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Why do people dislike Mono albums?


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Showing 76-100 of 131 posts in this discussion
In reply to an earlier post on Aug 3, 2012 4:06:46 AM PDT
Are You Experienced was released in the UK in May of 1967 and was available in either mono or fake stereo reprocessed from the mono. No true stereo mix had been done at the time. In June after Hendrix played Monterey, Reprise signed him and with Hendrix's supervision prepared AYE for American release. Two major things were done here: 1. Can You See Me, Remember and Red House were dropped in favor of Hey Joe, Purple Haze and The Wind Cries Mary (actually Hendrix wanted to keep Red House but the suits at Reprise told him "American kids don't dig the blues"); 2. the album was then remixed into true stereo for the first time.

In reply to an earlier post on Aug 3, 2012 4:08:31 AM PDT
My mistake. I meant Play with Fire. Nonetheless those stereo mixes were created in the early 70s, not the mid 60s. Including apparently the bootlegged stereo mixes of Last Time and Breakdown.

In reply to an earlier post on Aug 3, 2012 9:04:04 AM PDT
Denis eudes says:
that's the absolute truth.

Posted on Aug 3, 2012 9:07:01 AM PDT
[Deleted by the author on Aug 4, 2012 9:44:26 AM PDT]

In reply to an earlier post on Aug 3, 2012 3:08:49 PM PDT
SOF: I have that original German version London by MFSL. It does not have the fade ups either. So I guess we have the same thing.

Posted on Aug 3, 2012 4:56:44 PM PDT
Don't forget that "real" mono requires the use of
a mono phono cartridge and only one speaker
-- in a prime position --
which isn't the least bit convenient for me,
and probably not for most others, either.

In reply to an earlier post on Aug 3, 2012 6:33:30 PM PDT
Bob Bykowski says:
When it comes to albums from the '60's, I absolutely love mono sound -- especially with the Beatles and the Beach Boys.

In reply to an earlier post on Aug 3, 2012 6:36:27 PM PDT
Last edited by the author on Aug 3, 2012 6:37:19 PM PDT
Bernard J. says:
And The Zombies, ( although I only have Odessey and Oracle in stereo).

In reply to an earlier post on Aug 3, 2012 6:37:19 PM PDT
Last edited by the author on Aug 3, 2012 8:51:24 PM PDT
John Ruggeri says:
I come from a classical music background and others feel the same way about MONO CM recordings.

My first CM record listening was on scratchy 78rpms vintage @1910 of opera, I loved them.
To me MONO LPS sounded like what would later be called SACD. I think our hearing starting points are part of
are aural likes and dislikes.

In reply to an earlier post on Aug 3, 2012 8:39:21 PM PDT
From what I understand, true. I've heard about serious (more serious than I could ever afford) vinyl junkies who use a dedicated mono cartridge and needle/stylus (there's a slight size or shape difference between a stereo needle and mono needle, if you go that way far enough) on their turntables. Mono 45s might actually play better with such an arrangement, if anyone swings that way.

Of course, 78s require a dedicated cartridge and larger needle to spin.

In reply to an earlier post on Aug 3, 2012 9:44:17 PM PDT
AMEN, BROTHER

In reply to an earlier post on Aug 4, 2012 5:06:42 AM PDT
Do you know what SACD is?

In reply to an earlier post on Aug 4, 2012 7:03:55 AM PDT
Classical is a whole 'nother animal in this debate. Whereas pop music usually involves recording instruments and vocals separately, classical involves recording everything live with no concern over instrument bleed-through. Therefore two or three track classical recordings sound excellent in stereo. Indeed with classical there has never been an improvement over setting up three first class mikes at the front left, right and center of a concert hall, and then mixing those three tracks down to 2. Even better now, some of the classic 3-track recordings of the late 50s/early 60s have been re-issued on SACD where they can be heard in their original 3-channel form.
I cannot imagine anyone comparing mono classical recordings to SACD, especially from 1910. The performance on those 1910 recordings may be extraordinary, but the sound quality is far from realistic reproduction.

Posted on Aug 4, 2012 8:52:26 AM PDT
DFWTexan42 says:
http://en.wikipedia.org/wiki/Super_Audio_CD

SACD is an Audiophile audio format. Same size as an CD, but much better specks. Supports multiple channels, without compression.

In reply to an earlier post on Aug 4, 2012 11:30:00 AM PDT
Chris M. says:
Yeah that's right. Stereo first came out in the 50's for classical music. Was never really thought of for pop music which is why it took a while. It's just like when the meletron came out, it was for more classical music, then it got used by more pop/rock artists. There's always been a nice progression and influence behind music. Nice comment!

In reply to an earlier post on Nov 21, 2012 8:33:34 AM PST
R. Myers says:
I agree, just like we should go back to AM instead of FM. We should all cut off one ear since obviously sound only comes from one direction in the real world. I can't tell if the barking dog next door is on my right side or left but who cares.In real life all sound comes from in front of us and nowhere else. Sometimes I imagine I hear sounds behind me or beside me but that's just God panpotting things apparently. Sarcasm aside, I don't like mono because it sounds like it did back in the 60s on an AM car radio. The only thing worse is all the pompous gear heads who swear by mono because only then can you consider yourself a purist. You think the one directional ancient sound of the past is better? Fine. Whatever. I've listened to the 2002 dsd remaster of Aftermath probably a dozen times since I got it. Meanwhile, Out of Our Heads from the same 2002 collection just sits there sounding dull. In mono a song may sound okay but in stereo I'm suddenly hearing other guitars, keyboards, whatever, and I can hear Keith's pick hitting the strings of his Hummingbird. I like that, if that makes me a stinking sell out, so be it. There's no way mono is going to improve Aftermath. I'm always surprised at how many audio experts are out there telling us how bad a certain mix is because those other engineers didn't know what they were doing. Oh, and please, let one more person say that stereo was considered a novelty and not as much time was taken on the stereo mixes. Gee, really? I'd never heard that before. How about reminding me that mono was what nature,George Martin, and God intended. Wow, who knew? I'm just now hearing this for only the one hundreth time in this thread alone.

In reply to an earlier post on Nov 21, 2012 8:48:41 AM PST
They can have a lot of specks, but usually a soft cloth will clean them off.

In reply to an earlier post on Nov 24, 2012 4:49:27 PM PST
BrownFIngersDavis, you claim "The first 8 track recorder was made in 1965" -- how can that be when Les Paul bought one in the 50s?

Posted on Nov 24, 2012 5:08:58 PM PST
Can anyone imagine what Led Zeppelin II would sound like if recorded in Mono? I shudder at the thought.

In reply to an earlier post on Nov 24, 2012 6:01:03 PM PST
Last edited by the author on Nov 24, 2012 6:01:22 PM PST
@moneyshot, for LZII, there were four mics on the drums (two overhead, plus one for the kick and one for the snare). I think most of everything else was recorded in mono. Perhaps your question used the wrong verb.

In reply to an earlier post on Nov 24, 2012 6:26:32 PM PST
If it was recorded in Mono, What Is And What Should Never Be sure fools me when I listen to it on my speaker system.
Jimmy's guitar bouncing from one speaker to the other had me thinking this was stereo.

In reply to an earlier post on Nov 24, 2012 8:46:02 PM PST
Chris M. says:
Ah no it wasn't just the drums. Whole Lotta Love alone disproves that!

In reply to an earlier post on Nov 25, 2012 7:41:43 AM PST
Severin says:
Mostly I agree that stereo is best, but it depends on the production. Listening to deluxe editions of The Kinks' "Village Green" and "Arthur" albums some tracks sound better in mono, fuller. But when the tracks are more psychedelic, have layers or speaker panning then only stereo brings that out. Often the instrumentation setup is the same for each track so stereo doesn't provide any revelations. When you have false stereo like in the Beatles' "Rubber Soul" then I don't appreciate the separation of vocals in one speaker and instruments in the other.

In reply to an earlier post on Nov 25, 2012 8:35:32 AM PST
I wouldn't call the Rubber Soul "false stereo," it's just technologically crude. False stereo is that gawdawful mess of all the rechanneling jobs from a mono final master, usually using added echo (Mercury, Decca), delayed doubling the signal with a time lapse from left-to-right (Capitol duophonic, RCA Electronically Reprocessed for StErEo in the tile bathroom while Elvis screams at himself speaker-to-speaker, and the snare drummers duel out of time delay), hi/low frequency out-of-phase split (Columbia mosquito highs on the left, muffled bass on the right), or balance twaddle where you hear the sound ping-pong back and forth like cranking the balance knob back-and-forth (Bang's 1966 hit version of Neil Diamond's "Solitary Man" bounced from one speaker to another). Beatles' true but now annoying stereo was because of the backwards nature of UK recording facilities, and the cut & chop, erase, overdub, piece it together nature of their recording technique building the songs.

In reply to an earlier post on Nov 25, 2012 10:31:00 AM PST
Severin says:
Thanks for the correction but there must be a more technical term than "annoying stereo" for "Rubber Soul" no? Whatever you call it, it's not a natural sound. What was George Martin thinking?
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Discussion in:  Music forum
Participants:  41
Total posts:  131
Initial post:  Jul 30, 2012
Latest post:  Mar 30, 2013

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