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The phrase "rechanneled stereo" refers to the artificial rechanneling of mono recordings to simulate stereo that was common in the 1950s-1960s. Because of this usage, "stereo" or "in stereo" is sometimes used colloquially for when two, as distinct from one, of something are present.
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.
Descriptions of stereophonic sound tend to stress the ability to localize the position of each instrument in space, but in reality many people listen on playback systems that do a poor job of re-creating a stereo "image". Many listeners assume that "stereo" sound is "richer" or "fuller-sounding" than monophonic sound. This is inaccurate — stereo and mono can have equally detailed abilities to play recorded notes. The spatial illusion is what sets stereo recordings apart from mono recordings.
When playing back stereo recordings, best results are obtained by using two speakers, in front of and equidistant from the listener, with the listener located on the center line between the two speakers.
During two-channel stereo recording, two microphones 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 differences in timing and sound-level to triangulate the positions of the recorded objects.
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