For the recording and reproduction of a complex, extended sound source (like ambience or choir), stereophony proves to be the most efficient spatial reproduction technique available. In contrast to sound field reconstruction principles like Ambisonics, a stereophonic reproduction can achieve high spatial quality with less effort, as even two loudspeaker channels can be sufficient. This makes it – for this task – superior to imperfect sound field reconstruction principles such as wavefield synthesis with excessive loudspeaker spacing, or Ambisonics of too low an order, both of which create artifacts. Recording Ambisonics at a higher order is a problem, as no microphone system has yet been developed that would be able to achieve spatial sampling in a satisfactory way and at the same time deliver the sound quality of a studio microphone. Either the resolution of those arrays is too low (like with FOA microphones) or the hardware is compromised due to the small space that every capsule can have. Therefore, First Order Ambisonics microphones are frequently used, which can rather be interpreted as a stereophonic coincident microphone technique with low signal separation. Caring for a better signal separation is mandatory, in particular in 3D Audio which reproduces one more dimension of the sound field. Hence, good old stereophonic techniques with the laws of level and time differences can create sufficient signal separation which can enable proper imaging and a good spatial quality. In the workshop, various examples of stereophonic recordings will be presented. This will be done by showing the steps from traditional 2ch techniques to 5.1 and 9.1. Furthermore, techniques to use stereophonic methods for binaural and VR will be demonstrated and compared with other techniques.