[Cybotron5000]

There’s been some wonderful recordings that were designed solely/primarily for mono playback (early Motown/rock n roll/blues for example) that IMHO actually kind of benefit somehow from lack of stereo separation. If mixed well, the instruments can blend really well and work as one unit and there’s kind of an energy and punch to the speaker/s working as one... Early stereo records often had rather drastic left/right panning (eg. some Beatles stuff) or had to hedge their bets in case they were played back through eg. mono radios/badly set-up stereos and so on… Something similar is still the case when engineers think about what their track might sound like coming through a crappy mono phone speaker with no bass at 128kbps/what have you… The advice I’ve always heard is that you should make sure that your mix would ‘fold down’, so to speak, to mono anyhow… So you should never rely on the listener being in the sweet spot (if you think about eg. a club where an audience member could be stood directly in front of one speaker, but barely hear another, or some listeners weird home setups with one speaker balanced on a bookcase and the other on a table or something). In most environments you get complicated reflections and build ups/absorptions of various frequencies due to the acoustics anyhow… Although with single-sided deafness you won’t get the effect of directionality from the delay between the sound hitting one ear before the other, I imagine you would still experience the attenuation of certain frequencies as the sound moves around your head, the height dependent effects and so on …I suppose it’s not a million miles away from if you were to close one eye - monoscopic as opposed to stereoscopic? Bass frequencies are mostly experienced more or less monophonically, so you’re not missing out there... I wonder if reverb effects/using impulse responses of different environments and volume adjustments might also help give some of the impression?

[logbiscuitswave]

> Early stereo records often had rather drastic left/right panning (eg. some Beatles stuff) or had to hedge their bets in case they were played back through eg. mono radios/badly set-up stereos and so on…

Many early stereo mixes were so bad because the stereo mix literally just put half the channels into L and the other half into R. For Beatles’ stereo mixes you would lose basically half the song by changing the balance full L or R. This was the case for many other early mono to stereo masters. Capitol Records’ Duphonic process also added a slight delay between the two channels to give a feeling of depth. It almost certainly didn’t reflect what the original producers or engineers would have ever intended.

For many classic albums that got this “fake stereo” treatment if you were lucky you would eventually end up with a proper stereo remaster done decades later. For example, hearing the original the properly remastered stereo version of Pet Sounds released in 1997 is a drastic improvement over the Duophonic stereo mix from 1966.