One More Time: "True Mono" Carts vs. Mono Buttons/Y-Cables

NO! Stereo-cut mono almost always needs to be played back in stereo mode. If the stereo tape heads were not perfectly aligned during mastering - which most of the time they are not - you will notice a distinct roll-off of the treble or maybe even a swishing phase-y thing going on, when played with the channels summed to mono.

Only true-mono records should be played with either a mono cartridge or a stereo cartridge with the channels summed or else there will likely be unpleasant artifacts.

 

Whoopsss...actually I made this mistake before I really thought about and understood MrRom92's post above

BTW: that's too bad because all the surface noise will be hard left and right in the stereo field.

 

so then the Bob Dylan mono box set I have coming, or my Jefferson Airplane reissue.....those are best played in a full stereo setup without any type of mono switch?

then old 1950-60 type mono albums would be what those switches are for? I have a few but I don't care to listen as they are very noisy. I am going to make a summing switchbox but if its only for true mono cuts played on a stereo cart I will have much less need I think.

 

I think the idea is that if a two-track (stereo) tape machine was used to cut a lacquer master for a full-track (mono) tape but the tape heads were aligned properly, or if a full-track tape machine was used, then a mono button or Y-cable would be better in theory because the S/N ratio would improve (though it would probably be pretty good to begin with with a brand new, well-mastered record). If it was mastered well, you'd probably be fine without an amp with a mono button or a Y-cable. Anyway, I have to imagine that the original master tapes for a mono Bob Dylan vinyl box set are full-track mono (though I know that may not necessarily be true) and that a full-track machine was used.

 

okay....think I am getting there....reissues cut with a stereo lathe but played with full track tape are worth trying the Y switch (X is probably a more accurate description)

 

If it's not in near mint condition or if there's inherent surface noise in the pressing, I am inclined to say that is correct, though I have a bad feeling someone will correct me lol. But you probably can't know how it was made in many instances, so I would think it would be nice to have the option to compare and choose. I think the idea is this: if it sounds worse/"swooshy" with the button/Y-cable, it was cut with a two-track machine. If it sounds as good or if there is less surface noise, a full-track machine was used. I did have a Classic Records mono reissue of a Blue Note released in the late 50's and when I used my amp's mono button it sounded fine (it sounded fine without it too, but in the event that there was a little pop or tick from the pressing it's volume relative to the music would most likely be reduced with the mono button).

 

When it comes to stereo-cut mono, the only way to know if playing them in mono mode works OK is to try it.

I personally can't be bothered... most of my modern records have no surface noise, so trying to play them back in mono mode pays no real dividends. I only play my old mono records in mono mode and everything else gets played back in stereo mode.

 

If you're handy with a soldering iron, it's easy to wire a mono/stereo switch to your preamp, which would have fewer connections than inserting a switch box into the chain. That's what I did to the Rega Fono Mini I used to have - note the purple wires and toggle switch connected to the output jacks:

 

Also note that some mono LPs cut from stereo tape heads may STILL be true mono

Most competent engineers who do use 2 track heads instead of full track heads only use one channel of the two - not as good of a s/n ratio but it gets the job reasonably done to a point where people don't really complain (or know better) and thus the signal being cut is still only 1 channel of mono information. There are some records where the engineer just threads tape and cuts as normal. THESE are the records you'll have a problem using a mono switch on.


In the end, use a stereo cart, they are more accurate trackers than any true mono cart ever made, don't limit your options, and most importantly - use your ears!
The phase cancellation that happens on a badly cut "mono" record will easily be heard once summed

 

well I am excited because the Jefferson Airplane SP album from Sundazed seems as though there is a slight stereo ambience to it. I don't want to say a chorus effect....but almost like it was shifting back forth at times. hopefully this is the cure.

 

Right, this was my dilemma. I like a lot of music from that era but even the NM records always sounded noisy. Dagnabbit when I think of all the records I got rid of because of this! Once I got an amp with a mono switch they sounded a little better. Then I swapped an elliptical stylus for a conical and they sounded even better. Finally I bought a bigger conical and voila! Perfection. Now I sometimes buy records from that era just because they are from that era and I'm so satisfied with my setup for them. This is just speculation but I wonder if having a stylus that more closely mirrors the cutter head in size minimizes the degree to which the stylus can "jitter" in the groove? A smaller stylus has more room to bounce around causing distortion? I don't understand the whys and hows but the larger stylus works best for me.

 

Your best bet would be to run one channel or the other through both speakers, rather than summing them.

 

Thats a good idea and it has been implemented into my build. Check out my other thread for info on that.

 

I think U have seen them things listed on Audiogon. Can't imagine how much that would cost to refurbish...or if hifi from 30+ years ago is even worth looking at... Audio Research had nice looking command centers too. Maybe the audiophile market will come around with the resurgence in vinyl that keeps getting bigger.

 

The Mcintosh C22 had most of these features too, didn't it?

 

I attended a seminar at Fidelis AV where Dan D'agastino gave a talk about his new preamp. He mentioned one of the Levinson or Parasound (I think) preamps that came out back in the day that did away with tone controls. Since then reviewers thumbed their nose at tone controls being included on preamps and they were never to be seen again. Seems like the audiophile press wanted more and more minimalist preamps thinking any switches/controls would deteriorate sound.

Not having a mono button on a preamp is a shame.

 

Really? I thought you were generally a Mcintosh fan...is it something about that model you object to?

 

Yep, that is how it is on D'agastino's preamp, they are disabled until the user enables them. Still some audiophiles are dogmatic in their beliefs, no changing their minds!

 

Gotcha.

 

My Marantz 1250 integrated has the same flexibility, but until now I never knew why!