Achieving stereo reproduction in the theatre has always been a chancy proposition. The traditional approach usually involves creating the illusion of stereo through the assignment of multiple pan-potted sources, such as assigning the orchestral pit microphones across the left, right, and (sometimes) center loudspeakers in a typical proscenium show. Even though individual orchestral mics each represent a mono source, through the miracle of the pan-pot, a stereo effect can be created that ...

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