1. INTRODUCTION
Recreating the auditory experience of an acoustic performance has been of interest for broadcasters, artists and academics for over a century. Blumlein was the first to attempt rendering of sound sources accurately in space using a pair of figure-eight microphones. Since then, many solutions have been proposed [1], exploring different microphone configurations, directivity patterns, and channel-mixing strategies. Apart from approaches based on Ambisonics recording, these methods are predominantly heuristic, and thus fundamentally reliant on the skills and taste of sound engineers.