2. analog
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2 Wonderful Stereo LP's RESCUED by: MONO MODE and BALANCE

to be sure, I played these with both of my MC cartridges, alignments all refined that morning. Identical imaging results. Everything else I'm familiar with that I played just before these sounded wonderful

1st STEREO rescued by MONO MODE

we have a wonderful live performance by the Bill Evans Trio at the Village Vanguard, 6-25-1961

https://www.discogs.com/Bill-Evans-Trio-Featuring-Scott-La-Faro-Sunday-At-The-Village-Vanguard/relea...

Stereo Imaging very strange: Bass Hard Left; Drums left, just inside of the Bass, nothing in the middle, Piano Hard Right. It seemed like a big wide stage, players at opposite ends (impossible at the Village Vanguard). And the respectful audience’s few noises very indistinct.

McIntosh Mode Control to the Rescue: Moved to MONO MODE position (still receiving the stereo info from the stereo cartridge, the hard left sent to both speakers, the hard right sent to both speakers).

What a wonderful performance, like a great mono recording, everything ’together’, distinct, and the few audience sounds became real, added to the awareness it was a live performance.

A terrific musical experience.
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2nd: Remote BALANCE to the rescue.

another superb album, duets by Lee Konitz and Red Mitchell

https://www.discogs.com/Lee-Konitz-Red-Mitchell-I-Concentrate-On-You-A-Tribute-To-Cole-Porter/releas...

Balance was: Sax just a bit right of center; Bass mid left, not hard left, but a definite asymetrical presentation, they didn’t seem to be playing together.

REMOTE BALANCE, a few clicks to the right, bingo they performed together. An example of a lot being gained by a small balance refinement.

Oh they are great together!
elliottbnewcombjr

Showing 1 response by pryso

pryso
1,977 posts
 
lew, elliott, others,

Many of those false stereo releases were labeled "electronically enhanced for stereo".  I always avoided those.

And certainly many early true stereo recordings had exaggerated separation between L and R channels.  Some called that the "ping-pong effect".  I suspect that was one reason for appreciation of the mono records when labels offered dual releases.  Plus quieter backgrounds, more solid bass, etc., etc.

Also for me while s starving student in college the mono LPs were priced at $1 less than stereo (or more).  That impacted how many records I could buy. ;^)
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