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The term stereophonic sound or, more commonly, stereo, refers to any method of sound reproduction in which an attempt is made to create an illusion of directionality and audible perspective. This is usually achieved by using two or more independent audio channels through a configuration of two or more loudspeakers in such a way as to create the impression of sound heard from various directions, as in natural hearing.^[1] Thus the term "stereophonic" applies to so-called "quadraphonic" and "surround-sound" systems as well as the more common 2-channel, 2-speaker systems. It is often contrasted with monophonic, or "mono" sound, where audio is in the form of one channel, often centered in the sound field (analogous to a visual field). Stereo sound is now common in entertainment systems such as broadcast radio and TV, recorded music and the cinema.

The word stereophonic derives from the Greek "στερεός" (stereos), "firm, solid"^[2] + "φωνή" (phōnē), "sound, tone, voice"^[3] and it was coined in 1927 by Western Electric, by analogy with the word "stereoscopic".

Description[link]

Stereo sound systems can be divided into two forms: The first is "true" or "natural" stereo in which a live sound is captured, with any natural reverberation or ambience present, by an array of microphones. The signal is then reproduced over multiple loudspeakers to recreate, as closely as possible, the live sound.

Secondly "artificial" or "pan-pot" stereo, in which a single-channel (mono) sound is reproduced over multiple loudspeakers. By varying the relative amplitude of the signal sent to each speaker an artificial direction (relative to the listener) can be suggested. The control which is used to vary this relative amplitude of the signal is known as a "pan-pot" (panoramic potentiometer). By combining multiple "pan-potted" mono signals together, a complete, yet entirely artificial, sound field can be created.

In technical usage, true stereo means sound recording and sound reproduction that uses stereographic projection to encode the relative positions of objects and events recorded.

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. Stereo recordings often cannot be played on monaural systems without a significant loss of fidelity. Since each microphone records each wavefront at a slightly different time, the wavefronts are out of phase; as a result, constructive and destructive interference can occur if both tracks are played back on the same speaker. This phenomenon is known as phase cancellation.

History[link]

1881[link]

Diagram of Clément Ader's théatrophone prototype at the Opera during the World Exhibition in Paris (1881).

Clément Ader demonstrated the first two-channel audio system in Paris in 1881, with a series of telephone transmitters connected from the stage of the Paris Opera to a suite of rooms at the Paris Electrical Exhibition, where listeners could hear a live transmission of performances through receivers for each ear. Scientific American reported,

"Every one who has been fortunate enough to hear the telephones at the Palais de l'Industrie has remarked that, in listening with both ears at the two telephones, the sound takes a special character of relief and localization which a single receiver cannot produce… This phenomenon is very curious, it approximates to the theory of binauricular audition, and has never been applied, we believe, before to produce this remarkable illusion to which may almost be given the name of auditive perspective."^[4]

This two-channel telephonic process was commercialized in France from 1890 to 1932 as the Théâtrophone, and in England from 1895 to 1925 as the Electrophone. Both were services available by coin-operated receivers at hotels and cafés, or by subscription to private homes.^[5]

1930s[link]

In the 1930s, Alan Blumlein at EMI patented stereo records, stereo films, and also surround sound.^[6] The two stereophonic recording methods, using two channels and coincident microphone techniques (X-Y with bidirectional transducers/Blumlein setup + M/S stereophony), were developed by Blumlein at EMI in 1931 and patented in 1933. A stereo disc, using the two walls of the groove at right angles in order to carry the two channels, was cut at EMI in 1933, twenty-five years before that method became the standard for stereo phonograph discs. Harvey Fletcher of Bell Laboratories investigated techniques for stereophonic recording and reproduction. One of the techniques investigated was the "wall of sound", which used an enormous array of microphones hung in a line across the front of an orchestra. Up to 80 microphones were used, and each fed a corresponding loudspeaker, placed in an identical position, in a separate listening room. Several stereophonic test recordings, using two microphones connected to two styli cutting two separate grooves on the same wax disc, were made with Leopold Stokowski and the Philadelphia Orchestra at Philadelphia's Academy of Music in March 1932. The first (made on March 12, 1932), of Scriabin's Prometheus: Poem of Fire, is the earliest known surviving intentional stereo recording.^[7]

Accidental stereophonic recordings from these years also exist. On some occasions, RCA Victor used two microphones, two amplifiers and two recording lathes to make two simultaneous but completely separate recordings of a performance. Although this may have been done to compare the results obtained with different microphones or other technical variations, the reasons for this procedure have not been definitely established. Normally, only one of the resulting pair of recordings was released, but the other-channel recording was sometimes used for a foreign issue or survived in the form of a test pressing. When such pairs of recordings have been located and matched up, authentic stereophonic sound has been recovered, its character and degree of spatial accuracy dependent on the fortuitous placement of the two microphones and the accurate synchronization of the two recordings. Recovered stereophonic versions of two recordings made in February 1932 by Duke Ellington and His Orchestra have been issued on LP and CD under the title Stereo Reflections in Ellington and are also included in the 22-CD set The Duke Ellington Centennial Edition.

Bell Laboratories gave a demonstration of three-channel stereophonic sound on April 27, 1933, with a live transmission of the Philadelphia Orchestra from Philadelphia to Constitution Hall in Washington, D.C. Leopold Stokowski, normally the orchestra's conductor, was present in Constitution Hall to control the sound mix. Bell Labs also demonstrated binaural sound, using a dummy with microphones instead of ears, at the Chicago World's Fair in 1933.^[8] The two signals were sent out over separate AM station bands.^[9]

1940 to 1970[link]

The 1940 Carnegie Hall demonstration[link]

The Carnegie Hall demonstration by Bell Laboratories on April 9 and 10, 1940, used three huge speaker systems. Synchronization was achieved by making the recordings in the form of three motion picture soundtracks recorded on a single piece of film. Because of dynamic range limitations, volume compression was used, with a fourth track being used to regulate volume expansion. The volume compression and expansion were not fully automatic, but were designed to allow manual studio "enhancement"; i.e., the artistic adjustment of overall volume and the relative volume of each track. The recordings had been made by the Philadelphia Orchestra, conducted by Leopold Stokowski, who was always interested in sound reproduction technology. Stokowski personally participated in the "enhancement" of the sound.

The speakers produced sound levels of up to 100 decibels, and the demonstration held the audience "spellbound, and at times not a little terrified", according to one report.^[10] Sergei Rachmaninoff, who was present at the demonstration, commented that it was "marvellous" but "somehow unmusical because of the loudness." "Take that Pictures at an Exhibition", he said. "I didn't know what it was until they got well into the piece. Too much 'enhancing', too much Stokowski."

Motion picture era[link]

In 1937, Bell Laboratories in New York City gave a demonstration of two-channel stereophonic motion pictures, developed by Bell Labs and Electrical Research Products, Inc.^[11] Conductor Leopold Stokowski recorded onto a nine-track sound system at the Academy of Music in Philadelphia, during the making of the movie One Hundred Men and a Girl for Universal Pictures in 1937. The tracks were mixed down to one for the final soundtrack.^[12][13] In 1938, Metro-Goldwyn-Mayer started using three tracks instead of one to record movie soundtracks, and very quickly upgraded to four tracks. One track was used for dialogue, two for music, and one for sound effects. The purpose for this form of multitrack recording was to make mixing down to a single optical track easier and was not intended to be a recording for stereophonic purposes.^{[citation needed]} The very first binaural recording MGM made (although released in mono) was "It Never Rains But What It Pours" by Judy Garland, recorded on June 21, 1938, for the movie Love Finds Andy Hardy.

Walt Disney began experimenting with multi-channel sound in the early 1930s.^[14] The first commercial motion picture to be exhibited with stereophonic sound was Walt Disney's Fantasia, released in November 1940, for which a specialized sound process (Fantasound) was developed. Fantasound used a separate film containing four optical sound tracks. Three of the tracks were used to carry left, center and right audio, while the fourth track carried three tones which individually controlled the volume level of the other three.^[15][16] The film was not a financial success, however, and after two months of road-show exhibition in selected cities, its soundtrack was remixed into mono sound for general release. It was not until its 1956 re-release that stereo sound was restored to the film. In the early 1940s, composer-conductor Alfred Newman directed the construction of a sound stage equipped for multichannel recording for 20th Century Fox studios. Several soundtracks from this era still exist in their multichannel elements, some of which have been released on DVD, including How Green Was My Valley, Anna and the King of Siam, Sun Valley Serenade, and The Day the Earth Stood Still.

The advent of magnetic tape recording made high fidelity synchronized multichannel recording technically straightforward, though costly. By the early 1950s, all of the major studios were recording on 35mm magnetic film for mixing purposes. Motion picture theatres, however, are where the real introduction of stereophonic sound to the public occurred. Stereo sound was proven viable with the release of This is Cinerama on September 30, 1952. Cinerama was a spectacular widescreen process in some ways comparable to today's IMAX. Cinerama's audio soundtrack utilized seven discrete magnetic sound tracks: five behind the screen, plus two surround channels. The system was developed by Hazard E. Reeves, a pioneer in magnetic recording technology. By all accounts (including accounts by those who have experienced the process in rare recent showings), the sound was as spectacular as the picture, even excellent, by modern standards.

In April 1953, while This is Cinerama was still playing only in New York City, most moviegoing audiences heard stereophonic sound for the first time with the Warner Bros. 3-D film production of House of Wax, starring Vincent Price. The sound system, WarnerPhonic, was a combination of a 35 mm magnetic full-coat that contained Left-Center-Right, interlocked with the two dual-strip Polaroid system projectors, one of which carried an optical surround track and one that carried a mono backup track, should anything go wrong. Only two other films carried WarnerPhonic sound: the 3-D production of The Charge at Feather River, and Island in the Sky. The magnetic tracks to these films are considered lost. A large percentage of 3-D films carried variations on three-track magnetic sound. Among them were It Came from Outer Space; I, the Jury; The Stranger Wore a Gun; Inferno; Kiss Me, Kate; and many others.

Inspired by Cinerama, the movie industry moved quickly to create simpler and cheaper widescreen systems, such as Twentieth Century-Fox Film Corporation's CinemaScope, which used up to four magnetic sound tracks. Because of the standard 35 mm-size film, CinemaScope and its stereophonic sound was capable of being retrofitted into existing theaters. CinemaScope 55 was created by the same company in order to use a larger form of the system (55 mm instead of 35 mm), and was supposed to have had 6-track stereo. However, because the film needed a new, specially designed projector, the system proved impractical, and the two films made in it, Carousel and The King and I, were released in 35 mm CinemaScope reduction prints. To compensate, the premiere engagement of Carousel used a six-track magnetic full-coat in an interlock, and a 1961 re-release of The King and I, with the film "blown up" to 70 mm, also used a six-track stereo soundtrack. However, 50 complete sets of combination 55/35 mm projectors and "penthouse" reproducers were eventually completed and delivered by Century and Ampex, respectively. 55 mm release print sounding equipment was delivered by Western Electric and samples of sounded 55 mm prints are on file in the Sponable Collection at Columbia University. The subsequently abandoned 55/35 mm Century projector eventually became the Century JJ 70/35 mm projector. After this disappointing experience with a proprietary "wide gauge" system, Fox purchased the Todd-AO system and re-engineered it into a more modern 24 fps system with brand-new 65 mm self-blimped production cameras (Mitchell BFC ... "Blimped Fox Camera") and brand-new 65 mm MOS cameras (Mitchell FC ... "Fox Camera") and brand-new Super Baltar lenses in a wide variety of focal lengths, first employed on South Pacific. Essentially, Todd-AO became Fox's premier origination and presentation system, replacing CinemaScope 55, although the Todd-AO system was also available to others. Current DVDs of the two CinemaScope 55 feature titles were transferred from the original 55mm negatives.

However, beginning in 1957, films recorded in stereo (except for those shown in Cinerama) carried an alternate mono track for theatres not ready or willing to re-equip for stereo.^[17] From then until about 1975, when Dolby Stereo was used for the first time in films, most motion pictures—even some from which stereophonic soundtrack albums were made, such as Zeffirelli's Romeo and Juliet—were still released in monaural sound,^[18] stereo being reserved almost exclusively for expensive musicals such as West Side Story,^[19] My Fair Lady,^[20] or Camelot;^[21] epics such as Ben-Hur^[22] or Cleopatra;^[23] or dramas with a strong reliance on sound effects or music, such as The Graduate,^[24] with its Simon and Garfunkel score. Today, virtually all films are released in stereophonic sound as 1977's Westrex Stereo Variable-Area system is no more expensive to manufacture than mono (it employs the same recorder, the Western Electric/Westrex/Nuoptix RA-1231), and with Dolby Labs' matrixing technology (actually licensed from Sansui) this S V-A system can produce the Left, Center, Right and Surround sound of 1953's CinemaScope system using a standard width optical track. This important development finally brought stereo sound to so-called Flat Wide-Screen (preferentially 1.85:1, but sometimes 1.75:1 or 1.66:1) theatrical productions.

Producers often took advantage of the six magnetic soundtracks in 70mm film, and productions shot in 65 mm (or 35 mm and then blown up to 70 mm) would be mixed for stereo, while the 35mm reduction prints would be remixed for mono.

Some films shot in 35mm, such as Camelot, featured four-track stereophonic sound and were then "blown-up" to 70mm so that they could be shown on a giant screen with six-track stereophonic sound, but many were pseudo six-track as the "Columbia Spread" was often used to synthesize Left Center and Right Center from a combination of Left and Center and Right and Center, respectively, or, for effects, the effect could be "panned" anywhere across the five stage speakers using a one-in/five-out pan pot.^{[citation needed]}

Consumer media[link]

From 1940 to 1970, the progress of stereophonic sound was paced by the technical difficulties of recording and reproducing two or more channels in synchronization and by the economic and marketing issues of introducing new audio media and equipment. A stereo system cost roughly twice as much as a monophonic system, since a stereo system had to be assembled by buying two preamplifiers, two amplifiers, and two speaker systems. It was not clear whether consumers would think the sound was so much better as to be worth twice the price.

In 1952, Emory Cook (1913–2002), who already had become famous by designing new feedback disk-cutter heads to improve sound from tape to vinyl, developed a "binaural" record. This record consisted of two separate channels, cut into two separate grooves running next to each other. Each groove needed a needle, and each needle was connected to a separate amplifier and speaker. This setup was intended to give a demonstration at a New York audio fair of Cook's cutter heads rather than to sell the record; but soon afterward, the demand for such recordings and the equipment to play it grew, and Cook Records began to produce such records commercially. Cook recorded a vast array of sounds, ranging from railroad sounds to thunderstorms.^{[note 1]} By 1953, Cook had a catalog of about 25 stereo records for sale to audiophiles.^[25]

Stereo magnetic tape recording, using two recording and playback heads on standard 1/4-inch tape, was demonstrated in 1952.^[26] In 1953, Remington Records began taping some of its sessions in stereo, including performances by Thor Johnson and the Cincinnati Symphony Orchestra. Later that year, RCA Victor conducted some experimental stereo tapings with Leopold Stokowski and a group of New York musicians. In February 1954, RCA taped the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of Berlioz' Damnation of Faust, which led to regular stereo tapings by the company. Shortly afterwards, conductor Arturo Toscanini's last two public concerts were recorded on stereophonic magnetic tape. They were, however, not released in stereo until 1987 and 2007, respectively. In the UK, Decca Records began taping in stereo in mid-1954. In 1954, companies such as Concertapes and RCA Victor began releasing stereophonic recordings on two-track prerecorded reel-to-reel magnetic tape, priced at twice the cost of monaural recordings.^[27] Audiophiles bought them, and stereophonic sound came to at least some living rooms.^[28] Stereo recording became widespread in the music business by the 3rd quarter of 1957.

Label and sleeve from Audio Fidelity Records' second stereo demonstration record, ca. 1958.

The small record label Audio Fidelity Records released the first mass-produced stereophonic disc in November 1957. Sidney Frey, founder and president, had Westrex (owners of one of the two rival stereo disk-cutting systems) cut a disk for release before any of the major record labels.^[29][30] Side 1 was the Dukes of Dixieland, and Side 2 was railroad sound effects. This demonstration disc was introduced to the public on December 13, 1957 at the Times Auditorium in New York City^[31] 500 copies of this initial demonstration record were pressed. Three days later, Frey advertised in the trade magazine Billboard that he would send a free copy to anyone in the industry who wrote to him on company letterhead.^[32][33]

That move generated a great deal of publicity.^[34] Dealers in stereo phonograph equipment had no choice but to demonstrate on Audio Fidelity Records. After the release of the demonstration disc, the other spur to the popularity of stereo discs was the reduction in price of a stereo magnetic cartridge, for playing the disks, from $250 to $29.95 in June 1958.^[35] The first four mass-produced stereophonic discs available to the buying public were released in March, 1958—Johnny Puleo and his Harmonica Gang Volume 1 (AFSD 5830), Railroad – Sounds of a Vanishing Era (AFSD 5843), Lionel – Lionel Hampton and his Orchestra (AFSD 5849) and Marching Along with the Dukes of Dixieland Volume 3 (AFSD 5851). By the end of March, the company had four more stereo LPs available.^[36]

By 1968, the major record labels stopped making monaural discs.^[37][38][39]

Early broadcasting[link]

Radio: In December 1925, the BBC's experimental transmitting station, 5XX, in Daventry, Northamptonshire, made radio's first stereo broadcast—a concert from Manchester, conducted by Sir Hamilton Harty—with 5XX broadcasting the right channel nationally by long wave and local BBC stations broadcasting the left channel by medium wave. The BBC repeated the experiment in 1926, using 2LO in London and 5XX at Daventry. Following experimental FM stereo transmissions in the London area in 1958 and regular Saturday morning demonstration transmissions using TV sound and medium wave (AM) radio to provide the two channels, the first regular BBC transmissions using an FM stereo signal began on the BBC's Third Programme network on August 28, 1962.

Chicago AM radio station WGN (and its sister FM station, WGNB) collaborated on an hourlong stereophonic demonstration broadcast on May 22, 1952, with one audio channel broadcast by the AM station and the other audio channel by the FM station.^[40] New York City's WQXR initiated its first stereophonic broadcasts in October 1952, and by 1954, was broadcasting all of its live musical programs in stereophonic sound, using its AM and FM stations for the two audio channels.^[41] Rensselaer Polytechnic Institute began a weekly series of live stereophonic broadcasts in November 1952 by using two campus-based AM stations, although the listening area did not extend beyond the campus.^[42]

Tests of six competing FM-only systems were conducted on KDKA-FM in Pittsburgh, Pennsylvania during July and August 1960.^[43] The Federal Communications Commission announced stereophonic FM technical standards in April 1961, with licensed regular stereophonic FM radio broadcasting set to begin in the United States on June 1, 1961.^[44] WEFM (in the Chicago area) and WGFM (in Schenectady, New York) were reported as the first stereo stations.^[45]

HH Scott Model 350, ca. 1961: the first FM multiplex stereo tuner sold in the US

Television: A December 11, 1952 closed-circuit television performance of Carmen, from the Metropolitan Opera House in New York City to 31 theaters across the United States, included a stereophonic sound system developed by RCA.^[46] The first several shows of the 1958–59 season of The Plymouth Show (AKA The Lawrence Welk Show) on the ABC (America) network were broadcast with stereophonic sound in 75 media markets, with one audio channel broadcast via television and the other over the ABC radio network.^[47][48] By the same method, NBC Television and the NBC Radio Network offered stereo sound for two three-minute segments of The George Gobel Show on October 21, 1958.^[49] On January 30, 1959, ABC's Walt Disney Presents made a stereo broadcast of The Peter Tchaikovsky Story—including scenes from Disney's latest animated feature, Sleeping Beauty—by using ABC-affiliated AM and FM stations for the left and right audio channels.

With the advent of FM stereo in 1961, a small number of music-oriented TV shows were broadcast with stereo sound using a process called simulcasting, in which the audio portion of the show was carried over a local FM stereo station.^[50] In the 1960s and 1970s, these shows were usually manually synchronized with a reel-to-reel tape delivered by mail to the FM station (unless the concert or music originated locally). In the 1980s, satellite delivery of both television and radio programs made this fairly tedious process of synchronization unnecessary. One of the last of these simulcast programs was Friday Night Videos on NBC, just before MTS stereo was approved by the FCC.

The BBC made extensive use of simulcasting between 1974 and around 1990. The first such transmission was in 1974, when the BBC broadcast a recording of Van Morrison's London Rainbow Concert simultaneously on BBC2 TV and Radio 2. After that it was used for many other music programmes, live and recorded, including the annual BBC Promenade concerts and the Eurovision Song Contest. The advent of NICAM stereo sound with TV rendered this unnecessary.

Cable TV systems delivered many stereo programs utilizing this method for many years until prices for MTS stereo modulators dropped. One of the first stereo cable stations was The Movie Channel, though the most popular cable TV station that drove up usage of stereo simulcasting was MTV.

Japanese television began multiplex (stereo) sound broadcasts in 1978,^[51] and regular transmissions with stereo sound came in 1982.^[52] By 1984, about 12% of the programming, or about 14 or 15 hours per station per week, made use of the multiplex technology. West Germany's second television network, ZDF, began offering stereo programs in 1984.^[51]

MTS: Stereo for television

In 1979, The New York Times reported, "What has prompted the [television] industry to embark on establishing high-fidelity [sound] standards now, according to engineering executives involved in the project, is chiefly the rapid march of the new television technologies, especially those that are challenging broadcast television, such as the video disk."^[53]

Multichannel television sound, better known as MTS (often still as BTSC, for the Broadcast Television Systems Committee that created it), is the method of encoding three additional channels of audio into an NTSC-format audio carrier. It was adopted by the FCC as the United States standard for stereo television transmission in 1984. Sporadic network transmission of stereo audio began on NBC on July 26, 1984, with the Tonight Show—although at the time, only the network's New York City flagship station, WNBC, had stereo broadcast capability.^[54] Regular stereo transmission of programs began in 1985.

Recording methods[link]

A-B technique: time-of-arrival stereophony[link]

This uses two parallel omnidirectional microphones some distance apart, capturing time-of-arrival stereo information as well as some level (amplitude) difference information—especially if employed in close proximity to the sound source(s). At a distance of about 60 cm (23¹⁄₂ inches), the time delay (time-of-arrival difference) for a signal reaching the first microphone and then the other one from the side is approximately 1.5 msec (1 to 2 msec). If you increase the distance between the microphones, you effectively decrease the pickup angle. At a 70 cm (27¹⁄₂ inches) distance, it is approximately equivalent to the pickup angle of the near-coincident ORTF setup.

This technique can produce phase issues when the stereo signal is mixed to mono.

X-Y technique: intensity stereophony[link]

X-Y stereo microphone placement.

Here, two directional microphones are at the same place, typically pointing at an angle between 90° and 135° to each other.^[55] The stereo effect is achieved through differences in sound pressure level between two microphones. A difference in levels of 18 dB (16 to 20 dB) is needed for hearing the direction of a loudspeaker. Due to the lack of differences in time-of-arrival/phase ambiguities, the sonic characteristic of X-Y recordings has less sense of space and depth when compared to recordings employing an A-B setup. When two figure-eight microphones are used, facing ±45° with respect to the sound source, the X-Y setup is called a Blumlein Pair. The sonic image produced is realistic, almost "holographic".^{[citation needed]}

M/S technique: Mid/Side stereophony[link]

Mid-Side stereo microphone technique.

This coincident technique employs a bidirectional microphone facing sideways and another microphone at an angle of 90°, facing the sound source. The second microphone is generally a variety of cardioid, although Alan Blumlein described the usage of an omnidirectional transducer in his original patent.

The left and right channels are produced through a simple matrix: Left = Mid + Side; Right = Mid − Side (the polarity-reversed side signal). This configuration produces a completely mono-compatible signal and, if the Mid and Side signals are recorded (rather than the matrixed Left and Right), the stereo width can be manipulated after the recording has taken place. This makes it especially useful for film-based projects.

Near-coincident technique: mixed stereophony[link]

ORTF stereo microphone technique.

These techniques combine the principles of both A-B and X-Y (coincident pair) techniques. For example, the ORTF stereo technique of the Office de Radiodiffusion Télévision Française (Radio France) calls for a pair of cardioid microphones placed 17 cm apart at a total angle between microphones of 110°, which results in a stereophonic pickup angle of 96° (Stereo Recording Angle, or SRA).^[56] In the NOS stereo technique of the Nederlandse Omroep Stichting (Holland Radio), the total angle between microphones is 90° and the distance is 30 cm, thus capturing time-of-arrival stereo information as well as level information. It is noteworthy that all spaced microphone arrays and all near-coincident techniques use a spacing of at least 17 cm or more. 17 cm roughly equals the human ear distance and therefore provides the same interaural time difference (ITD) or more, depending on the spacing between microphones. Although the recorded signals are generally intended for playback over stereo loudspeakers, reproduction over headphones can provide remarkably good results, depending on the microphone arrangement.

Pseudo-stereo[link]

In the course of restoration or remastering of monophonic records, various techniques of "pseudo-stereo", "quasi-stereo", or "rechanneled stereo" have been used to create the impression that the sound was originally recorded in stereo. These techniques first involved hardware methods (see Duophonic) or, more recently, a combination of hardware and software. Multitrack Studio, from Bremmers Audio Design (The Netherlands),^[57] uses special filters to achieve a pseudo-stereo effect: the "shelve" filter directs low frequencies to the left channel and high frequencies to the right channel, and the "comb" filter adds a small delay in signal timing between the two channels, a delay barely noticeable by ear,^{[note 2]} but contributing to an effect of "widening" original "fattiness" of mono recording.^[58][59]

The special pseudo-stereo circuit—invented by Kishii and Noro, from Japan—was patented in the United States in 2003,^[60] with already previously issued patents for similar devices.^[61] Artificial stereo techniques have been used to improve the listening experience of monophonic recordings or to make them more "saleable" in today's market, where people expect stereo. Some critics have expressed concern about the use of these methods.^[62]

Binaural recording[link]

Engineers make a technical distinction between "binaural" and "stereophonic" recording. Of these, binaural recording is analogous to stereoscopic photography. In binaural recording, a pair of microphones is put inside a model of a human head that includes external ears and ear canals; each microphone is where the eardrum would be. The recording is then played back through headphones, so that each channel is presented independently, without mixing or crosstalk. Thus, each of the listener's eardrums is driven with a replica of the auditory signal it would have experienced at the recording location. The result is an accurate duplication of the auditory spatiality that would have been experienced by the listener had he or she been in the same place as the model head. Because of the inconvenience of wearing headphones, true binaural recordings have remained laboratory and audiophile curiosities. However "loudspeaker-binaural" listening is possible with Ambiophonics.

Playback[link]

Stereophonic sound attempts to create an illusion of location for various sound sources (voices, instruments, etc.) 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, in order 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 this would only be true in a carefully engineered and installed system, where speaker placement and room acoustics are taken into account. In reality, many playback systems, such as all-in-one boombox units and the like, are incapable of recreating a realistic stereo image. Originally, in the late 1950s and 1960s, stereophonic sound was marketed as seeming "richer" or "fuller-sounding" than monophonic sound, but these sorts of claims were and are highly subjective, and again, dependent on the equipment used to reproduce the sound. In fact, poorly recorded or reproduced stereophonic sound can sound far worse than well done monophonic sound. When playing back stereo recordings, the best results are obtained by using two identical speakers, in front of and equidistant from the listener, with the listener located on a center line between the two speakers. In effect, an equilateral triangle is formed, with the angle between the two speakers around 60 degrees as seen from the listener's point of view.

Vinyl records[link]

A compilation of LP stereo banners

In 1958, the first group of mass-produced stereo two-channel records was issued, by Audio Fidelity in the USA and Pye in Britain, using the Westrex "45/45" single-groove system. Whereas the stylus moves horizontally when reproducing a monophonic disk recording, on stereo records, the stylus moves vertically as well as horizontally. One could envision a system in which the left channel was recorded laterally, as on a monophonic recording, with the right channel information recorded with a "hill and dale" vertical motion; such systems were proposed but not adopted, due to their incompatibility with existing phono pickup designs (see below). In the Westrex system, each channel drives the cutting head at a 45-degree angle to the vertical. During playback, the combined signal is sensed by a left-channel coil mounted diagonally opposite the inner side of the groove and a right-channel coil mounted diagonally opposite the outer side of the groove.^[63] The Westrex system provided for the polarity of one channel to be inverted: this way large groove displacement would occur in the horizontal plane and not in the vertical one. The latter would require large up-and-down excursions and would encourage cartridge skipping during loud passages.

The combined stylus motion is, in terms of the vector, the sum and difference of the two stereo channels. Effectively, all horizontal stylus motion conveys the L+R sum signal, and vertical stylus motion carries the L−R difference signal. The advantages of the 45/45 system are that it has greater compatibility with monophonic recording and playback systems. A monophonic cartridge will reproduce an equal blend of the left and right channels, instead of reproducing only one channel. Conversely, a stereo cartridge reproduces the lateral grooves of monophonic recording equally through both channels, rather than one channel. Also, it gives a more balanced sound, because the two channels have equal fidelity as opposed to providing one higher-fidelity laterally recorded channel and one lower-fidelity vertically recorded channel. Overall, this approach may give higher fidelity, because the "difference" signal is usually of low power, and is thus less affected by the intrinsic distortion of "hill and dale"-style recording.

This system was "invented" by Alan Blumlein of EMI in 1931 and was patented the same year, but it was not reduced to actual practice, as was a requirement for patenting in the U.S. and elsewhere at that time (Blumlein died during combat in WW-II). EMI cut the first stereo test discs using the system in 1933, but it was not applied commercially until a quarter of a century later, and by another company (Westrex). Stereo sound provides a more natural listening experience, since the spatial location of the source of a sound is (at least in part) reproduced. In the 1960s, it was common practice to generate stereo versions of music from monophonic master tapes, which were normally marked "electronically reprocessed" or "electronically enhanced" stereo on track listings. These were generated by a variety of processing techniques to try to separate out various elements; this left noticeable and unsatisfactory artifacts in the sound, typically sounding "phasey". However, as multichannel recording became increasingly available, it has become progressively easier to master or remaster more plausible stereo recordings out of the archived multitrack master tapes.

Compact disc[link]

The Red Book CD specification includes two channels by default, and so a mono recording on CD either has one empty channel, or else the same signal being relayed to both channels simultaneously.

Broadcasting[link]

Radio[link]

In FM broadcasting, the Zenith-GE pilot-tone stereo system is used throughout the world.

Because of the limited audio quality of the majority of AM receivers, and also because AM stereo receivers are relatively scarce, relatively few AM stations employ stereo. Various modulation schemes are used for AM stereo, of which the best-known is Motorola's C-QUAM, the official method for most countries in the world that transmit in AM stereo. More AM stations are adopting digital HD Radio, which allows the transmission of stereo sound on AM stations. For Digital Audio Broadcasting, MP2 audio streams are used. DAB is one of the Digital Radio formats that is used to broadcast Digital Audio over terrestrial broadcast networks or satellite networks. DAB is extended to video, and the new format is called DMB.

Television[link]

For analog TV (PAL and NTSC), various modulation schemes are used in different parts of the world to broadcast more than one sound channel. These are sometimes used to provide two mono sound channels that are in different languages, rather than stereo. Multichannel television sound is used mainly in the Americas. NICAM is widely used in Europe, except in Germany, where Zweikanalton is used. The EIAJ FM/FM subcarrier system is used in Japan. For Digital TV, MP2 audio streams are widely used within MPEG-2 program streams.

Common usage[link]

Label for 2.0 sound (stereo).

In common usage, a "stereo" is a two-channel sound reproduction system, and a "stereo recording" is a two-channel recording. This is cause for much confusion, since five (or more)-channel home theater systems are not popularly described as "stereo".

Most two-channel recordings are stereo recordings only in this weaker sense. Pop music, in particular, is usually recorded using close miking techniques, which artificially separate signals into several tracks. The individual tracks (of which there may be hundreds) are then "mixed down" into a two-channel recording. By using "left-right" panning controls, the audio engineers determine where each track will be placed in the stereo "image". The end product using this process often bears little or no resemblance to the actual physical and spatial relationship of the musicians at the time of the original performance; indeed, it is not uncommon for different tracks of the same song to be recorded at different times (and even in different studios) and then mixed into a final two-channel recording for commercial release.

Classical music recordings are a notable exception. They are more likely to be recorded without having tracks dubbed in later as in pop recordings, so that the actual physical and spatial relationship of the musicians at the time of the original performance is preserved on the recording.

Balance[link]

Balance can mean the amount of signal from each channel reproduced in a stereo audio recording. Typically, a balance control in its center position will have 0 dB of gain for both channels and will attenuate one channel as the control is turned, leaving the other channel at 0 dB.^[64]

See also Panning.

See also[link]

• 3D audio effect
• Ambiophonics – binaural with speakers, not headphones
• Ambisonics – generalized MS-Stereo to three dimensions
• Wave Field Synthesis – The physically reconstruction of the spatial sonic field
• Binaural recording
• Blumlein Pair
• Crossfeed
• Hi-fi
• Joint stereo
• Quadraphonic
• Stereo photography
• Stereographic projection
• Subwoofer (Stereo separation)
• Surround sound
• Sweet spot (acoustics)

Notes[link]

References[link]

External links[link]

• Online Left/Right Stereo Test
• Online Stereo Polarity Test
• Visualization of All Stereo Microphone Systems with Two Microphones
• "Two Ears- Two Loudspeakers?" The limitations of traditional audio

Adam Levine
Levine during a press conference in Singapore in 2011
Background information
Birth name	Adam Noah Levine
Born	(1979-03-18) March 18, 1979 (age 33) Los Angeles, California, U.S.
Genres	Alternative rock, funk rock, pop rock, soul, rhythm and blues
Occupations	Musician, singer-songwriter
Instruments	Vocals, guitar, bass, piano
Years active	1994–present
Labels	A&M Octone
Associated acts	Maroon 5, Kara's Flowers, Kanye West, Wiz Khalifa, Natasha Bedingfield, Ying Yang Twins, Alicia Keys, K'naan, Rihanna, Slash, Gym Class Heroes, Christina Aguilera
Website	www.maroon5.com

Adam Noah Levine^[1] (born March 18, 1979) is an American singer-songwriter and musician, best known as the front man and guitarist for the pop rock band Maroon 5. He is also a coach on the American talent show The Voice.

Early life[link]

Levine was born in Los Angeles to Fred and Patsy (née Noah) Levine. His uncle is journalist and author Timothy Noah.^[2] He has a brother, Michael, and a sister, Julia.^[3] When he was six years old, he made the winning shot of his local YMCA championship basketball game (on a team his father coached) with no time left on the clock. He has said that the incident changed his life and gave him the confidence to be successful.^[4][5]

Levine attended French Woods Festival of the Performing Arts Camp (Hancock, NY) with best friend Jesse Carmichael, guitar player of the band known at that time as Kara's Flowers. He graduated from Brentwood School in 1997.

Levine has Jewish ancestry on both sides of his family (his father and maternal grandfather were Jewish), and considers himself Jewish, though according to The Jewish Chronicle, who interviewed Levine, he "has rejected formal religious practice for a more generalized, spiritual way of life". He chose not to have a Bar Mitzvah as a child.^[6]

Original band Kara's Flowers[link]

Having met at Brentwood School in Los Angeles, the band released their first album titled The Fourth World in 1997 as high school seniors. That same year the band appeared on an episode of Beverly Hills, 90210. The album had little success, and its only single, "Soap Disco", failed commercially. Disappointed with the results of their album, the band members went their separate ways.^[7]

Levine and Carmichael left Los Angeles for New York. This was the first time the two Los Angeles natives were exposed to a completely different music scene, a cultural awakening for the young men.^[8] On MTV News, in 2002, Levine said, "That's when I started waking up to the whole hip hop, R&B thing. We had friends named Chaos and shit. It was not Brentwood High."^[9]

Maroon 5 and mainstream success[link]

During this time, Levine worked a two-week stint as a waiter at Johnny Rockets.^[10] After dropping out of Five Towns College, Levine and Jesse reunited with Mickey and Ryan, but added former Square guitarist, James Valentine in 2001. Renaming the band Maroon 5, Levine and his friends began to compile all of their newfound musical influences into their music. While Levine was working as a writer's assistant on the television show "Judging Amy," he spent time writing the lyrics about his ex-girlfriend, Jane. Those lyrics became the album "Songs About Jane."^[10]

Other work[link]

Levine (right) with bandmate Jesse Carmichael in 2007

Levine has collaborated with various musical acts. In 2005, Levine was featured on the Ying Yang Twins song "Live Again". He appeared on Kanye West's Late Registration album, on the third single, "Heard 'Em Say".^[11] He is also featured in the song "Wild Horses" on Alicia Keys' third album Alicia Keys: MTV Unplugged. Over the next year, he co-wrote the track "Say It Again" on Natasha Bedingfield's album N.B.. He also performed the background vocals on this song. Most recently, Levine offered his vocals on Gym Class Heroes' newest album in the song "Stereo Hearts".

Levine has made four notable comic appearances on television. During 2007, he appeared on the 33rd season premiere of Saturday Night Live in an SNL Digital Short called Iran So Far with Andy Samberg, Fred Armisen and Jake Gyllenhaal. Levine played himself while singing a humorous bridge to a "love song" for Mahmoud Ahmadinejad. In 2008, he appeared on Comedy Central's "Night Of Too Many Stars". Levine also had a cameo on Jimmy Kimmel Live for the night of stars and endorsed Barack Obama in the 2008 Presidential Election.

In October 2008, Levine collaborated with First Act to create the First Act 222 Guitar, fashioned to Levine's specifications. The guitar was made available for purchase at Target retail stores.^[12]

Levine has stated in various interviews that he does not plan on continuing in Maroon 5 forever, and may stop after the tour for Maroon 5's third album.^[13][14] In 2009, he recorded "Gotten", a song for Slash's first solo album Slash released in April 2010. "Gotten" was premiered at amazon.com on March 29, 2010.^[15] Levine is also featured as a singer for his band's song "She Will be Loved" in the music rhythm game Band Hero. In February 2010, he was among approximately 80 musicians who sang on the charity-single remake of "We Are the World" called "We Are the World 25 for Haiti".^{[citation needed]}

Levine is one of the contestant judges and coach mentors on the singing TV show, The Voice.^[16] The winner of the first season, Javier Colon, was on Levine's team. Levine also returned as a coach for Season 2 of The Voice. His team consisted of Mathai (singer), Pip (singer), Tony Lucca, Katrina Parker, Karla Davis, and Kim Yarbrough. Levine will appear in the second season of American Horror Story.^[17]

Personal life[link]

Levine's ex-girlfriend Jane is the inspiration behind the name of the band's debut album Songs About Jane. In a 2004 interview, he claimed that she had not contacted him despite the success of the album.^[18]

In September 2010, Levine said on the Howard Stern Show he had been dating Russian Sports Illustrated swimsuit and Victoria's Secret model Anne Vyalitsyna seriously for about eight months. The couple met when Maroon 5 performed at the 2010 Sports Illustrated Swimsuit Issue release party in Las Vegas.^[19] In April 2012, Levine and Vyalitsyna announced that they had split.^[20]

Levine stripped naked for testicular cancer awareness for a centerfold in Cosmopolitan UK's February 2011 issue.^[21]

During Levine's teenage years, he was medically diagnosed with Attention Deficit Hyperactivity Disorder. In 2011, he launched an educational campaign to raise awareness of ADHD, titled "Own It".^[22]

Levine, whose brother is openly gay, is an outspoken supporter of LGBT rights.^[23] In 2011, he made a video^[24] on Maroon 5's official YouTube account in support of the It Gets Better Project. In January 2012, he announced that Maroon 5 had changed the location of their post-Grammy Awards show because of the "unnamed Los Angeles restaurant's backing of Proposition 8".^[23]

Discography[link]

As a featured artist[link]

Other charted songs[link]

Guest appearances[link]

Further reading[link]

• Kimpel, Dan (2006), How They Made It: True Stories of How Music's Biggest Stars Went from Start to Stardom!. Location unknown:Hal Leonard Corporation. ISBN 0-634-07642-6

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Adam Levine

• Adam Levine at the Internet Movie Database
• "y’know – interviews with the famous". C.B.Liddell. February 10, 2008. http://yknow-interviews.blogspot.com/2008/02/adam-levine-maroon-5.html. 

Eduard Marian Ilie (born 29 June 1986 in Bucharest),^[1] better known as Edward Maya, is a Romanian musician, producer, performer, and composer. He graduated from George Enescu Music High School in Bucharest and is currently a final year student at the Bucharest Conservatory.

Career[link]

In and around 2006, Maya worked with many Romanian artists such as Akcent, Vika Jigulina, Blaxy Girls, DJ Sava, DJ Rynno and Liviu Hodor. He worked also on the song Tornerò, which was performed by Mihai Trăistariu in the Eurovision Song Contest 2006. He added in an interview on Beat-Town.com that this song "was the beginning of my career"^[2]

In the summer of 2009, Maya launched his first song as an artist, "Stereo Love", reaching number 2 in the Romanian singles charts. Later that year, "Stereo Love" became a hit in clubs all over the world.^[3] While this success was followed by concerts worldwide, the song entered the top-5 singles charts in Austria, Denmark, Finland, France, Germany, Ireland, Italy, the Netherlands, Norway, Spain, Sweden, Switzerland, UK.^[4][5][6][7] "Stereo Love" has received over 173 million YouTube views since August 2009, for just one video.^[8]

On May 13, 2010, Maya released his second single "This Is My Life". To help maintain control of his career and provide opportunities for other artists, Maya has formed his own record label, Mayavin Records.^[9]

Maya released the song and video for his third single "Desert Rain" on Christmas night worldwide.^[10] In an interview Edward Maya talked about his Desert Rain tour he mentions he'll start off with India and later he will be touring Europe, US, South Africa and Pakistan.^[11]

Discography[link]

Albums[link]

Singles[link]

Other singles[link]

References[link]

External links[link]

• Official website

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (February 2012)

Vika Jigulina (born Victoria Corneva, February 18, 1986) is a Romanian (from Moldova) music producer, singer, and DJ. She was born in Cahul and graduated from the Rachmaninov School of Music. In 2000, she moved to Timişoara, Romania, where she still lives, and continued her studies there. She worked in various clubs in Timişoara and eventually Bucharest. She landed a weekly show on the Romanian station Radio Deea and later on with VIBE FM that gave her national exposure and fame. In 2010 she became a Romanian citizen.

Jigulina has made mixes with Steve Murrano, ATB, Tomcraft, DJ DOX, Steve Angello, Sebastian Ingrosso, and other Romanian artists. She is the vocalist in the international dance hit "Stereo Love" by Romanian producer and musician Edward Maya. She is also touring with Edward Maya in Canada in March 2011."Stereo Love" won the Billboard Music Awards 2011 for the Top Dance Song. Vika's 4th single, "Mono In Love", is scheduled for release in early 2012 featuring Edward Maya.

Discography[link]

Jigulina is currently working with Maya on his debut studio album The Stereo Love Show.

Discography[link]

Singles[link]

References[link]

External links[link]

• Vika Jigulina Official website

This article on a Romanian singer is a stub. You can help Wikipedia by expanding it. v t e

John Legend
John Legend, 2010
Background information
Birth name	John Roger Stephens
Born	(1978-12-28) December 28, 1978 (age 33)
Origin	Springfield, Ohio, United States
Genres	R&B, hip hop soul, soul, neo soul, jazz fusion
Occupations	Singer-songwriter, actor
Instruments	Vocals, piano, keyboards
Years active	2001–present
Labels	GOOD, Sony Music
Associated acts	Kanye West, Jay-Z, Kid Cudi, Lupe Fiasco, The Roots
Website	johnlegend.com

John Roger Stephens (born December 28, 1978), better known by his stage name John Legend, is an American singer-songwriter and actor. He has won nine Grammy Awards, and in 2007, he received the special Starlight award from the Songwriters Hall of Fame.^[1]

Prior to the release of his debut album, Stephens' career gained momentum through a series of successful collaborations with multiple established artists. Stephens added his voice to those of other artists, assisting in them reaching chart-topper hits. He lent his voice to Kanye West's All of the Lights, on Slum Village's "Selfish" and Dilated Peoples' "This Way". Other artists included Jay-Z's "Encore", and he sang backing vocals on Alicia Keys' 2003 song "You Don't Know My Name" and Fort Minor's "High Road." Stephens played piano on Lauryn Hill's "Everything Is Everything."

Career and life[link]

1978–2003: Early life and career beginnings[link]

Stephens was born on December 28, 1978, in Springfield, Ohio.^[2] He is the son of Phyllis, a seamstress, and John Mills, a factory worker and former National Guardsman.^[3][4] Throughout his childhood, Stephens was homeschooled on and off by his mother.^[5] At the age of four, he began playing the piano and at the age of seven, he performed with his church choir. When he was ten, his parents divorced, causing his mother to suffer a breakdown.^[4] At the age of 12, Stephens attended North High School, from which he graduated four years later.^[6] He graduated salutatorian.

According to Stephens, he was offered scholarships to Harvard University, Georgetown University and Morehouse College.^[7] He attended the University of Pennsylvania, where he studied English with an emphasis on African American literature.^[8] While in college, he helmed Counterparts, a co-ed jazz and pop a cappella group as president (1997–1998) and musical director (1998–1999). Stephens' lead vocals on the group's recording of Joan Osborne's "One of Us" received critical acclaim^[9] landing the song on the track list of the 1998 Best of Collegiate a Cappella compilation CD. Stephens was also a member of the prestigious Sphinx Senior Society while an undergraduate at Penn. While in college, Stephens was introduced to Lauryn Hill by a friend. Hill hired him to play piano on "Everything Is Everything", a song from her album, The Miseducation of Lauryn Hill.^[7]

During this period, Stephens took time to hold a number of shows around Philadelphia, eventually expanding his audience base to New York, Boston, Atlanta, and Washington, D.C. He finished college in 1999, and thereafter began producing, writing, and recording his own music. He released two albums independently; his self-titled demo (2000) and 'Live at Jimmy's Uptown' (2001), which he sold at his shows.

After graduating from the University of Pennsylvania, Stephens began working as a management consultant for the Boston Consulting Group.^[6] During this time, he began working on his demo and began sending his work to various record labels.^[5][10] In 2001, Devo Springsteen introduced Stephens to then up-and-coming hip-hop artist Kanye West; Stephens was hired to sing during the hooks of West's music. After signing to West's label, he chose his stage name from a nickname that was given to him by poet J. Ivy, due to Stephens' "old-school sound".^[7][11] Stephens' vocals can be heard on several tracks including Alicia Keys' "You Don't Know My Name", Jay-Z's "Encore", Kanye West's "Never Let Me Down," also featuring Jay-Z and J. Ivy, Dilated Peoples' "This Way" and Slum Village's "Selfish".

[edit] 2004–2005: Get Lifted

Stephens released his debut album, Get Lifted, in December 2004. It debuted at number seven on the Billboard 200, selling 116,000 copies in its first week.^[12] It went on to sell 2.1 million copies in the United States and was certified Platinum by the RIAA.^[13][14] It has sold three million copies worldwide.^[7] The album produced two singles: "Ordinary People" (US and UK top 30) went straight to number four and "Used to Love U" (US top 100, UK top 30).^{[citation needed]}

[edit] 2006–2007: Once Again

The first single from his second album, Once Again, was "Save Room". The album was released October 24, 2006, and boasts production from Kanye West, Raphael Saadiq, and will.i.am. In an interview with MTV, he said that this album contained his favorite song that he had written to date, entitled "Again." He said he came up with the idea for the song and wrote some of it while sitting on a subway. He stated that the song was also the inspiration for the album's title^{[citation needed]}.

In August 2006 Stephens appeared in an episode of Sesame Street. He performed a song entitled "It Feels Good When You Sing a Song", a duet with Hoots the Owl.^[15] He also performed during the pregame show of Super Bowl XL in Detroit and the halftime show at the 2006 NBA All-Star Game.^[16][17]

[edit] 2008–2010: Evolver

John Legend interviewed on the Red Carpet during the Toronto International Film Festival, 2008.

Stephens released his third studio album Evolver, in October 2008.^[18] Rapper Andre 3000 of OutKast is featured on the first single of the album on a song titled "Green Light". "It's going to be a surprise for a lot of John Legend fans, because it is a lot more upbeat than John is — than people think John is," Andre insisted. "I was actually happy to hear it. This is a cool John Legend song".^[19] The next single from Evolver was confirmed as "Everybody Knows".^[20]

Speaking in July 2008 to noted UK R&B writer Pete Lewis of the award-winning "Blues & Soul", he explained his reasons for titling the album 'Evolver': "Well I think people sometimes come to expect certain things from certain artists. They expect you to kind of stay in the same place you were at when you started out. Whereas I feel I want my career to be defined by the fact that I'm NOT gonna stay in the same place, and that I'm always gonna try new things and experiment. So, as I think this album represents a manifestation of that, I came up with the title 'Evolver'."^[21]

In 2009, Stephens performed in The People Speak a documentary feature film that uses dramatic and musical performances of the letters, diaries, and speeches of everyday Americans, based on historian Howard Zinn's "A People's History of the United States”.^[22]

[edit] 2010: Wake Up!

John Legend and The Roots teamed up to record a collaborative album,^[23] Wake Up!, which was released on September 21, 2010.^[24] The first single released off the album was "Wake Up Everybody" featuring singer Melanie Fiona and rapper Common; a video for the song has been released.^[25][26] "Hard Times" is the second single.

In February 2011 John won three Grammy Awards (one by himself and two with The Roots) at the 53rd Annual Grammy Music Awards Ceremony. Legend won a Grammy Award for Best R&B Song for "Shine", and he and The Roots won Grammy Awards for Best R&B Album (Wake Up!) and Best Traditional R&B Vocal Performance for "Hang On In There". In March 2011 Legend and the Roots won two NAACP Image Awards – one for Outstanding Album (Wake Up!) and one for Outstanding Duo, Group or Collaboration.

2011–Present: Tour, Duets TV Show and working on new album[link]

Summer 2011, Legend completed a 50-date tour as a guest for British Soul band Sade. In the San Diego stop, Legend confirmed that he is working on his next studio album, and played a new song called "Dreams".^[27]. Legend was granted an Honorary Doctorate Degree from <<Howard University>> at the 144th Commencement Exercises on Saturday May 12, 2012.^[28]

Legend is currently a judge on the ABC music show Duets along with Kelly Clarkson, Jennifer Nettles and Robin Thicke. Legend's spot was originally for Lionel Richie but Richie had to leave the show due to a scheduling conflict. Duets debuted on Thursday, May 24, 2012 at 8/7c.^[29].

Plagiarism lawsuit[link]

On July 5, 2011, songwriter Anthony Stokes filed a copyright infringement lawsuit against John Legend in United States District Court, in the District of New Jersey, alleging that Legend's song "Maxine's Interlude" from his 2006 album Once Again derives from Stokes' demo "Where Are You Now."^[30] Stokes claims he gave Legend a demo of the song in 2004 following a concert at the University of North Carolina at Chapel Hill.^[31] Legend has denied the allegations, telling E! Online, "I never heard of his song until he sued me. I would never steal anyone's song. We will fight it in court and we will prevail."^[32] Nearly 60,000 people took a TMZ.com poll that compared the two songs and 65% of voters believed that Legend's "Maxine's Interlude" is a rip-off of Stokes' "Where Are You Now."^[33]

Collaborations[link]

• In 2005 he was featured in the Fort Minor song "High Road".
• In 2006 he was featured in Sérgio Mendes's collaboration album, Timeless, singing "Please Baby Don't".
• In 2006 collaborated with Jay-Z on the album Kingdom Come on the song "Do U Wanna Ride".
• Collaborated with Japanese R&B duo CHEMISTRY on their 2006 single "Tōkage".
• Collaborated with Mary J. Blige on "King & Queen".
• In 2007 lent his vocals for the Rich Boy track "Ghetto Rich".
• In 2008 collaborated with Colombian Rock artist Juanes at the Latin Grammys, singing in Spanish along with Juanes, on the bilingual version of the song "Si tu estas ahi" also known as "If You Are Out There".
• Featured in The Black Eyed Peas song, "Like That". The song "Ordinary People" was originally meant to be for a Black Eyed Peas project, but they agreed the song fitted better sung by J.Legend and recorded the song after he had been signed to Columbia Records.
• Tentatively worked with Michael Jackson on a future album. In a Dutch interview with singer and host Tommy Parker, he was asked about this collaboration. His response was that he had written one song for the upcoming album, but was unsure about whether Jackson would be using it.^[34]
• Sang "The Girl is Mine" and the national anthem along with Stephen Colbert on The Colbert Report.
• Featured on the sixth track ("Heartbreaker") of MSTRKRFT's second album Fist of God.

• He collaborated with Fergie for her song "Finally" on her 2006 debut album "The Dutchess".
• Featured in T.I.'s song "Slide Show" on his album Paper Trail. A music video for "Slide Show" was released on August 10, 2009, featuring a video collage; it is unknown as of yet, however, if it is an official single.^[35]
• He is also featured in the song "Magnificent" by Rick Ross. The music video has cameo appearances from DJ Khaled saying and wearing "We the Best!!", Birdman, Ace Hood, Triple C's, and Special Ed. It was released on March 3, 2009, and it was directed by music video director Gil Green. It was filmed at Gulfstream Park Racetrack in Hallandale Beach, Florida. The two later collaborated on the songs "Sweet Life" and "Free Mason," the former of which failed to make the cut for the follow-up album, Teflon Don, and the latter of which featured rapper Jay-Z as well.
• Co-wrote (and played piano on) "Move on Me" by British singer-songwriter Fin Greenall (a.k.a. Fink) from the album "Sort of Revolution" (2009)
• Collaborated with Reggae legend Buju Banton on the track "Can't Be My Lover". The track is one of the biggest mixes of R&B and Reggae/Dancehall in years.
• In 2009 recorded a duet with Brazilian singer Ana Carolina called "pt:Entreolhares (The Way You’re Looking at Me)". He sings in English, and she sings in Portuguese.
• In the summer of 2009 he recorded a duet with ex-member of Sin Bandera, Noel Schajris, called "No Importa" (It Doesn't Matter). He sings in English and Spanish.
• In 2009 a duet version "Save Room" featuring German band, Monrose, was released under the title "Save Room (Let's Get Strictly Physical)".
• Has plans to collaborate with British born talent, Stefan Vitalis, to produce a soulful and dynamic record.
• Recorded a cover of the U2 song "Pride (in the name of love)"
• Collaborated with Nas for the title track on DJ Khaled's 2010 album Victory.
• In 2010 collaborated with Pink and Herbie Hancock for a recording of Peter Gabriel's song "Don't Give Up", which featured on Hancock's album The Imagine Project.
• Collaborated with Lupe Fiasco on the track "Never Forget You."
• Collaborated with Kanye West on the song "Blame Game" on West's album My Beautiful Dark Twisted Fantasy.
• In September 2010 collaborated with British dubstep trio, Magnetic Man, on a track entitled "Getting Nowhere".
• Collaborated with Lil Wayne on the track "So Special." On Wayne's album Tha Carter IV.
• Sang a duet with jazz singer Cassandra Wilson "Watch the Sunrise" co-written by Legend on her 2010 album Silver Pony.
• Collaborated with Mariah Carey in 2011 on a duet version of her holiday track "When Christmas Comes" from her 2010 album, Merry Christmas II You.
• Collaborated with Tiziano Ferro on the track "Karma" from Tiziano Ferro album, L'amore è una cosa semplice.

Music videos and acting career[link]

His cover of Stevie Wonder's 1974 hit song "Don't You Worry 'Bout a Thing" appeared in Will Smith/Eva Mendes' film Hitch and on the soundtrack album of the movie.

The 2007 video for his single, "P.D.A. (We Just Don't Care)", features Alexandre Rodrigues and Alice Braga from the critically acclaimed film, City of God.

Songs attributed to John Legend have appeared in feature films, as follows:

• "Refuge" appears on the soundtrack to the 2006 film The Second Chance.
• "Dare to Dream" is in the 2007 movie Pride.
• "Someday" is part of the soundtrack to the 2007 film August Rush.
• "Shine" was written for the end credits of the 2010 film Waiting for Superman.

He has a supporting, singing-only role in the 2008 movie Soul Men, where he plays the deceased lead singer of a fictitious soul group that includes Samuel L. Jackson and Bernie Mac. Although he has no real dialogue in the film, he only sings a song called "I'm Your Puppet" along with Jackson and Mac.

Endeavors[link]

Television appearances and commercials[link]

• Performed "God Bless America" during the 7th inning stretch at the 2006 Major League Baseball All Star Game in Pittsburgh, PA.^[36]

• Appeared on the season finale of Curb Your Enthusiasm, singing a cover of "You Don't Know Me". He also appeared on an episode of the television series "Las Vegas" in February 2007, performing his single "Save Room" solo at the end of the episode.

• In 2007 performed with John Mayer and Corinne Bailey Rae at the Grammy Awards. He later appeared with Bailey Rae in several live performances.

• Appeared in a recent commercial for a Lexus SUV, in which Legend is shown listening to Nina Simone's "Backlash Blues" (recorded live in Paris, 1968, on The Great Show LP) and describing his experience with the music. He is also notable for performing closing music in many of Apple Inc CEO Steve Jobs' keynote presentations.

• In January 2008 sang in a video for Barack Obama, produced by Will.I.Am called "Yes We Can".^[37]

• Performed "America The Beautiful" at WrestleMania XXIV on Sunday March 30, 2008 at the Citrus Bowl in Orlando, Florida.^[38]

• In a 2008 Target commercial performed a piece of his song "Slow Dance" to pitch his new album "available exclusively at Target." The commercial was shown during online streaming episodes of NBC programs.

• In 2008 performed several numbers live in front of tens of thousands of fans during the "Welcome to America" July 4 celebration on the steps of the Philadelphia Museum of Art, in Philadelphia, PA.

• Performed at the 2008 Democratic National Convention in Denver in September 2008.

• Appeared on Real Time with Bill Maher on October 31, 2008. He was a member of the panel and performed "If You're Out There" at the end of the show.

• Appeared on CNN Heroes 2008, which was taped November 22, 2008, and was televised November 27, 2008.

• Appeared to perform the song in duet with Colombian rock singer Juanes during the 9th Annual Latin Grammy Awards at the Toyota Center in Houston, Texas on November 13, 2008. The version they performed was sung mostly in Spanish by both singers, with only a few lines in English.

• On Sunday, January 18, 2009, performed at the We Are One:The Obama Inaugural Celebration at the Lincoln Memorial, singing James Taylor's "Shower the People" with James Taylor and Jennifer Nettles of Sugarland.

• On Friday, February 13, 2009, he was a guest and performed on The Ellen DeGeneres Show. John performed his song, "Everybody Knows" from his album, Evolver.
• Performed at the 2009 Sports Illustrated Swimsuit Edition Launch party at LAX in Las Vegas on February 12, 2009.
• Performed at the 2009 NBA All-Star Game halftime show on February 15, 2009.
• Performed at the 81st Academy Awards on February 22, 2009, singing "Down to Earth" nominated for Best Original Song.^[39][40]
• On an episode of The Colbert Report which aired March 7, 2008, performed "The Girl Is Mine" with Stephen Colbert. It was a remake of the Michael Jackson/Paul McCartney hit. Returned to The Colbert Report on April 14, 2008, performing "The Star-Spangled Banner" with Stephen Colbert, opening the show's week in Philadelphia. He later appeared in Colbert's Christmas special A Colbert Christmas: The Greatest Gift of All, where he performed an ode to nutmeg. His fourth appearance aired September 9, 2010, when he performed a tribute to returning American troops in the second half of the two-part special Been There, Won That: The Returnification of the Ameri-Can-Do Troopscape. He sung "Coming Home" from his 2006 album Once Again.

• On Sunday, May 17, 2009, served as commencement speaker for the University of Pennsylvania's 2009 graduation ceremonies. Amy Goodman happened to be in the audience, and she televised the speech the following Tuesday, May 19, 2009 on Democracy Now!.^[41]

• On June 12, 2009, co-hosted ESPN's Mike and Mike in the Morning on the ESPN2/ESPN Radio simulcast with Mike Greenberg. He sat in for Mike Golic.

• On August 23, 2010, performed at the 2010 Miss Universe Pageant, Evening Gown segment, in Las Vegas, Nevada.

• On October 27, 2010, performed the American National Anthem for the 2010 World Series opener.

• On October 30, 2010, performed at the Rally to Restore Sanity and/or Fear with The Roots.

• On February 24, 2011, Legend appeared on the season 2 finale of Royal Pains.

• Interviewed by host John Jacobsen as the third guest on the first season of PBS television's The Artist Toolbox.

• On May 20, 2012, Legend and Jordin Sparks performed a tribute to Whitney Houston at the Billboard Music Award 2012

Charitable endeavors and philanthropy[link]

Legend performs during the first night of the 2008 Democratic National Convention in Denver, Colorado.

On July 7, 2007, he participated in the Live Earth concert in London, performing "Ordinary People". On July 8, 2007, he participated in the Montreux Jazz Festival in Montreux, Switzerland, with India.Arie. On July 11, 2007, he participated in the Jazz Open Festival in Stuttgart, Germany, with Amy Winehouse. On September 21, 2008, he also performed at the Royal Albert Hall in London, UK in conjunction with the Peace One Day concert. He sang "Green Light" and "If You're Out There".

The Show Me Campaign google ,^[42] through which his fans are encouraged to donate funds toward improving the living situations and prospects of victims of extreme poverty in Mbola, Tanzania, is another example of Stephens' charitable involvement. In early 2008, he began touring with Professor Jeff Sachs of Columbia University's Earth Institute to promote sustainable development as an achievable goal.

Stephens returned to his hometown of Springfield, Ohio on Christmas Eve 2007 for a "Coming Home Christmas Benefit Concert" in the auditorium of North High School. The performance featured several local talent from Springfield, including Legend's younger brother Vaughn Anthony Stephens, who helped organize the concert. The performance also featured a tribute to Jason Collier, and proceeds went to a scholarship fund set up in his name for local high schoolers.^[43]

After reading Professor Jeffrey Sachs' book, The End of Poverty, Stephens was inspired to visit Ghana to learn more about making life better for the people who live under the poverty line. This is when he started his "Show Me Campaign" in 2007. With this campaign, Stephens called on his fans to help him in his initiative for those who reside in Bossaso Village^[where?] and non-profit organizations that the campaign partners with.

In 2007 Stephens was the spokesman for GQ Magazine's "Gentlemen's Fund", an initiative to raise support and awareness for five cornerstones essential to men: opportunity, health, education, environment, and justice.^{[citation needed]}

In May 2007 he partnered with Tide laundry detergent to raise awareness about the need of families in St. Bernard Parish, (Slidell, LA) one of the most devastated areas hit by Hurricane Katrina. He spent a day folding laundry at the Tide "clean start" mobile laundromat and visited homes which Tide is helping to rebuild in that community.

In October 2007 he became involved^{[clarification needed]} with a project sponsored by The Gap, a retail clothing store chain in the United States. Through their "project red campaign" (also called "2 WEEKS"), The Gap's contribution to their global fund from the sale of each (2 WEEKS) t-shirt is equivalent to the average cost of 2 weeks of anti-retroviral medicine in Africa, which enables people living with HIV to lead healthy, normal lives.

In 2009 Stephens gave AIDS Service Center NYC permission to remix his song "If You're Out There" to create a music video promoting HIV/AIDS awareness and testing.^[44]

Stephens claims to have contributed a share of the proceeds of some tickets for his August 13, 2009, concert at Madison Square Garden to The Global Fund to Fight AIDS, Tuberculosis and Malaria.

Stephens is also the National spokesperson for and has performed benefit concerts for "Management Leadership for Tomorrow (MLT). MLT is a national non-profit organization that has made ground-breaking progress assisting the next generation of African American, Hispanic and Native American leaders in major corporations, non-profit organizations and entrepreneurial ventures.^{[clarification needed][citation needed]}

On January 22, 2010, he performed "Sometimes I Feel Like a Motherless Child" on the Hope for Haiti Now telethon show.^[45]

On September 8, 2010, John Legend joined the national board of Teach For America.^[46] Legend also sits on the boards of The Education Equality Project and the Harlem Village Academies, and serves as co-chair (with Rupert Murdoch) of the Harlem Village Academies’ National Leadership Board.

On September 9, 2010, he performed "Coming Home" on the Colbert Report as a tribute song for the end of combat operations in Iraq, and for the active troops and the veterans of the United States Armed Forces.^[47]

In 2011, he contributed the track "Love I've Never Known" to the Red Hot Organization's most recent album "Red Hot+Rio 2." The album is a follow-up to the 1996 "Red Hot+Rio." Proceeds from the album sales will be donated to raise awareness and money to fight AIDS/HIV and related health and social issues.

On March 6, 2012, John Legend was appointed by the World Economic Forum to the Forum of Young Global Leaders.^[48]

Endorsements[link]

Stephens is currently a spokesperson for the Baileys line of alcoholic beverages. He also spoke on behalf of The Polka Dotz at Milwaukee's 2008 German Fest.

He performed and spoke at his alma mater, the University of Pennsylvania, on behalf of the Barack Obama Presidential campaign in April 2008.^[49] He later performed "If You're Out There" from the album Evolver and a duet of Will.i.am's "Yes We Can" at the 2008 Democratic National Convention in Denver, Colorado. Also, he performed a half-hour set list in support of Barack Obama in his hometown of Springfield, as well as at The Ohio State University and Wright State University campuses on September 29, 2008.

"Fan Appreciation" events[link]

On July 26, 2007, Stephens hosted a John Legend Network Members Only Party and Concert called "The Kings & Queens Bash" at the Kimmel Center in Philadelphia. There were 500 participants in attendance and he introduced the acts from his new label, Homeschool Records to his John Legend Network fans: Estelle, his brother, Vaughn Anthony Stephens, Lucy Woodward and The James Gang. Harmonicist Frederic Yonnet performed as a special guest.

On July 25, 2008, at the Highline Ballroom in New York City,^[50] John Legend planned another annual private event for his fans who are members of the John Legend Network called "John Legend Unplugged". Legend performed a 21-song set list, including several songs from his Evolver album. This allowed John Legend Network members to be the first to hear the new songs. After the party, Legend greeted each individual on their way out and took pictures with fans.

On February 8, 2011, Legend performed and spoke at Arizona State University's Gammage Auditorium in Tempe, Arizona for a Black History Month event presented by the Undergraduate Student Government of ASU.^[51]

Discography[link]

• Get Lifted (2004)
• Once Again (2006)
• Evolver (2008)
• TBA (2012)

Collaborations

• Wake Up! (with The Roots) (2010)
• Cruel Summer (with G.O.O.D. Music) (2012)

Personal life[link]

On December 27, 2011, Legend's rep announced he was engaged to model Chrissy Teigen while vacationing in the Maldives after dating for 4 years. Teigen has been featured in Deal or No Deal and in Sports Illustrated.^[52][53]

Filmography[link]

See also[link]

• List of awards and nominations received by John Legend

References[link]

External links[link]

Wikimedia Commons has media related to: John Legend

• Official website
• John Legend – The Artists Organization – Management
• John Legend at the Internet Movie Database
• John Legend in-depth interview by Pete Lewis, 'Blues & Soul' October 2010
• http://articles.latimes.com/2009/dec/12/entertainment/la-et-people-speak12-2009dec12
• The People Speak at the Internet Movie Database