Editing Stereophonic sound (section)

==Magnetic tape recording==
The first stereo recordings using magnetic tape were made in Germany in the early 1940s using [[Magnetophon]] recorders. Around 300 recordings were made of various symphonies, most of which were seized by the [[Red Army]] at the end of World War II. The recordings were of relatively [[high fidelity]], thanks to the discovery of [[AC bias]]. A 1944 recording of [[Anton Bruckner]]'s Symphony No. 8 directed by [[Herbert von Karajan]] and the [[Orchester der Berliner Staatsoper]] and a 1944 or 1945 recording of [[Walter Gieseking]] playing [[Beethoven]]'s Piano Concerto No. 5 (with [[anti-aircraft fire]] audible in the background)<ref>{{cite web |url=https://musicandarts.com/product/walter-gieseking-plays-beethoven-piano-concerto-no-1-in-c-op-15-piano-concerto-no-5-in-e-flat-op-73-emperor/ |title=Waler Gieseking plays Beethoven: Piano Concerto No. 1 in C, Op. 15 & Piano Concerto No. 5 in E-flat, Op. 73, "Emperor" |access-date=February 11, 2024 |archive-date=February 27, 2024 |archive-url=https://web.archive.org/web/20240227034828/https://musicandarts.com/product/walter-gieseking-plays-beethoven-piano-concerto-no-1-in-c-op-15-piano-concerto-no-5-in-e-flat-op-73-emperor/ |url-status=live }}</ref> are the only recordings still known to exist.{{citation needed|date=February 2024|reason=I can verify these exist but cant verify these are the only ones to exist.}}

In the US, stereo magnetic tape recording was demonstrated on standard 1/4-inch tape for the first time in 1952, using two sets of recording and playback heads, upside-down and offset from one another.<ref>"[https://books.google.com/books?id=jNwDAAAAMBAJ&pg=PA216 Adventures in Sound]", ''Popular Mechanics'', September 1952, p. 216.</ref> A year later, [[Remington Records]] began recording a number of its sessions in stereo, including performances by [[Thor Johnson]] and the [[Cincinnati Symphony Orchestra]].<ref>{{cite web |url=http://www.soundfountain.org/rem/remjohnson.html |title=Thor Johnson (1913-1975) |access-date=February 21, 2021 |archive-date=April 27, 2019 |archive-url=https://web.archive.org/web/20190427035105/http://www.soundfountain.org/rem/remjohnson.html |url-status=live }}</ref>

Later in 1952, more experimental stereo recordings were conducted with [[Leopold Stokowski]] and a group of New York studio musicians at [[RCA Victor]] Studios in [[New York City]]. In February 1954, the label also recorded a performance of [[Berlioz]]' masterpiece The ''[[Damnation of Faust]]'' by the [[Boston Symphony Orchestra]] under the direction of [[Charles Munch (conductor)|Charles Munch]], the success of which led to the practice of regularly recording sessions in stereo.{{citation needed|date=February 2024}}

Shortly afterward, RCA Victor recorded the last two [[NBC Blue Network]] broadcast concerts by famed conductor [[Arturo Toscanini]] and the [[NBC Symphony Orchestra]], on stereophonic magnetic tape, however, they were never officially released, though they have long been available on pirated LPs and CDs.{{citation needed|date=February 2024|reason=No sourcing at [[NBC Symphony Orchestra#Recordings]] either}} In the UK, [[Decca Records]] began recording sessions in stereo in mid-1954, and by that time even smaller labels in the U.S. such as  Concertapes, Bel Canto and Westminster along with major labels such as RCA Victor began releasing stereophonic recordings on two-track prerecorded reel-to-reel magnetic tape, priced at twice or three times the cost of monaural recordings, which retailed for around $2.95 to $3.95 apiece for a standard monaural LP. Even two-track monaural tape which had to be flipped over halfway through and carried exactly the same information as the monaural LP{{snd}} but without the crackles and pops{{snd}} were being sold for $6.95.<ref>"[https://books.google.com/books?id=EBsEAAAAMBAJ&pg=PA34 Tape Trade Group to Fix Standards]", ''Billboard'', July 10, 1954, p. 34.</ref>

Stereophonic sound came to at least a select few living rooms of the mid-1950s.<ref>"Hi-Fi: Two-Channel Commotion", ''The New York Times'', November 17, 1957, p. XX1.</ref> Stereo recording became widespread in the music business by the 3rd quarter of 1957.{{citation needed|date=February 2024}}