Ambiophonics is a comprehensive sound recording/reproduction methodology, that like or unlike Stereophonics, Ambisonics, THX 5.1 or Wavefield Synthesis, prescribes hardware/software that scrupulously insures that the well known tenets of human binaural hearing [Appendix 1] are rigorously catered to so as to achieve psychoacoustic and physiological verisimilitude for one or two home listeners/viewers who seek and value “you-arethere” realism.
Ambiophonics combines crosstalk-free speaker pairs (Ambiopoles), surround speaker ambience derivedfrom measured hall impulse responses via a convolver (Ambiovolver) and room/speaker correction/treatment to generate a binaurally correct sound field similar to wavefield synthesis. Ambiophonics creates a concert hall stage and hall from just two media channels as found on CDs, MP3s or LPs feeding a single Ambiopole. Panorambiophonics requires four media channels as provided by multichannel DVDs or SACDs each pair feeding its own Ambiopole. Periambiophonics uses six media channels as in DVD-A, DTS-EX, etc. feeding three Ambiopoles. In each type of system additional hall ambience surround speakers may also be driven via a single Ambiovolver and this is strongly recommended where music is concerned
It became obvious in the early development of Ambiophonics that existing stereo microphone techniques could be revised to produce better two channel recordings. Thus, on the recording side, the Ambiophone, a novel, baffled microphone arrangement, takes advantage, when recording, of the knowledge that the playback will be Ambiophonic. (not via the stereo equilateral triangle although Ambiophone recordings are actually backward compatible and sound quite normal in standard stereo) The Ambiophone also assumes that both the amplitude and the directional attributes of the early reflections and reverberant tails of the hall will be properly directed to the appropriate frontal Ambiopole and surround speakers.
Source : http://www.ambiophonics.org/files/AES24Banff.pdf
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