Improved Localization for Binaural Recordings and Stereo Program Material Using ‘Blumlein Shuffling’

Jonathan J Digby

University of Derby

Dr Adam J Hill

University of Derby

Dr Bruce J Wiggins

University of Derby

2025-11-07

Summary

research project required a two-channel near-coincident microphone technique for:

  • listening room measurements
  • concert recordings
  • convolution
  • sound reproduction

this lead to a simple implementation of Blumlein shuffling with a baffled omnidirectional microphone array:
it’s suprisingly effective

why is Blumlein shuffling relatively obscure? what are the implications and consequences of its use?

  • description of the baffled near-coincident microphone technique
  • overview of Blumlein shuffling
  • audio demonstrations
  • applying inverse alt-Blumlein shuffling to existing ‘stereo’ content for improved earphone reproduction
  • complications
  • conclusions

Microphone array options


  • remote unsupervized listening experiments – optimized for earphones

  • suitable for room impulse responses, and recording of reproduced program

  • technique should include an omnidirectional microphone; allowing standard acoustic measures to be derived

  • near-coincident array using a pair of omnidirectional microphones


Referenced configurations:

  • ‘Binaural’: omnis, \(140...165\) mm spacing, either side of dummy head or baffle

  • ORTF: cardioids, \(170\) mm spacing, included angle \(110^{\circ}\), recording angle \(\pm 50 ^{\circ}\)

  • DIN: cardioids, \(200\) mm spacing, included angle \(90^{\circ}\), recording angle \(\pm 50 ^{\circ}\)

  • OSS / Jecklin disc: omnis, \(165\) mm spacing, acoustically damped baffle \(\emptyset 280\) mm. [\(350\) mm spacing, \(\emptyset 360\) mm]

An example spherical-response microphone polar pattern

Polar diagram of Schoeps MK 2 capsule + CMC 6 and CCM 2 preamplifier

Schoeps MK2 omnidirectional microphone manufacturer predicted polar response.

\(\rule{10cm}{0.5pt}\)

For an angled pair of near-coincident omnidirectional microphones (\(\pm 45...55^{\circ}\)), a typical spherical response can provide Inter-microphone Level Differences which emulate Interaural Level Differences (ILD).


This can be effective for source angles of incidence up to around \(\pm 20^{\circ} \dots 30^{\circ}\).
Beyond this a greater effect is needed.

A hybrid baffled microphone technique

Figure 1: SCHOEPS MK2 [3] spherical response microphone; a baffle disc of acoustic foam [4]

 

Figure 2: Forward-facing Sennheiser 8030 [5] figure-8’s (‘phased array’), and SCHOEPS MK2 (baffled)

Variable baffle-size calculator for near-coincident microphones (R script)

Referenced ILD targets : Baffled near-coincident microphone pair

The interaural level difference plotted as a function of source azimuth (Incident angle) for tones of six different frequencies, as computed in the spherical-head model with antipodal ears. All six curves have a peak, but it is hard to see for 500 Hz.

Macaulay, Hartmann, and Rakerd, Mar. 2010 [6,fig 1]

2x Schoeps MK2, 200 mm, +/- 45 degrees;
Baffle: 222 mm diameter, 90 mm thick

“Binaural Reproduction” – A.D. Blumlein

Suppose in a rather live studio two microphones are arranged on each side of a block of wood roughly representing the human head, and suppose the outputs of these two microphones are combined and taken to a pair of head receivers in another room.

When the two microphones are connected separately to the two receivers, the echoes are still heard by the observer, but he mentally discounts them and focuses his attention on the source of sound to which he is listening. The room does not sound dead, but the echoes are heard as such and do not worry the observer.

It is this effect that it is desired to obtain by the proposed system of binaural reproduction.
Of secondary importance, it is desired that the apparent position of a sound source shall be clearly indicated by the reproduction.

If the telephone receivers are replaced by two loudspeakers situated one on each side of the listening room, the binaural effect is lost.

Reproducing the ‘binaural’ signal using loudspeakers at an oblique angle

For the evaluation of stereo impression, a listening position on the perpendicular line passing through the middle of the stereo base is preferable.




Admissible limits of base width, b:
2,0 \(<\) b \(<\) 4,0 m
h \(\approx\) 0,9 b
\(\theta\) = 60\(^\circ\)
r\(_L \le\) 0,8 m
Reference listening position
about 1,2 m above the floor

Binaural survival: Duplex theory


Localization of an identified source using two mechanisms:

Energy: Interaural Intensity Difference; Interaural Level Difference; Interaural Amplitude Difference

Time: Interaural Time Difference; Interaural Phase Difference


\(\rule{10cm}{0.5pt}\)


There is nothing surprising in the observation that sounds of low pitch are nearly as well heard with the further as with the nearer ear.

When the wave-length amounts to several feet, it is not to be expected that the sound (originating at a distance) could be limited to one side of the head.


J. W. Strutt (Lord Rayleigh), “XII. On our perception of sound direction,” Feb. 1907. [9,p 215]

‘Changeover’ frequency: boundary between ILD and ITD discrimination


Lord Rayleigh reported on experiments in 1907: discrimination was ‘pretty good and fairly distributed’ at 512 Hz, 640 Hz were ‘not very different’, at 768 Hz results were ‘of a nondescript character… It seems clear that at any rate the limit was being approached’.


The change over frequency from low to high frequency methods of direction determination is probably about 700 c.p.s. The determination of direction by phase or arrival time is probably much more accurate than the determination by intensity.

Blumlein’s 1932 memo to Mr Shoenburg [7,p 2]


Equal ITD and ILD weights occurred at a crossover frequency between 400 and 600 Hz, apparently independent of room environment.

W. M. Hartmann, B. Rakerd, and Z. D. Crawford,
“Localization of sound in rooms VI: Duplex theory,”
Sept. 2025 [10,p 1]

‘Binaural illusion’ from loudspeakers

One method of obtaining a binaural illusion [with loudspeakers] is to convert the low frequency phase differences of the pressure microphone outputs into amplitude differences.

Thus an oblique low frequency sound would produce phase differences in the microphone outputs, which … would be electrically converted to include amplitude differences, thus producing differences in output intensity of the two speakers.

The modification of microphone output described above may be called “shuffling”.

A. D. Blumlein, 1932


  • otherwise, loudspeaker crosstalk at the listener provides a progressive narrowing of ‘stereo’ image width as frequency decreases

Blumlein’s shuffling matrix

 

Patent 394,325 ALAN DOWER BLUMLEIN and ELECTRIC AND MUSICAL INDUSTRIES, LIMITED: Application Date 1931-12-14

Assuming the original currents differ in phase only, the current in the difference channel will be \(\frac{\pi}{2}\) different in phase from the current in the summation channel. This difference current is passed through two resistances \(d\) and \(e\) in series between which a condenser\(^{\dagger}\) forms a shunt arm. The voltage across this condenser \(f\) will be in phase with that in the summation channel. [11,p 11]

Blumlein’s broadband spatial localization correction of a pair of near-coincident microphones for loudspeaker reproduction


For the low frequencies it can be shown that the phase difference between the waves will, for a given obliquity of the sound source, vary proportionately with frequency, being very small for a very low frequency.

Thus for a given obliquity of the sound the current in the difference channel will be increasingly great compared with that in the summation channel the higher the frequency.

Hence the use of a shunt condenser \(f\) in the difference circuit will have the effect of producing a fixed intensity difference in the final channels for a given obliquity at all low frequencies.

ALAN DOWER BLUMLEIN, Patent 394,325, Application date 1931-12-14[11,p 11]

Figure 3: MAGNITUDE: Unfiltered difference channel for two Dirac impulses: Right channel delay: 0.33 ms.

 

Figure 4: PHASE: Unfiltered difference channel for two Dirac impulses: Right channel delay: 0.33 ms.
Figure 5: MAGNITUDE: Filtered difference channel for two Dirac impulses: Right channel delay: 0.33 ms.

 

Figure 6: PHASE: Filtered difference channel for two Dirac impulses: Right channel delay: 0.33 ms.

Signal Analysis \([\textit{MATLAB}]\)

Left channel signal is fed to the Right input with a delay and level adjustment.
This approximates the ILD and ITD offsets for a distant oblique source at azimuth \(\theta = 50^{\circ}\)

Sine bursts, raised-cosine envelope. Timescales (x-axis) adjusted to match signal frequency.
Filtered Difference: 500 Hz, low-shelf, +20 dB; Filtered Sum: offset frequency, low-shelf, −1.5 dB

Example recording setup

Microphone array, baffled:
Schoeps MK2 microphones,
spherical response, matched pair
190 mm spacing, \(\pm\) 45 degrees
1,8 m above the floor

median circular baffle:
acoustic foam[4],
190 mm diameter, 90 mm thick

Microphone array, unbaffled:
Sennheiser 8030 microphones, figure-8 response, matched pair
200 mm spacing, \(\pm\) 0 degrees
1,7 m above the floor

Applying the reciprocity principle

Stereo recordings are created for loudspeaker reproduction, and what listeners hear in headphones is very different.

They [headphones] are perhaps the most used delivery device for sound reproduction

Floyd Toole, 2025


With few exceptions, existing commercially available ‘stereo’ program material may be acknowledged as optimized for loudspeaker reproduction.

  • Inverse alt-Blumlein shuffling can be used with existing ‘stereo’ content for improved earphone reproduction.

  • This converts low-frequency amplitude differences into timing differences appropriate for a perceived source direction.

Inverse shuffling matrix emulations

Left channel signal is fed to the Right input with zero delay and -20 dB level adjustment.
This emulates an amplitude panned source.

Sine bursts, raised-cosine envelope. Timescales (x-axis) adjusted to match signal frequency.
The 20 dB offset results in a ‘shuffled’ delay at 250 Hz of \(\approx 0,33\) ms.

Complications

Principal features in the effectiveness of Blumlein shuffling technique applied to near-coincident microphones may restrict its usage: compatibility within the two-channel ‘stereo’ format.

  • a conventional need for two-channel ‘stereo’ program to conform with analogue media’s physical limitations
  • this coincides with (or maybe a feature of) the need for ‘stereo’ media to function adequately within any sound reproduction situation.
  • Blumlein shuffling technique with a near-coincident microphone pair has poor mono compatibility.
    However, its effectiveness highlights possibilities for allowing two-channel ‘stereo’ to be experienced as Blumlein envisioned: inter-related channels signal-processed and reproduced as a whole.

\(\rule{10cm}{0.5pt}\)

The Blumlein shuffler should not be confused with the shelf-filter shuffler used for widening conventional stereo at frequencies below 700 Hz, since such shelf-filter shuffling is not designed to convert phase differences into amplitude differences, but simply and solely to increase stereo width by a factor between 1.6 and 2.5 at low frequencies.

M. Gerzon, “Applications of Blumlein Shuffing to Stereo Microphone Techniques,” Oct. 1992. [12,p 2]

Differentiated playback formats

Hearing two strongly correlated sources of sound, either from earphones or two loudspeakers, is an unnatural phenomenon, from which the ear-brain apparatus is asked to draw an illusion of reality.
Misleading cues must be eliminated from the sound presentation for the illusion to happen convincingly.

Siegfried Linkwitz, “The Magic in 2-Channel Sound Reproduction - Why is it so Rarely Heard?,” Dec. 2015 [14,p 113]

\(\rule{10cm}{0.5pt}\)

The effectiveness of Blumlein shuffling highlights the dichotomy between ‘stereo’ sound reproduction formats:
a pair of loudspeakers in a triangulated listening arrangement, and earphones.

These two situations result in a fundamentally unequal psychoacoustic presentation.

The encoding and optimizing for one format clashes with the other – a ‘stereo compromise’.

\(\rule{10cm}{0.5pt}\)

A sensible solution is for two-channel ‘stereo’ media to be produced and mastered for differentiated playback:

  • a version for two-channel loudspeaker playback
  • an alternate version for earphones

It is not uncommon for music albums to be released, and re-released, in multiple versions; therefore, this could present further commercial opportunities.

Conclusions

  • Two-channel near-coincident microphone techniques have the ability to represent excellent and realistic spatialization and balance of acoustic sources and their environment
  • These features are directly available for binaural earphone reproduction, and readily available for two-channel loudspeaker reproduction via the simplified alt-Blumlein shuffling process —
    ‘Bass sounds are more correctly aligned in direction with the treble, and the overall result has lower listening fatigue and is generally more natural.’ – Michael Gerzon, 1992 [12,p 22]
  • Differentiated earphones and loudspeaker versions of ‘stereo’ digital audio formats would allow the audio industries to move beyond the legacy compromise of one version for two non-equal playback conditions.
    A listening device could automatically select its appropriate version through the use of metadata
  • Inverse alt-Blumlein shuffling may be useful for earphone reproduction of commercially-available two-channel ‘stereo’ program material optimized for loudspeakers; (e.g. a built-in option for personal audio players)
  • Inverse alt-Blumlein shuffling provides a more natural earphone listening experience for generic amplitude-panned two-channel ‘stereo’ content – in accordance with Duplex theory [10];
    (e.g. this simple static function may be inserted on a mix-bus output to in-ear monitors)

References

[1]
Borwick J. Microphones: Technology and Technique. Focal Press; 1990. https://archive.org/details/microphonestechn0000borw
[2]
Williams M. Unified Theory of Microphone Systems for Stereophonic Sound Recording. Vols Preprint 2466 (H-6). London: Audio Engineering Society; 1987. p. 40. https://aes2.org/publications/elibrary-page/?id=4963
[3]
SCHOEPS Mikrofone. MK 2 Omnidirectional Microphone Capsule. 2024 July [accessed 2026 Apr 7]. https://schoeps.de/en/products/colette/capsules/omnis/mk-2.html
[4]
EQ Acoustics. Square 60 cm Acoustic Foam Tile _ EQ Acoustics. EQ Acoustics. 2025 [accessed 2026 Mar 12]. https://eqacoustics.com/products/square-60-tile
[5]
Sennheiser electronic. MKH 8030 Microphone: Quick Guide. 2024 [accessed 2025 Nov 3]. https://www.sennheiser.com/en-gb/catalog/products/microphones/mkh-8030/mkh-8030-700251
[6]
Macaulay EJ, Hartmann WM, Rakerd B. The acoustical bright spot and mislocalization of tones by human listeners. The Journal of the Acoustical Society of America. 2010;127(3):1440–1449. doi:10.1121/1.3294654
[7]
Blumlein AD. Binaural Reproduction - typewritten memorandum to Mr Isaac Shoenberg. 1932.
[8]
European Broadcasting Union. EBU Tech. 3276: Listening conditions for the assessment of sound programme material: Monophonic and two–channel stereophonic. 1998 [accessed 2026 Apr 15]. https://tech.ebu.ch/docs/tech/tech3276.pdf
[9]
Strutt (Lord Rayleigh) JW. XII. On our perception of sound direction. The London, Edinburgh, and Dublin Philosophical Magazine and Journal of Science. 1907;13(74):214–232. https://bsd.neuroinf.jp/w/images/4/4d/Rayleigh_1907.pdf. doi:10.1080/14786440709463595
[10]
Hartmann WM, Rakerd B, Crawford ZD. Localization of sound in rooms VI: Duplex theory. The Journal of the Acoustical Society of America. 2025;158(3):2048–2061. doi:10.1121/10.0039111
[11]
Blumlein AD. 394,325: Improvements in and relating to Sound-transmission, Sound-recording and Sound-reproducing Systems. 1933 June 14 [accessed 2026 Mar 13]. https://aes.org/publications/elibrary-page/?id=233
[12]
Gerzon M. Applications of Blumlein Shuffing to Stereo Microphone Techniques. In: AES 93rd Convention. San Francisco; 1992. https://aes.org/publications/elibrary-page/?id=6939
[13]
Toole FE. Sound Reproduction : The Acoustics and Psychoacoustics of Loudspeakers, Rooms and Headphones. 4th ed. Oxford: Taylor & Francis Group; 2026. (Audio Engineering Society Presents Series).
[14]
Linkwitz S. The Magic in 2-Channel Sound Reproduction - Why is it so Rarely Heard? International Journal of Architectural Engineering Technology. 2015 [accessed 2025 Nov 16];2(2). https://www.avantipublishers.com/index.php/ijaet/article/view/378. doi:https://doi.org/10.15377/2409-9821.2015.02.02.2
[15]
Gerzon M. Why Coincident Microphones. Studio Sound and Tape Recorder. 1971 [accessed 2026 Mar 13];13(3):pp. 117, 119, 140. https://www.worldradiohistory.com/Archive-All-Audio/Archive-Studio-Sound/70s/Studio-Sound-1971-03.pdf

Equipment used for recordings and measurements

  • Lenovo Windows 11 PCs
  • RME Babyface Pro audio interface
  • Schoeps MK2 (omnidirectional), MK4 (cardioid), and MK8 (figure-8) microphones: matched pairs [3]
  • Sennheiser 8030 (figure-8) microphones: matched pair [5]
  • acoustic foam tile from EQ Acoustics: 45 mm thickness [4]
  • Reaper and Audacity digital audio workstation software
  • EASERA Pro (with Time Delay Spectrometry module) and ARTA audio measurement software

Supplementary Material


https://digbyphonic.com/research/rs2025/RS2025supplements.html

The complete set of audio examples includes demonstrations of inverse alt-Blumlein shuffling applied to commercially available program material. Feedback is encouraged.


https://digbyphonic.com/research/rs2025/20251105-DIGBY-HILL-WIGGINS-rs2025-paper.html

The accompanying research paper presented at the Institute of Acoustics’ Reproduced Sound 2025 conference in Harrogate, UK.



No assessment can be purely objective, as the results one wants depend on what sort of musical effect one is after.

Michael Gerzon, 1971[15,p 117]

Electro-Acoustics Research Lab