This is a progression from an earlier, excellent extended ( 9/05-4/06) thread on the MOFI mono SACD release of "Mr. Tambourine Man". For purposes of comparison, I used a 'tape drop' from the original Columbia ' 360 stereo' vinyl LP ( reference last month's thread " A Reassessment of the 1996 Legacy remixed cd" ) for the stereo mix, and of course the MOFI SACD for the mono mix ( unfortunately, I'm not a vinyl player anymore). Overall, I found the MOFI SACD mono mix had noticeably boosted vocals and especially tambourine ( as Michael Fremer did in a review in Musicangle earlier this year), deep bass filtered out but drums (mid/upper bass) EQ'ed up. This was the sound that the late Terry Melcher wanted in order to punch through the dominant mediums of that era, AM radio and low-fi home systems. A relevant technical point: the MOFI mono SACD is essentially a direct transfer from the original mono master tape. It should, and does, sound brighter than my 'tape drop' from the original stereo vinyl LP that was of course EQ'ed 'down' from the " cutting master": highs over 15kHZ rolled off , heavy analog compression, etc. for vinyl. The whole process of mixing from multi-track masters down to mono was of course an art and inevitably, a compromise. Take " I'll Feel A Whole Lot Better" : McGuinn's Rickenbacker stays relatively down/back in the mono mix, until the break, when Melcher pushed it forward; after the break, it's pulled back to a nominal level. IMHO, this song illustrates perfectly the limitations of the MTM mono mixes and why I totally disagree with Fremer's claim that " McGuinn's 12-string will hit your ears with more force and greater "jangle" in mono." ( Musicangle). NOT TRUE! The stereo mixes, as member ' Great Deceiver' correctly pointed out in the earlier thread ( 4/23/06,#201), showcase perfectly the Rickenbacker's jingle-jangle tone, the shimmering sustained ring achieved with double tube compressors. It's right out front for the entire song! Also, on most MTM mono mixes, you'd never know that the Byrds had a rhythm guitarist: on most, Crosby's efficient and underrated Gretsch- a nice counterpoint to McGuinn's ethereal, crystalline 12-string- is barely audible. It comes through on my 'tape drop' from the original stereo mix nicely, adding balance and tone to the stereo mix. On the original stereo mix of IFWLB, after the classic rhythm-lead guitar intro, the drums and bass thunder in like a stampede of horses! The bass is strong, the drums have good bite, and it sounds like a band playing on stage in front of you: during the break, there's awesome interplay between both guitars, with the rhythm section pounding away. Folks, you aren't, and can't, get that from the mono mix! IMHO, the original stereo vinyl mixes of "Bells Of Rhymney" and " Chimes Of Freedom' blow away the mono mixes, where the vocals are really cranked, not to mention the tambourine. The mono mix of " Chimes" sounds compressed, with no real low end, dominated by the Fender's plucking/ pickup/amp( ?). The original stereo mix doesn't have as good a top end, but has much more impact, majesty, with a smooth sparkling sound to the Rickenbacker. Plus, you can actually hear Crosby's Gretsch in the right channel- good luck hearing it in mono. The worst-sounding song on the mono mix of MTM is " Don't Doubt Yourself, Babe" : the drums are virtually mixed out, the tambourine sounds like it's going to fly out of the speakers it's so loud, and (again) the vocals are over-cranked. The original stereo mix has deeper, richer low end, especially on the dynamic intro when it pounds in on the right channel after McGuinn's jangly opening riff in the left channel. Yes, the tambourine is strong in the right channel, but you can still hear the drums on the stereo mix- forget it in mono. To my ears, the best sounding mono mixes are "MTM", "We'll Meet Again", " All I Really Want To Do", " You Won't Have To Cry", and " It's No Use.' Except for WMA ( don't have it on my 'tape drop', but it's much stronger than the 1996 cd remix), I'd still prefer the stereo versions of the other songs. In the end, don't get me wrong : it's great that MOFI released the original mono mixes of MTM in SACD, and it's cool having alternate mixes to listen/compare to. It's a crying shame that Columbia let the original stereo master tape of MTM get destroyed/mangled over the years. I still have a tough time accepting that: somewhere, stuck in an old vault/warehouse, there has to be ... . I dream that it can be found (or properly restored - know that's a pipedream) and that Steve would have the honor of remastering it for cd and vinyl. Sorry for ramblin' again. Opinions, comments welcome. Out.