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I love two-channel stereo. A great stereo recording can produce such a full-bodied, three-dimensional soundstage that surround sound seems superfluous. Multichannel is just peachy for home theater, but good ol' stereo suits music just fine, thanks very much.

This fall sees the tenth anniversary of the by Sony and Philips. Thanks to the format's generous data capacity, a single SACD could contain stereo and 5.1-channel surround mixes. Not only that, dual-layer, hybrid SACD/CDs were backward-compatible with standard CD players. The future looked bright back in 1999. DVD-Audio appeared a, launched by a consortium that included Matsushita, Toshiba, and Warners on little more than faith that the next-generation music format could ride on the coattails of DVD-Video's rousing success. SACD was designed around Sony/Philips' (DSD) codec, which stores music as 1-bit data sampled at an ultra-high 2.8224MHz. Stereo DVD-A boasts uncompressed PCM with a 24-bit word length and up to 192kHz sample rate; six-channel surround DVD-As encoded at 24/96 employed compression.

Both super formats sounded phenomenal. The DVD-A crowd's mantra of 'added value' was supposed to put DVD-A over the top in the mass market. To entice converts, record labels would pile on of bonus tracks, videos, live concert footage, interviews, commentaries, photo galleries, lyrics—and, best of all, multichannel sound. The labels were giddy about surround's future: 'Now that 5.1 music is here, listening to stereo is like watching black-and-white TV.'

Obviously, 5.1-channel sound makes sense for movies and home theater, mostly because 5.1 was an outgrowth of theatrical film-sound technologies stretching all the way back to the 1950s. Movies and surround go together like popcorn and Coke. Except for one thing: Surround at home without video doesn't sell.

Remember the rise and fall of Quadraphonic in the 1970s? True believers blamed the demise on Quad's baffling range of discrete- and matrix-encoded variants: 8-track cartridges, open-reel tapes, and at least four types of LPs. Once Quadraphony was dead and buried, surround music didn't try to make a comeback until the late 1990s. What was needed was a unified surround format that didn't require music lovers to invest in new playback gear. Surely such a format would prove the viability of music surround..

DTS Entertainment introduced such a system in the late 1990s: The DTS Digital Surround CD. Those 20-bit discs were playable on any DVD or CD player—as long as it was connected to a digital A/V receiver or surround processor. Tens of millions of homes were so equipped, but the Digital Surround CD barely made a ripple. Still, one way or another, 5.1 was coming, and it was left to recording engineers and producers to grapple with the specifics: ie, how would the extra 3.1 channels be used? Would the speaker placements for music surround conform to those accepted for a Dolby/DTS 5.1-channel home-theater setup: left/right speakers in front, a horizontal center speaker above or below the monitor, and a pair of small surround speakers flanking the listening position, mounted a few feet above the ears of the seated listeners? That would have made too much sense. The home-theater model was rejected in favor of the International Telecommunication Union (ITU): five full-range speakers, all at the same height, placed equidistant from the sweet spot.