: 285: 173: 63: 55: 41:. For other uses, see 4155:. Sengpielaudio.com. 4056:July 1, 2017, at the 3571:, Jan. 6, 1968, p. 1. 3217:. December 22, 1967. 3113:. December 25, 1964. 3087:. December 23, 1961. 2983:Motion Picture Herald 2454: 2266:model of a human head 2250:Further information: 2169:ORTF stereo technique 2147: 2122: 2097: 2077: 2043:as the United States 1869:The George Gobel Show 1733: 1629:Franklin M. Doolittle 1619:Early experimentation 1538: 1220: 1101:70 mm projection 812:In April 1953, while 625:Love Finds Andy Hardy 514: 489:from Philadelphia to 331: 299: 279: 171: 61: 53: 3847:, April 1953, p. 20. 3674:by Ludwig Kapeller, 3609:by F. M. Doolittle, 3165:. January 29, 1960. 3139:. October 25, 1967. 2932:, Jan. 1953, p. 106. 2835:GB patent 394325 2596:Wave field synthesis 2586:Summing localization 2482:channel equalization 2301:equilateral triangle 2191:NOS stereo technique 2181:cardioid microphones 1908:on NBC, just before 1874:Walt Disney Presents 1261:improve this article 1129:improve this article 956:, featured the film 729:improve this section 521:Chicago World's Fair 220:In technical usage, 4273:on December 4, 2008 4151:Eberhard Sengpiel. 3973:" (advertisement), 3665:"Radio Stereophony" 3389:on January 26, 2004 3284:Adventures in Sound 3061:. October 8, 1968. 3039:. Widescreen Museum 2970:The Washington Post 2746:Scientific American 2582:(stereo separation) 2486:mid-side processing 2401:reduced to practice 2275:auditory spatiality 2238:of mono recording. 1905:Friday Night Videos 1776:BBC Third Programme 1437:Herbert von Karajan 1040:, or epics such as 974:Columbia University 874:; and many others. 657:Sun Valley Serenade 575:Sergei Rachmaninoff 326:Scientific American 138:, "firm, solid") + 69:, or more commonly 4425:Stereophonic sound 4211:on March 31, 2008. 4094:The New York Times 4062:The New York Times 4035:The New York Times 3821:The New York Times 3817:The New York Times 3533:The New York Times 3459:The New York Times 3344:The New York Times 3059:"Romeo and Juliet" 3007:Andrew R. Boone, " 2956:The New York Times 2943:The New York Times 2807:. August 1, 2008. 2783:Accidental Stereo, 2757:"Court Circular", 2570:Sound localization 2544:5.1 surround sound 2480:research (such as 2457: 2372:-style recording. 2258:binaural recording 2252:Binaural recording 2246:Binaural recording 2216:rechanneled stereo 2189:, or SRA). In the 2153: 2125: 2100: 2080: 2015:, better known as 2002:The New York Times 1922:Promenade concerts 1739: 1661:Sir Hamilton Harty 1575:magnetic cartridge 1555:Billboard Magazine 1545: 1493:Damnation of Faust 1490:' masterpiece The 1453:anti-aircraft fire 1226: 1203:Dolby Surround 7.1 907:Paramount Pictures 660:which, along with 611:Universal Pictures 587:Motion picture era 517: 455:at Philadelphia's 429:Abbey Road Studios 314: 286: 262:phase cancellation 174: 67:Stereophonic sound 64: 56: 4074:Chronomedia: 1982 3958:Los Angeles Times 3945:Los Angeles Times 3802:(advertisement), 3359:. Jazzology.com. 3288:Popular Mechanics 3229:– via IMDb. 3203:– via IMDb. 3191:. July 31, 1963. 3177:– via IMDb. 3151:– via IMDb. 3125:– via IMDb. 3099:– via IMDb. 3085:"West Side Story" 3073:– via IMDb. 2781:Somm CD 261, and 2779:Elgar Remastered, 2549:Acoustic location 2494:precedence effect 2488:, and the use of 2421:Litton Industries 2378:Gramophone record 2065:Recording methods 1944:The Movie Channel 1847:The Plymouth Show 1564:Bel Canto Records 1476:Leopold Stokowski 1461:Remington Records 1293: 1292: 1285: 1161: 1160: 1153: 848:Island in the Sky 765: 764: 757: 597:Leopold Stokowski 593:Bell Laboratories 563:Bell Laboratories 561:demonstration by 549:Leopold Stokowski 491:Constitution Hall 449:Leopold Stokowski 441:Bell Laboratories 423:conducted by Sir 297: 123:derives from the 16:(Redirected from 4442: 4435:Music technology 4410: 4409: 4407: 4405: 4390: 4384: 4383: 4381: 4379: 4364: 4358: 4354: 4348: 4347: 4345: 4343: 4332:The Conversation 4323: 4317: 4316: 4314: 4312: 4307:on March 8, 2008 4289: 4283: 4282: 4280: 4278: 4263: 4257: 4256: 4254: 4252: 4237: 4231: 4219: 4213: 4212: 4201: 4195: 4194: 4192: 4190: 4175: 4169: 4168: 4166: 4164: 4148: 4142: 4141: 4139: 4137: 4131: 4125:. Archived from 4124: 4116: 4110: 4103: 4097: 4090: 4084: 4071: 4065: 4064:, June 16, 1984. 4047: 4038: 4031: 4025: 4008: 4002: 3984: 3978: 3967: 3961: 3954: 3948: 3941: 3935: 3922: 3916: 3906: 3900: 3890: 3884: 3883: 3877: 3869: 3867: 3865: 3854: 3848: 3830: 3824: 3813: 3807: 3797: 3791: 3788:Hartford Courant 3784: 3778: 3761: 3755: 3745: 3739: 3730: 3724: 3708: 3702: 3685: 3679: 3662: 3656: 3646: 3637: 3620: 3614: 3611:Electrical World 3597: 3591: 3589: 3588: 3584: 3578: 3572: 3554: 3548: 3542: 3536: 3529: 3523: 3512: 3506: 3495: 3489: 3488: 3486: 3484: 3468: 3462: 3455: 3449: 3438: 3432: 3422: 3416: 3405: 3399: 3398: 3396: 3394: 3379: 3373: 3372: 3370: 3368: 3353: 3347: 3340: 3334: 3323: 3317: 3316: 3314: 3312: 3297: 3291: 3280: 3274: 3273: 3271: 3269: 3254: 3248: 3237: 3231: 3230: 3228: 3226: 3211: 3205: 3204: 3202: 3200: 3185: 3179: 3178: 3176: 3174: 3159: 3153: 3152: 3150: 3148: 3133: 3127: 3126: 3124: 3122: 3107: 3101: 3100: 3098: 3096: 3081: 3075: 3074: 3072: 3070: 3055: 3049: 3048: 3046: 3044: 3033: 3027: 3024: 3018: 3005: 2999: 2992: 2986: 2980: 2974: 2965: 2959: 2952: 2946: 2939: 2933: 2922: 2916: 2909: 2903: 2890: 2884: 2883: 2881: 2879: 2859: 2853: 2850: 2844: 2843: 2842: 2838: 2831: 2825: 2824: 2818: 2816: 2795: 2786: 2776: 2770: 2755: 2749: 2732: 2726: 2725: 2715: 2706: 2700: 2683: 2677: 2660: 2644: 2637: 2631: 2628: 2622: 2614: 2474:panning controls 2425:Western Electric 2395:in 1931 and was 2318: 2260:is analogous to 2019:(often still as 1928:. The advent of 1787:Compander System 1766:in Chicago, and 1651:station, 5XX in 1590:(AFSD 5849) and 1513:Arturo Toscanini 1509:NBC Blue Network 1445:Walter Gieseking 1385:and developed a 1360: 1359: 1355: 1352: 1336: 1335: 1331: 1328: 1288: 1281: 1277: 1274: 1268: 1245: 1237: 1156: 1149: 1145: 1142: 1136: 1113: 1105: 1019:Romeo and Juliet 814:This is Cinerama 795:Hazard E. Reeves 782:This is Cinerama 760: 753: 749: 746: 740: 709: 701: 601:Academy of Music 523:in 1933 using a 457:Academy of Music 420:Jupiter Symphony 298: 226: 225: 152:Western Electric 145: 144: 133: 132: 21: 4450: 4449: 4445: 4444: 4443: 4441: 4440: 4439: 4430:Sound recording 4415: 4414: 4413: 4403: 4401: 4392: 4391: 4387: 4377: 4375: 4366: 4365: 4361: 4355: 4351: 4341: 4339: 4324: 4320: 4310: 4308: 4291: 4290: 4286: 4276: 4274: 4265: 4264: 4260: 4250: 4248: 4239: 4238: 4234: 4229:Wayback Machine 4220: 4216: 4203: 4202: 4198: 4188: 4186: 4179:"Pseudo-Stereo" 4177: 4176: 4172: 4162: 4160: 4149: 4145: 4135: 4133: 4132:on May 31, 2011 4129: 4122: 4118: 4117: 4113: 4104: 4100: 4091: 4087: 4081:Wayback Machine 4072: 4068: 4058:Wayback Machine 4048: 4041: 4032: 4028: 4023:Wayback Machine 4014:. Oct. 2012 at 4009: 4005: 3995:Wayback Machine 3985: 3981: 3968: 3964: 3955: 3951: 3942: 3938: 3932:Wayback Machine 3923: 3919: 3907: 3903: 3891: 3887: 3871: 3870: 3863: 3861: 3856: 3855: 3851: 3845:Popular Science 3841:Wayback Machine 3831: 3827: 3814: 3810: 3798: 3794: 3785: 3781: 3771:Wayback Machine 3762: 3758: 3746: 3742: 3733:"KOMO Binaural" 3731: 3727: 3718:Wayback Machine 3709: 3705: 3695:Wayback Machine 3686: 3682: 3672:Wayback Machine 3663: 3659: 3647: 3640: 3630:Wayback Machine 3621: 3617: 3607:Wayback Machine 3598: 3594: 3586: 3580: 3579: 3575: 3565:Wayback Machine 3555: 3551: 3543: 3539: 3530: 3526: 3513: 3509: 3496: 3492: 3482: 3480: 3470: 3469: 3465: 3456: 3452: 3439: 3435: 3423: 3419: 3406: 3402: 3392: 3390: 3381: 3380: 3376: 3366: 3364: 3355: 3354: 3350: 3341: 3337: 3324: 3320: 3310: 3308: 3299: 3298: 3294: 3281: 3277: 3267: 3265: 3256: 3255: 3251: 3238: 3234: 3224: 3222: 3213: 3212: 3208: 3198: 3196: 3187: 3186: 3182: 3172: 3170: 3161: 3160: 3156: 3146: 3144: 3135: 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1621: 1616: 1611: 1533: 1413: 1375: 1357: 1353: 1350: 1348: 1344: 1333: 1329: 1326: 1324: 1298: 1289: 1278: 1272: 1269: 1258: 1246: 1235: 1215: 1191: 1182:Columbia Spread 1165:70 mm film 1157: 1146: 1140: 1137: 1126: 1114: 1103: 1082:QS quadraphonic 1074: 1068: 1025:West Side Story 1005: 988: 982: 880: 761: 750: 744: 741: 726: 710: 699: 678: 662:Orchestra Wives 589: 541: 535:station bands. 437:Harvey Fletcher 375:Isaac Shoenberg 356: 306:Berthold Laufer 302:field recording 293: 291: 274: 266:Coincident-pair 223: 222: 166: 117: 46: 35: 32:Duophonic sound 28: 23: 22: 15: 12: 11: 5: 4448: 4438: 4437: 4432: 4427: 4412: 4411: 4385: 4359: 4349: 4318: 4284: 4258: 4232: 4214: 4196: 4170: 4143: 4111: 4107:New York Times 4098: 4085: 4066: 4039: 4026: 4003: 3979: 3962: 3949: 3936: 3917: 3901: 3885: 3849: 3825: 3808: 3792: 3779: 3756: 3740: 3725: 3703: 3680: 3657: 3638: 3615: 3592: 3573: 3549: 3537: 3524: 3507: 3490: 3463: 3450: 3433: 3417: 3400: 3374: 3348: 3335: 3318: 3292: 3275: 3249: 3232: 3215:"The Graduate" 3206: 3180: 3154: 3128: 3111:"My Fair Lady" 3102: 3076: 3050: 3028: 3019: 3000: 2987: 2975: 2960: 2947: 2934: 2917: 2904: 2885: 2854: 2845: 2826: 2787: 2771: 2750: 2727: 2701: 2678: 2654: 2652: 2649: 2646: 2645: 2632: 2623: 2608: 2607: 2605: 2602: 2600: 2599: 2593: 2588: 2583: 2577: 2572: 2567: 2565:Joint encoding 2562: 2557: 2551: 2546: 2541: 2535: 2533: 2530: 2508: 2505: 2478:psychoacoustic 2448: 2445: 2436: 2433: 2321: 2320: 2313: 2312: 2311: 2309: 2306: 2291: 2288: 2247: 2244: 2199: 2196: 2141: 2138: 2116: 2113: 2091: 2088: 2071: 2068: 2066: 2063: 2035:-format audio 2029:audio channels 1994:Main article: 1991: 1988: 1828: 1825: 1794: 1791: 1741:The Zenith-GE 1727: 1724: 1694:, paired with 1620: 1617: 1615: 1612: 1610: 1607: 1532: 1531:Stereo on disc 1529: 1433:Anton Bruckner 1412: 1409: 1374: 1371: 1343: 1340: 1297: 1294: 1291: 1290: 1249: 1247: 1240: 1234: 1231: 1214: 1211: 1199:digital cinema 1190: 1187: 1159: 1158: 1117: 1115: 1108: 1102: 1099: 1070:Main article: 1067: 1064: 1004: 1001: 984:Main article: 981: 978: 954:The King and I 945:The King and I 933:CinemaScope 55 879: 876: 763: 762: 713: 711: 704: 698: 695: 677: 674: 588: 585: 540: 537: 425:Thomas Beecham 410: 409: 406: 403: 400: 391: 355: 352: 290: 287: 273: 270: 165: 162: 116: 113: 94:surround sound 26: 9: 6: 4: 3: 2: 4447: 4436: 4433: 4431: 4428: 4426: 4423: 4422: 4420: 4399: 4395: 4389: 4373: 4369: 4363: 4353: 4337: 4333: 4329: 4322: 4306: 4302: 4298: 4296: 4295:Pseudo Stereo 4288: 4272: 4268: 4262: 4246: 4242: 4236: 4230: 4226: 4223: 4218: 4210: 4206: 4200: 4184: 4180: 4174: 4158: 4154: 4147: 4128: 4121: 4115: 4108: 4102: 4095: 4089: 4082: 4078: 4075: 4070: 4063: 4059: 4055: 4052: 4046: 4044: 4036: 4030: 4024: 4020: 4017: 4013: 4007: 4000: 3996: 3992: 3989: 3983: 3976: 3972: 3966: 3959: 3953: 3946: 3940: 3933: 3929: 3926: 3921: 3914: 3910: 3905: 3898: 3894: 3889: 3881: 3875: 3859: 3853: 3846: 3842: 3838: 3835: 3829: 3822: 3818: 3812: 3805: 3801: 3796: 3789: 3783: 3776: 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2747: 2743: 2739: 2736: 2731: 2724:(9): 716–743. 2723: 2719: 2712: 2705: 2698: 2694: 2690: 2687: 2682: 2675: 2671: 2667: 2664: 2659: 2655: 2642: 2636: 2627: 2620: 2619:Alan Blumlein 2613: 2609: 2597: 2594: 2592: 2589: 2587: 2584: 2581: 2578: 2576: 2573: 2571: 2568: 2566: 2563: 2561: 2558: 2555: 2552: 2550: 2547: 2545: 2542: 2540: 2537: 2536: 2529: 2527: 2523: 2519: 2514: 2504: 2501: 2497: 2495: 2491: 2487: 2483: 2479: 2475: 2470: 2464: 2462: 2453: 2444: 2442: 2432: 2428: 2426: 2422: 2418: 2414: 2410: 2406: 2402: 2398: 2394: 2390: 2389:Alan Blumlein 2386: 2381: 2379: 2373: 2371: 2370:hill and dale 2367: 2361: 2357: 2353: 2349: 2347: 2343: 2342:vinyl records 2339: 2338: 2333: 2323: 2317: 2308:Vinyl records 2305: 2302: 2296: 2287: 2283: 2281: 2276: 2271: 2267: 2263: 2259: 2253: 2243: 2239: 2237: 2233: 2229: 2225: 2221: 2217: 2213: 2209: 2208:pseudo-stereo 2205: 2198:Pseudo-stereo 2195: 2192: 2188: 2187: 2182: 2178: 2174: 2170: 2166: 2162: 2158: 2150: 2146: 2137: 2133: 2131: 2130:Alan Blumlein 2121: 2112: 2110: 2109:Blumlein Pair 2105: 2096: 2087: 2084: 2076: 2062: 2060: 2056: 2055: 2050: 2046: 2042: 2038: 2034: 2030: 2026: 2022: 2018: 2014: 2010: 2008: 2003: 1997: 1987: 1985: 1984:Dolby Digital 1981: 1977: 1973: 1969: 1963: 1961: 1957: 1951: 1949: 1945: 1941: 1937: 1933: 1931: 1927: 1923: 1918: 1913: 1911: 1907: 1906: 1901: 1897: 1893: 1888: 1886: 1885: 1880: 1876: 1875: 1870: 1866: 1862: 1861:media markets 1858: 1854: 1853: 1848: 1844: 1840: 1836: 1835: 1824: 1822: 1817: 1813: 1809: 1805: 1801: 1790: 1788: 1784: 1779: 1777: 1771: 1769: 1765: 1761: 1756: 1750: 1748: 1744: 1736: 1732: 1723: 1719: 1717: 1713: 1709: 1705: 1701: 1697: 1693: 1689: 1685: 1681: 1677: 1673: 1669: 1664: 1662: 1658: 1654: 1650: 1646: 1641: 1638: 1634: 1630: 1626: 1606: 1604: 1600: 1595: 1593: 1589: 1586:(AFSD 5843), 1585: 1582:(AFSD 5830), 1581: 1576: 1571: 1569: 1565: 1560: 1557: 1556: 1550: 1542: 1537: 1528: 1525: 1522: 1521:Decca Records 1518: 1514: 1510: 1505: 1503: 1502:Charles Munch 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Holman, 2575:Stereoscopy 2441:Red Book CD 2228:comb filter 2104:microphones 1837:, from the 1781:In Sweden, 1633:medium wave 1482:Studios in 1417:Magnetophon 1405:audiophiles 1207:Dolby Atmos 919:CinemaScope 911:VistaVision 858:I, the Jury 822:, an early 681:Walt Disney 568:enhancement 496:Walt Disney 321:Paris Opera 242:triangulate 237:microphones 224:true stereo 190:microphones 164:Description 77:(or stereo 4419:Categories 4378:October 4, 3676:Radio News 3582:US 1513973 3225:January 1, 3199:January 1, 3173:January 1, 3147:January 1, 3121:January 1, 3095:January 1, 3069:January 1, 2651:References 2554:Ambisonics 2511:See also: 2366:difference 2236:flattiness 2204:monophonic 2023:, for the 2007:video disk 1980:Digital TV 1940:modulators 1910:MTS stereo 1827:Television 1783:Televerket 1749:stations. 1743:pilot-tone 1657:Manchester 1603:flexidiscs 1480:RCA Victor 1379:Emory Cook 1373:Emory Cook 1273:April 2014 1095:anamorphic 1014:Zeffirelli 878:Widescreen 745:April 2023 691:Fantasound 676:Fantasound 527:. 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