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Intensity stereo is an unfortunate linguistic misnomer which has come to mean the recording of stereophonic signals that are distinguished only by level differences. These "level differences" have been called "intensity" differences, but sound intensity is a specifically defined quantity and cannot be sensed by a simple microphone, nor would it be valuable in music recording if it could. Like microphones our ear drums are sensitive only to the sound pressure.
Engineers make a technical distinction between "binaural" and "stereophonic" recording. Of these, binaural recording is more like stereoscopic photography. In binaural recording, a pair of microphones is put inside a model of a human head which includes external ears and ear canals. Each microphone is where the eardrum 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 accurate duplication of the auditory spatiality that would have been heard by the listener placed where the microphones were. Because of the nuisance of wearing headphones, true binaural recordings have remained laboratory and audiophile curiosities.
Stereophonic sound attempts to create an illusion of location for various instruments 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 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 to compensate for the mixture that occurs when listening via speakers.
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