Why Stereo? The Philosophy of Multi-Channel Recording of Music

McKnight JG. Why Stereo? The Philosophy of Multi-Channel Recording of Music. In: AES Convention 11. Audio Engineering Society; 1959. Paper 120. Available from: https://aes.org/publications/elibrary-page/?id=421

@inproceedings{McKnight1959_421,
  author = {McKnight, John G.},
  title = {{Why Stereo? The Philosophy of Multi-Channel Recording of Music}},
  booktitle = {AES Convention 11},
  note = {Paper 120},
  year = {1959},
  month = oct,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=421}
}

TY  - CPAPER
TI  - Why Stereo? The Philosophy of Multi-Channel Recording of Music
AU  - McKnight, John G.
T2  - AES Convention 11
M1  - Paper 120
PY  - 1959
DA  - 1959/10/06
UR  - https://aes.org/publications/elibrary-page/?id=421
PB  - Audio Engineering Society
LA  - en
AB  - Two effects which contribute greatly to our enjoyment of live music are the ability to locate the source of the sound (stereophony) and the feeling of being in a good concert hall (ambiophony). These effects and their relationship to music are discussed. Microphone placement in multi-channel recording is seen to depend on which effect is to be recreated in the home, and to what degree.
ER  -