Two multi-channel microphone techniques for natural music and sound effects reproduction are experimentally compared. Simultaneous surround sound recordings of several genres of music and ambience are made in concert hall, studio, and outdoors. Trained listeners subjectively evaluate the abilities and tradeoffs of each system to recreate accurate panoramic localization and spatial impression of opera, bluegrass with audience participating, flute quartet, brass quintet, marching bands with surrounding crowd and building echoes, and 360° `Walkabout` azimuth test. Differing speaker layouts for 5.1 and `Panor-Ambiophonic` Surround are shown to satisfy two distinct listening audiences, which are further divided into home, automotive, and PC markets. An approach to recording level-setting, compatible production, and delivery formats are introduced to satisfy these diverse end uses.
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