Mono or stereo: which format is better to use when working with music?

Mono and stereo are two pillars of modern music production. Even though stereo has long ruled the music industry, mono still plays an important role in the music creation process. Sound engineer and producer Michael Han spoke specifically for the LANDR blog about the differences between the two formats in terms of music production. SAMESOUND provides an adapted translation of the material.

When you create a new track in a project, you are faced with the question: what audio format should you work in - mono or stereo? The answer to the question is not as obvious as it might seem at first glance. Let's figure out what the differences are between mono and stereo, how both formats are perceived by our ears, and which signals are best left in stereo and which ones should be converted to mono.

What is mono

Mono is a single-channel audio format. The mono signal reaches the ears simultaneously and arrives strictly in the center. Mono does not carry separate information about the contents of the right and left channels and does not give an idea of ​​​​the location of the signal relative to the listener.

Mono was the first format for recording music. Most audio systems and players in the early to mid-20th century were equipped with a single speaker, so all music was recorded in a single-channel format.

Mono signal. Image: TuneCore

Many popular compositions recorded before the 1960s exist only in mono format. Single-channel recordings are extremely rare these days—stereo and multi-channel audio rule the world. However, mono still plays an important role in music production.

What common?

Both audio formats are used for the same purpose - recording and playing back an audio track. In addition, they are often used in professional sound recording. Individual instruments are often recorded in mono with one channel. Although it seems strange, the end product sounds much better than if everything was recorded in stereo.

What is stereo

Stereo is a two-channel sound format. Unlike mono, a stereo signal transmits information over two independent channels: the data in the left and right channels may differ.

Recorded in stereo, the signal relies on a binaural effect that simulates the perception of sound by two ears. The left channel signal is intended for the left ear, the right channel for the right ear. Differences in the volume level, timing and timbre of the signals in the two channels tell the brain where a particular sound is located.

The arrangement of sounds in the stereo field is called spatialization (spatialization), which plays an important role in psychoacoustics. The ability to choose the correct position and volume level of sounds is one of the key skills for a sound engineer.

The first experiments with recording stereo signals date back to the 1930s, although the principles of two-channel sound themselves were laid down in 1881. Due to the complexity and high cost of multi-channel sound recording systems, stereo has not become widespread. The situation only changed in the 1950s, when stereo recording became easier and the first stereo tape recorders and players appeared on the market.

The signal is in stereo. In the left speaker - the left channel (upper), in the right - the right (lower). Image: TuneCore

Musicians and listeners quickly appreciated the benefits of the stereo sound format, which allowed signals to be flexibly positioned in the stereo field, placing them as if around the listener. Beginning in the 1960s, stereo became the dominant format for music production.

5.1, 6.1 and 7.1 channel audio

Here's a look at three common multi-channel surround speaker setups for a home theater system and how to best use them.

• 5.1 channel audio is the standard audio format for movies and music, with five main audio channels and a sixth subwoofer channel (called the primary channel) used for special film effects and bass for music. A 5.1-channel system consists of a stereo pair of speakers, a center channel speaker located between the stereo speakers, and two surround speakers located behind the listener. 5.1-channel audio can be found on DVD movies and music discs, as well as some CDs.
• 6.1-channel audio is an audio upgrade to 5.1-channel audio with an additional center surround speaker positioned between two surround speakers directly behind the listener. 6.1 channel sound creates a more immersive sound experience.
• 7.1-channel audio is considered an additional audio enhancement to 5.1-channel audio thanks to two additional side-mounted surround speakers located on either side of the listener's seat. 7.1 channel audio is used for better audio coverage and more precise positioning of sounds.

When to use mono tracks?

Almost always. We think that too many mono tracks will make the mix look flat and narrow, but the opposite is true: the more mono tracks in a project, the cleaner the mix.

Despite the fact that modern music is released in stereo, most of the project's tracks are best left in mono. All signals that do not have their own stereo information must be single-channel. When working with mono, the problem of the mix plane does not exist, because tracks can be freely positioned at any point in the stereo field.

The easiest way to achieve a wide-sounding mix is ​​to arrange your tracks in a structured manner. The idea is to place some elements of the mix as far to the left and right of the stereo field as possible, leaving others closer to the center. Everyone decides what sounds to place where, depending on the arrangement and composition.

What is quad sound?

Its principle is that a frequency band of 20 Hz-40 kHz is recorded on each of the channels of the record. The band is divided into two front stereo channels with a frequency of 20 Hz-15 kHz. Using the module, the rear channels (also stereo) were transferred to the band with a frequency of 18 kHz to 45 kHz.

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When to use tracks in stereo?

Stereo tracks are used in cases where it is necessary to preserve and convey the natural spatial properties of the recorded signal. For example, overhead tracks for drums and room mics, piano recordings, synths and backing vocals may be better left in stereo. Buses and sends that collect information from effects—reverb and delay—should also be kept in stereo.

Stereo sound sources add a sense of realism to the mix and add extra dimension to the sound.

The peculiarity of a stereo signal is that the information in the left and right channels differs. Some of the data may be the same, but overall the information is different.

If the data in the left and right channels completely coincides, the sound is collected strictly in the middle and is no different from a mono signal. When the information on the left and right differs in timbre, volume level and timing (hello, double track!), the signal takes its own place in the stereo field and does not interfere with other sounds.

However, the reality is that no stereo track carries completely different information in the left and right channels. One way or another, part of the data coincides, forming a mono signal.

With a large number of stereo tracks, the information is summed up and occupies the entire space of the mix. Mono data inside a stereo track begins to dominate the overall sound; sounds that are completely different in nature gather in the center and interfere with each other. All this leads to a violation of the panorama and width of the stereo image - the mix becomes narrow and squeezed.

When choosing a signal format for tracks between mono or stereo, remember that two mono tracks with different information never interfere with each other. Differences in content and separation by panorama simply prevent them from falling into the center of the mix. Therefore, if conditions permit, it is better to record two mono tracks, separate them in panorama and assemble them on a bus, than to work with one stereo track.

Comparison

In order to understand the difference between these two concepts, it is necessary to conduct a detailed comparison. Not only professionals, but also ordinary consumers of sound or music equipment need to know this. First of all, the differences are spatial. A mono stream does not make it possible to determine the spatial position of the sound source, that is, to understand where it comes from. In the case of stereo, you can determine the direction or source of the sound. This effect is associated with the structural features of the human ear. It is known that the ears cannot perceive sound from the right and left at the same time.

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If the sound source is located on the right, then the right ear will perceive and record it first, and only then the left. For him, not only the time of perception will change, but even the frequency of sound. Then the brain will begin to perceive and process the information received. After this, the person will be able to identify the source of the sound by ear.

In the case of recording an audio track in mono format, it will be played back on one speaker. The perception of it by the human ear is not affected by the spatial position of the listener relative to the source of this sound. It is necessary to take into account that you can connect several speakers at the same time, but the peculiarity of mono is the fact that each will broadcast the sound equally. Stereo sound has several streams, so it is recorded using two microphones, resulting in 2 or more tracks. There is also a separation by channels at the level of frequencies, instruments, voices. A variety of noise and sound effects can be discerned. An example to understand the differences between formats: with mono sound, the noise from the road goes parallel to the conversation, which interferes with the perception of speech and forces you to listen, but if stereo is used, then the noise of traffic will be background and will not interfere with the conversation and its perception.

To reproduce stereo sound and its benefits, at least two speakers are required, and for optimal effect the person must be in the center. Three-dimensional sound is achieved by increasing the number of speakers (sound sources). In this case, the brain will perceive them as somewhat to the right and left, which will give the overall sound volume.

To obtain a high-quality three-dimensional effect (volume) and a real sound picture (important when watching a video, film, or recording a concert performance), you need to ensure that the sound is additionally divided into several vertical streams.

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Mono sound is rarely used in the modern world. In most cases, it is used by professionals to solve the tasks assigned to them. It is believed that the mono sound format is more objective in relation to the sound source when it is necessary to determine exactly its source. The stereo format is used when it is necessary to decide on a complete sound picture.

Mixing music to mono

When aiming for a wide-sounding mix, mono is still the go-to format for working with tracks. Mixing in stereo gives the listener an idea of ​​the final sound of the mix, but makes it difficult to detect serious conflicts between signals.

Panning becomes another variable that adds complexity. The signals disperse across the stereo field and do not seem to interfere with each other, but in reality the situation may be the opposite.

To eliminate problems with stereo signals, many sound engineers mix music into mono. Temporarily combining all the information into one summing channel gives a clearer picture of how sounds interact in the mix space.

To check the project for conflicts, simply switch the master channel to mono, summing all the signals on it. All programs for recording music are able to summarize the master track without disturbing the signal chain.

Story

Although some experimentation with stereophonic recording and playback had been carried out since the early days of the phonograph in the late 19th century, monophonic sound was the rule for almost all audio recording until the second half of the 20th century.

Monaural sound is normal on:

• Phonograph cylinders
• Records made before 1958, for example, for playing at 78 rpm and earlier16 2⁄3, ​33 1⁄3 and 45 rpm microgroove recordings
• Few FM radio stations that broadcast only spoken or talk radio content (to maximize coverage)
• Subcarrier signals for FM radios that carry leased content, such as business background music or radio reading service
• Background music services such as Seeburg 1000; Muzak satellite broadcast, and some PA system

Incompatible standards exist for:

• Later vinyl records (although mono records, which had all but disappeared in the United States by late 1967) could be played on a stereo system. cartridge)
• Recording an audio cassette from reel to reel (depending on the route)

Compatible monophonic and stereophonic standards exist for:

• MiniDisc
• Compact audio cassette
• (and, in rare cases,) radio broadcasting
• VCR formats
• TV
• Digital audio files on many computers in many formats (WAV, MP3, etc.)

There are no native monophonic standards for:

• 8-track tape
• CD

In these formats, the mono source material is presented as two identical channels, so is technically stereo.

At various times, artists have chosen to work in mono, either due to the technical limitations of the era's equipment or simple preference (this can be seen as analogous to directors working in black and white). An example is John Mellencampalbum 2010 Doesn't get any better than this

, recorded in mono to emulate mid-20th century blues and folk recordings.
Some early recordings, such as the Beatles' first four albums ( Please, Please,
With
the Beatles
,
A Hard Day's Night
,
Beatles for Sale
) were reissued in the compact disc era as mono in recognition of the fact that the source tapes for the earliest recordings were two-track , with vocals on one track and instruments on the other (although this was only true for the first two albums, while the last two were recorded on four-track).
This was actually intended to provide flexibility in creating the final mono mix rather than to provide a stereo recording, although due to demand this was done anyway and early material was available on vinyl in both mono and stereo formats. In the 1960s and 1970s, it was common in the world of pop music for stereo versions of mono tracks to be created electronically using filtering techniques to try to highlight the various instruments and vocals; but they were often considered unsatisfactory due to artifacts of the conversion process.[ citation needed
]

Directors Stanley Kubrick and Woody Allen, among others, preferred to record their films' soundtracks in mono.

Monophonic records were eventually discontinued and were not produced again after the early 1970s, with a few exceptions. For example, Decca UK had several double releases until the end of 1970, the last of which was Tom Jones's I Who Have Nothing; In Brazil, records were released in both mono and stereo as early as 1972.[ citation needed

] During the 1960s, it was common for albums to be released as both mono and stereo LPs, sometimes with subtle differences between the two (again, the details of The Beatles' recordings are a good example of the differences).
This was due to the fact that many people owned monophonic record players, which could not play stereo recordings, and the rise of AM radio. Due to the limited number of pressings and alternate mixes of several tracks, mono versions of these albums are often valued today over their stereo LP counterparts in record collecting circles.[ citation needed
]

On September 9, 2009, The Beatles re-released a remastered box set of their mono outing, covering Please Please

album by
the Beatles
(usually called the "White Album").
The set, simply called The Beatles in Mono
, also includes a two-disc survey of mono singles, B-sides and EP tracks released throughout their career.
Also included are five tracks originally mixed for unreleased mono. Yellow Submarine
.
Bob Dylan followed suit on October 19, 2010. Original Monaural Recordings
, a box set of mono releases from
Bob Dylan
(1962) to
John Wesley Harding
(1967).
On November 21, 2011, Kinky's mono recordings were released as Kinky's mono
box set, which included the band's album releases from
Kinks
(1964) through
Arthur
(1969), with three additional CDs of non-album tracks that appeared as singles or tracks on the EP. When the original box set sold out, unlike the Beatles and Dylan sets, nothing else was available.

Mono compatibility

Temporally summing the master channel also allows you to test your mix for mono compatibility with different equipment. Mono compatibility shows how a mix sounds in “combat conditions” - on ordinary consumer equipment when “forcibly” combined into one channel.

It may seem that such monofication of music is impossible, because the world has long lived in the world of stereo sound - all audio systems sold necessarily work in stereo. However, in reality, most stereo systems are not as stereo as they might seem at first glance.

The fact is that stereo speakers are often located too close to each other. In the case of ordinary music centers, the distance is about 20-40 cm. The distance is not enough for a full stereo effect, as a result of which the stereo image narrows, approaching monophonic.

When listening through smartphones, tablets, laptops, wireless speakers and other similar devices, the distance becomes even shorter. The space is so small that it is practically indistinguishable from a mono mix.

Considering that consumer devices are the main source of playback, it is imperative to check the mix for mono compatibility.

We constantly hear in various lessons that a mono and stereo mix should sound identical. Mono testing is needed not only to eliminate conflicts, but also to check the mix from the point of view of the end listener.

If you experience problems with mono compatibility when summing to mono, look for the cause in the project structure and the effects used. Among the main reasons for poor monocompatibility:

• Too many stereo tracks;
• Stereo field extension plugins;
• Too much reverb or delay;
• Phase problems between microphones.

What are the differences?

The stereo format differs from mono sound in its spatial aspect. With the help of stereo it is possible to reveal the full depth of sound of the audio system. This option is considered more natural because it takes into account the structure of the human ear.

Expert opinion

Karnaukh Ekaterina Vladimirovna

Graduated from the National University of Shipbuilding, majoring in Enterprise Economics

Although the ears are close enough, they do not hear sound at the same time. First, the signal arrives at the ear that is closest to the source. At the same time, there are differences in its frequency. Thus, the brain transforms the information and determines the side from which the signal comes.

Mono sound is recorded using one microphone. As a result, it differs by one audio track. In this case, the perception of sound does not depend on the location of the listener. Even if you use multiple speakers, the sounds from each will be similar. Therefore, it will not be possible to achieve a sense of depth.

To record stereo sound, use a minimum of 2 audio tracks. In this case, distribution across channels is carried out at the level of frequencies, sound effects, voices, and instruments. To listen to stereo sound, you will need at least 2 speakers. It is also permissible to purchase a special headset.

Expert opinion

Karnaukh Ekaterina Vladimirovna

Graduated from the National University of Shipbuilding, majoring in Enterprise Economics

At the same time, the volume of the stereo format cannot be considered real. The fact is that 2 headphones or 2 speakers are located opposite different ears. This factor influences the perception of signals from different sides. As more sources are used, the number of playback points increases. This results in a fake 3D effect.

Today there are practically no audio systems with mono sound on sale. People mostly prefer stereo sound. It is more enjoyable when listening to music or other audio tracks.

The stereo format has the following advantages:

• creating a feeling of depth and volume of sound;
• a clear understanding of the location of the tool;
• wide use;
• transmission of live sound during a concert.

The mono format has the following advantages:

• an excellent option for public speaking – it helps to emphasize the speaker’s voice;
• the need to use for recording some songs.

Mono or stereo

Be that as it may, tracks in mono and stereo are the basis of any session. Knowing which format is best for different signals and tracks will help you achieve better results and a cleaner mix.

What should be in mono

• Instrument tracks;
• Vocal tracks;
• All signals that do not have their own stereo effects.

What should be in stereo

• Drum overhead tracks;
• Tracks of microphones filming the room;
• Piano;
• Synthesizers with surround stereo patches;
• Backing vocals (not always, it’s better to look at the situation);
• Effect buses and sends - reverb and delay;
• All signals that must retain their own spatial properties.

Quick comparison table

Mono and stereo formats have certain features and differences. They are presented in the table:

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Dear Tolstoyans, fighters against the tyranny of mammon, allow me to throw a shovel at this fan: Here, for example, are tracks from 9.

Yesterday I turned off one monoblock and, as if for the first time, I heard all these Desafinades. The stereo version sounds terribly dim and washed out in comparison.

But at the same time, you listen with two ears, hear the re-reflection of sound in the hall, and even determine the location of the musicians in space.

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Mono vs stereo | Music life

The vinyl boom is sweeping the planet. We will not predict either a long life or a quick end for the ancient format of media that is cheerfully returning to music libraries. It’s better to ride the wave of interest and remember one of the bright pages in the history of sound recording that reveals the theme of “man and sound.”

The fifties of the last century were the time when the standard of sound comfort was formed, which fits perfectly into the advertising, ceremonial appearance of that era. This was the time when consumption criteria were developed, then technologies and ideals were created, and civilization still uses them today - from computers to atomic energy in industry, from artificial fabrics to mass-produced cars in everyday life.

The aesthetics of the era were also embodied in music. This period saw the “meeting” of audio formats – mono and stereo. The second was replacing the first, and a situation arose that was even more revolutionary than the current confrontation “analog vs digital.”

Creativity worked for progress and corresponded to changes - both in music and in life. A positive spirit united musicians and engineers, sound artists, and was passed on to listeners, who must also be talented and well-mannered.

The peak reached then has a name. Rudy (Rudolph) van Gelder, “the finest engineer in the history of recording,” is responsible for many of the best recordings, most of all his name is associated with the recordings of the legendary Blue Note label.

Experience and taste came together in his work, a point of balance and pleasure was found.

Rudy himself did not have a stereo player at that time, but how vividly they play, literally breathe, the albums he released... They sound natural, at the same time soft and ringing, they set you up for ease of movement.

While the public understood preferences and the industry understood technology, many records were released in both stereo and mono. And there is still no consensus on which is better.

The interest of music lovers in comparison is intended to be satisfied by a series of newly released recordings made (including by Rudi van Gelder) and collected in both versions together - on double albums.

These discs can be called reference, but sternly, albums released recently on 180-gram audiophile vinyl. Aesthetes remember releases released in the last century. There is a difference in sound between them, but that's a topic for another conversation.

Cannonball Adderley, Miles Davis "Somethin' Else" (Stereo & Mono) 1958/2018

This is van Gelder. An album by saxophonist “Cannonball” Adderley, not a top-notch musician, but simply a very good one, recorded with members of the Miles Davis Quintet. Saxophonist John Coltrane also played in this lineup, but he could not participate in that session - the drugs had already begun to destroy him.

The album is one of the pinnacles of jazz as music “for everyone,” music that inspires love.

From this disc you can begin to get acquainted with the concept of “jazz” - it is virtuoso and includes a stunning track that stands above times and styles - this is one of the best performances of “Autumn Leaves” by József Kosma, a melody that seems to dissolve in the listener’s soul and sound there for a long time ... There is also “Love for Sale” by Col Porter, uniting eras from Ella Fitzgerald to Boney M.

On a stereo disc, the horns and rhythm section are separated into different channels. This naive technique has the spirit of that time. It doesn’t show the position of the instruments, but it does a great job of demonstrating how they “talk,” communicate, and improvise.

The mono version sounds less bright, but conveys collective playing more clearly, and when it is necessary to highlight an instrument, this is done with a skillful arrangement.

This is an ensemble album, so we prefer mono, although the stereo version does contain the additional track "Allison's Uncle", which later became known as "Bangoon".

Duke Ellington & John Coltrane (The Stereo & Mono Versions) 1962/2018

Next we listen to an album (also with sound from van Gelder), recorded by two of the greatest musicians. Duke Ellington did more for the genre than anyone else, but he is not always considered a jazz genius. He is a genius, not of improvisation, but of organization, aesthetics, and understanding of music.

But John Coltrane is a manifest genius of sound and feeling. Each scream of his saxophone was a revelation and insight for generations of jazz fans. What unites the stars is the spirituality of their creativity. Both believed that the goal was development, the movement of music towards God.

Ellington is remembered both for his dancehall hits and for his “Sacred Concertos,” and Coltrane will be remembered both as the discoverer of new worlds of improvisation and as the author of the great album “A Love Supreme.”

In the States there is even a Coltrane church; in Moscow, in the Kozlov Club, by the way, you can see his “icon”.

The stereo sound on the album follows the same traditions: the saxophone dominates in one channel, the rhythm section and piano dominate in the other, and this option seemed more interesting than mono. The two musicians sought to create a comfortable environment, the album is a game of great talents, and it is more interesting to follow it with more detail of what is happening.

Billie Holiday "Lady in Satin" (Stereo & Mono Versions) 1958/2018

But not Van Gelder alone! Conductor Ray Ellis, producer Irving Townsend and engineer Fred Plaut were working at Columbia Records when the great but unlucky Billie Holiday wanted to record something “tender.” At that moment, everything was not easy for the jazz diva - both in life and with her voice. And she didn't have long to live. This disc is her last lifetime release.

The decision to record Billy's vocals with a large orchestra - soul-turning wheezes and groans, an aesthetic repeated more than once by subsequent eras, right up to the trip-hop wizards Portishead - was a bold and unexpected idea. It turned out to be almost easy-listening.

There is no philosophizing or concept behind the music, but the skill and inspiration here are such that the soul rests and feels in its place.

The album contains the emotional hit “I’m a Fool to Want You” and the songs “I Get Along Without You Very Well” plus “You’ve Changed”, sung as if exhaled, telling “about the main thing” - about life and about love .

Arrangement is a decisive factor, the album sounds better when the sound is “richer”, we choose the stereo option, although Holiday fans will listen to the mono disc more than once.

This album (in stereo) was released in 1980 and.

So what is “good” sound when recording music? It is unlikely that anyone will argue that the instruments on the soundtrack should sound accurate and clear. But this is not enough. I had to deal with a situation where the sound parameters were high, but it was unpleasant to listen to, I wanted to “jump” to the next track... Most people remember their finger on the remote control button, switching tracks, right?

Both the problem and the happiness is that not everything in life can be expressed precisely - comfort and naturalness are immeasurable. The struggle “for sound” both in the market and in the minds continues; compression formats and overproduced sound are the norm in the industry, running away from “too” bright melodies and unusual ones.

After all, they disrupt the work of show business factories... But objectively there were and are musicians who stand out from the general conveyor belt - at least in the recordings. It is also important that for some music is something that happens here and now, and for others it is also the result of previous experiences, sensations and knowledge.

This means that we can continue to look for the golden mean between times and trends - for any era. It has already been found once, and there is no reason not to do it again.

Source: https://muzlifemagazine.ru/mono-vs-stereo/