Is mono a fad or here to stay

MikeCh said:
That's actually incorrect. Plenty of space, air and instrument placement. Just not left and right panning of the sound.
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I don't necessarily agree Mike. And I have or have heard a few mono tapes of the LPs too.

We also need to define whether we are talking about solo instruments or multi-musician ensembles. Many (not me) prefer the mono release say for solo guitar or piano over the early stereo. Again, many times in early stereo, the monos had much better low end because of the limitations of the stereo cutting lathes. Or the mastering engineers learning how to put bass on the lacquer.

There's a little sense of space around the instrument but not the overall recording venue. Many mono recordings to my ears also have this weird, heavy, closed in, wooden quality.
 
I've never been to the other side but I seem to have a desirable outcome with a GFS (stereo cart) and the C1000T (pre) set to mono mode. The pre setting make a huge difference by quieting that empty groove modulation down.


Most monos I've played sound better than their stereo equivalents. Maybe because they were originally recorded in mono and not downmixed. Admittedly most are reissues and I don't have many early mono pressings that were cut with the larger lathe tips so I suppose I can get away with using the Clearaudio GFS.

I love the sound of mono. In many respects it sounds more accurate, the presence feels more personal.
 
Steve said:
I've never been to the other side but I seem to have a desirable outcome with a GFS (stereo cart) and the C1000T (pre) set to mono mode. The pre setting make a huge difference by quieting that empty groove modulation down.


Most monos I've played sound better than their stereo equivalents. Maybe because they were originally recorded in mono and not downmixed. Admittedly most are reissues and I don't have many early mono pressings that were cut with the larger lathe tips so I suppose I can get away with using the Clearaudio GFS.
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Also remember in the early days of stereo, you didn't necessarily have the same recording team doing the mono and stereo release. As Larry talked about say in the case of Decca, the experienced team did the monos and the young 'un, wet behind the ears engineers did the stereo recording.

And you are right in that have to separate true mono from stereo folded down into mono. (though the debate as to what went on say with Blue Note releases rages on.)
 
Myles B. Astor said:
I don't necessarily agree Mike. And I have or have heard a few mono tapes of the LPs too.

We also need to define whether we are talking about solo instruments or multi-musician ensembles. Many (not me) prefer the mono release say for solo guitar or piano over the early stereo. Again, many times in early stereo, the monos had much better low end because of the limitations of the stereo cutting lathes. Or the mastering engineers learning how to put bass on the lacquer.

There's a little sense of space around the instrument but not the overall recording venue. Many mono recordings to my ears also have this weird, heavy, closed in, wooden quality.
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There are plenty of mono records that do have a completely pinpoint center image with virtually no width, yes. However, there are also many mono recordings that exhibit the characteristics I've described with a wider center image focus with great depth of stage too.

I know that "closed in wooden quality" you've described. I've also noticed many of the old pressings can sound tinny/brassy or light on the bottom depending on the pressing or label. Personally, I've wondered if those issues might be remedied by using an adjustable EQ phono section.
 
MikeCh said:
There are plenty of mono records that do have a completely pinpoint center image with virtually no width, yes. However, there are also many mono recordings that exhibit the characteristics I've described with a wider center image focus with great depth of stage too.
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Absolutely. Listen to Sonny Rollin's Saxophone Colossus.

I know that "closed in wooden quality" you've described. I've also noticed many of the old pressings can sound tinny/brassy or light on the bottom depending on the pressing or label. Personally, I've wondered if those issues might be remedied by using an adjustable EQ phono section.
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Yes. I had the Allnic with adjustable EQ in here a while back but didn't explore that option very much since I really don't listen to mono recordings. But I think, and sure Larry Toy will agree, that having a phono section with adjustable EQ curves is a must, not an option, with mono recordings. (I seem to remember Roger Gordon at PFO writing a piece about the Allnic and using it with mono recordings though!)

Even some of the early stereo releases, nee Ewing Nunn's Audiophile label, probably need some adjustable EQ. Nunn even says so on the back of the jacket (though he talks more about adjusting with your bass and treble control) and I'm sure that the lightness in the low end on his recordings could be somewhat ameliorated with a different turnover and roll off point!
 
Other than the CD set of "Beatles in Mono", I do not have any mono disks, that I am aware of. Whether it is a fad, or here to stay, we need to answer a simple question.

How many new records, CDs, downloads are being recorded and released in mono? That data will give an idea as to whether mono has staying power.
 
BlueFox said:
Other than the CD set of "Beatles in Mono", I do not have any mono disks, that I am aware of. Whether it is a fad, or here to stay, we need to answer a simple question.

How many new records, CDs, downloads are being recorded and released in mono? That data will give an idea as to whether mono has staying power.
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Plenty of mono reissues especially if you listen to jazz.

For example:

http://store.acousticsounds.com/s/313/Prestige_Reissues

MOFI, Pure Pleasure, ORG, Music Matters have released more than enough mono LPs to make owning a mono cartridge if you listen to jazz worthwhile.
 
If you are a used vinyl hound, you will still find a lot of original mono records at Amoeba and other used record haunts, and not just the very pricey mono Blue Notes. As I mentioned in other posts that Myles refers to, you can buy mono classical records from the early 50's (like the first great Mercury releases and the London/Decca monos) for $1 each. There are great recordings, like the first Callas Tosca, which only exists in mono (or fake electronic stereo), and the second release in stereo came after Callas lost much of her voice. Lots of old mono records are still around. If you have an elderly aunt who has a record collection they want to give to you, if it from before about 1960, it most probably will be almost all mono.

The era of 12" mono records was relatively short, from the late 40's (EMI was even later than that) to 1958, when everyone was starting to issue stereo. There were some RCA's which were recorded in mono only and continued to be released along with the stereo albums. That is why there is such a big gap in numbering for RCA stereos (LSC-1817 and LSC-1893 are the only two stereos in the 1800's, IIRC).

Also, as Myles mentioned, the early monos for many labels did not use RIAA, and a phono pre with adjustable EQ makes all the difference in the quality of sound.

Finally, the first of the Mono Masters albums in the Beatles Mono box, has an enormous soundfield - truly spectacular - if you haven't heard it yet, it is a real treat. I've only played it with my Miyajima Zero, so it may not sound as good with a stereo cartridge. :-)

Larry
 
Also a mono cart user (zero) and love the sound, despite mostly using it on jazz reissues. Mono classical can often be had for a dollar but original jazz monos are fetching pretty high prices, if they're clean copies, unless you get lucky. I agree that there can be some closed in, woody sounding mono releases but that's like stereo as well, some good and some bad sounding recordings. The AP, MM monos are glorious full sounding with great sense of space for the most part. Highly recommended.
 
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