The subject of this master's thesis are various types, techniques, and methods of sound recording and reproduction, with a focus on spatiality and the immersive experience of the listener. With the advent of the phonograph, the sound was recorded and reproduced monophonically, which was sufficient for a valid sound experience in terms of frequency and dynamic range. However, the inherent limitation of monophony is the lack of spatiality due to the absence of information about the position of the sound source. Furthermore, with the introduction of stereophony and two-channel sound production, differences between the two channels emerged, enabling the activation of localization mechanisms, and consequently allowing sound source localization. Different microphone techniques can capture various spatial qualities, providing audio engineers with great flexibility in shaping the final product. Stereophony represents a significant advancement in terms of sound spatiality and remains a fundamental method of sound production today. In the 1970s, the concept of quadraphonics attempted to address the spatial limitations of stereophony by surrounding the listener with four speakers placed in the corners of the room. Quadraphonics marked the inception of the idea of surround sound, where the listener can localize sound from all directions, not just in front. Due to technical limitations, the quadraphonics idea failed, but a decade later, surround sound systems emerged. These systems are mainly used in the film industry and are often created for home theater purposes, with common variants being six-channel (5.1) or eight-channel (7.1) systems. Surround sound recording techniques are generally derivatives of stereophonic techniques with an increased number of channels. Finally, the Ambisonics recording method, which first appeared in theoretical form in the 1970s, represents the greatest potential in realistic recording of the complete sphere of a specific sound field. Ambisonics is unique and different from other recording methods because it does not imply channel-based sound production. However, due to its technical complexity, it has been developing more slowly than the previously mentioned recording methods. This recording method is accompanied by immersive playback systems that enable the reproduction of the complete sound sphere. The thesis explores the historical development of all the mentioned techniques, along with their advantages and disadvantages. The thesis aims to demonstrate how spatial resolution in recordings has evolved and, likewise, the methods audio engineers can employ to manipulate microphones to achieve the desired outcomes within the context of spatiality in recordings.