Please explain mono

The majority of multi track recordings are actually a compendium of mono tracks panned to simulate stereo.

Someone once explained to me that it allows a person to focus more directly on the music and not be distracted by any imaging tricks that stereo is presenting. Not sure I 100% agree with that, but I can certainly see the argument.

Nothing at all if you wish to cut yourself off from our rich recorded legacy pre 1958 or so.

 

Sorry for my ignorance, but what is the purpose of mono in today’s day and age and with about anything available in stereo. I ask this because i feel that I’m missing something and may be able to learn something.

Thanks

I own over 400 mono records, 1954-1967. So all mono microgroove.

These are all legacy recordings, and only available in mono, or “electronically rechanneled for stereo”. I have some great rechanneled records, but the original mono records are my favorites!

I use a GE VRII true mono tip-sensing MI cartridge. Using my own rebuilt styli. There is NOTHING BETTER! Ruler flat FR, and super dynamic tip-sensing sound that is UNLIKE ANY conventional cartridge! It reads what the stylus tip is doing, not from the opposite end of a long, lossy cantilever. The difference of a tip-sensing cartridge is a NIGHT AND DAY difference over all conventional MC and MM/MI cartridges!

The sound is QUIET, DYNAMIC, and articulate (very detailed!) with smoothness throughout the FR. Just completely enjoyable! Every bit as enjoyable as all of my 4,500+ stereo records.

I use my true mono cartridge on a stereo headshell with 2 wires REMOVED. NO STRAPPING!! I give my mono cartridge the proper loading it needs! Strapping a stereo cartridge DESTROYS proper cartridge coil loading! You destroy flat FR! Same for a 2-pin true mono cartridge! Strapping a 2-pin mono cartridge (4 wire headshell!) destroyed the proper loading for the coils!

I use the mono switch on my preamp so that I get TWIN MONO signal to my amplifiers. This results in a balanced L and R output from my speakers, with a full center (phantom) center fill, and room-filling sound. You’d never know it wasn’t STEREO without knowing the record was MONO.

Great mono is worth achieving. You don’t know until you achieve it.

I spend a lot of time using DES techniques to make my restored monos sound more pleasing to my ears. I like listening to music in surround and with mono that is not possible. I never cared for the pinpoint of sound coming from a single source, I keep wanting to sit facing it, it hijacks my attention. in stereo surround the music "follows" me around the room. 

Try some of the first electrical recordings.  I am thinking of Sir Edward Elgar back in 1926, at Abbey Road no less, conducting many of his most significant works.  Clearly these recordings reflect how he wanted his music to be played, in terms of tempo, portamento etc.

Originally released on 78-rpm records, these performances are available on CD but still in mono.  There is some debate that he may have hurried the music to fit the limited time on a 78 side, but I don't think this is true.  The emotional impact of these performances is greater than many later offerings from other conductors.

I could turn the question round and ask why many prefer two-channel stereo when better quality multi-channel has been available for decades?

Within my ability within my system parameters to enjoy mono lps, 

I've been very impressed.

I forgot to add, a number of "older" records, like those pre-White Album Beatles one were done in mono, the stereo versions mixed later.  Many other records from back then are in the awful "artificial stereo".  The first Buffalo Springfield album was remixed in mono by Stills & Young after their managers messed up the stereo version.  No one should ignore those records because they were in mono, unless you're just an "audio freak" caring only about sound and not music.  I don't think many of us are that.

Insofar as the mono cartridge thing goes, if you have a setup with two tonearms you are blessed.  Most aren't gonna have this, and even if you have switchable headshells most likely further setup is warranted.  Myself, I have found playing a mono record with my stereo cartridge works fine.  I guess a mono cartridge would do much to center the sound, but I've been shocked with some of my good-quality 50's mono records sounding very much like some sort of stereo!  I guess I'm not a purest, but the bottom line here is that you may not be missing much in an audiophile sense by listening to a mono record.  Certainly you may be listening to a performance that you can't hear any other way.  I just got an original copy of Schwartzkopf's 1954 LP performance of Strauss' Four Last Songs, cleaned it up, and I would never let that thing go.  

@lalitk 

+1 well said.

While I know some real advocates for mono… those saying the mono Beatles audiophile reissue has better tone and sounds better. For me personally, and this is me not everyone, mono recording are a huge letdown. The music must be simply incredible to hold my attention… for instant Fats Waller… recording in the 30’s and 40’s is so unbelievably good I’ll occasionally listen to it. 

Should point out that while the mono switch is useful for those without separate mono cartridges, these recordings should be listened to from a single speaker, or pair very close together to get the tonal balance right.

Our heads provide natural L to R cancellations which stereo recordings take into account but mono may not. 

This does not apply to headphone listening though.

Best,

Erik

Thanks you.  Good explanation 

“what is the purpose of mono in today's day and age and with about anything available in stereo”

Well, not quite!  Mono can seem like an odd choice, but it has a unique place in music and audio for several reasons. 

Many classic recordings, especially from the 1950s and earlier, were originally produced in mono. These include iconic jazz, blues, and early rock albums. Listening to these recordings in mono preserves the integrity of the original mix and the artist’s intent. Stereo versions of these recordings are often artificially created and can sound unnatural.

Some may argue but if you have an analog system with mono cart, you can truly appreciate a single, cohesive soundstage. Instead of spreading instruments across a stereo field, everything is centered, which can make the music feel more direct and intimate. This is particularly effective for certain genres, like vocal-centric jazz or early rock ‘n’ roll, where the focus is on the performance rather than spatial effects.

Mono playback is also least affected by room acoustics and speaker placement compared to stereo. If your listening space isn’t ideal for creating a balanced stereo image, mono can deliver a more consistent and enjoyable experience.

And lastly, there is some contemporary artists and engineers choose mono for its aesthetic qualities. If you get a chance, try listening to a well-mastered mono record - it’s a different kind of magic.