What is Dual-Mono?

[Strider]

Okay, here's the deal...after recently seeing Stereolab in concert, I decided

to dig up all my old Stereolab albums(must be about 20) and relisten to them

in chronological order.

While perusing the liner notes to "Margerine Eclipse", I read this bit of info:

"RECORDED IN DUAL-MONO."

I think I might know what that means, but I want to be sure, so if any of

you sound recording geeks out there know, please give me the details.

Why dual-mono and not stereo? What, if any, is the advantage? Why if it's

mono, does it still sound like stereo when I listen to the record, with different

sounds coming from left and right speakers? Do you have to set up the mics

different in the studio to record as opposed to recording in stereo?

Thanks, in advance, for any answers.

[rafnagud9]

Not really any difference (in theory) between DM and stereo, but DM has a unique effect on the mix and on the ear (some sounds have better definition, even if the nuances are subtle). Can be somewhat trippy, if done right.

[EpicForest]

I'm not sure about your Duo-Mono recording there. I like Stereolab though.

Here's just a snippet about early Beatle recordings and their "Duophonic" manipulations. Could this be in the ballpark of what this Stereolab recording is ?

THE WAY IT WAS IN THE SIXTIES

Each of the Beatles albums issued by Capitol Records from 1964 through 1967 was issued in both mono and stereo versions. All but one of these albums, Sgt. Pepper, had song configurations different than the albums issued in England. In the sixties, these unique Capitol albums were how Americans were exposed to the wonderful music of the Beatles. Most Americans were blissfully unaware that the Beatles albums issued the U.S. were different than those issued in England.

During the seventies, Beatles fans began learning about and buying import copies of the U.K. albums. They noticed that the Parlophone albums had either 13 or 14 songs as opposed to the 11 or 12 songs found on the Capitol albums. The Parlophone LPs for A Hard Day's Night and Help! each had the Beatles songs from the film on side one and other Beatles songs on side two. These British discs did not have the film score instrumentals found on the U.S. soundtrack albums. The Parlophone albums also sounded different, and to some listeners, better than the American albums.

The Capitol albums began falling out of favor with those in the know. So-called purists quit listening to the American discs, which were suddenly branded inferior. The party line was that all of the Capitol albums were poorly programmed records full of echo-drenched duophonic crap and drastic remixes. Such statements are unfair and inaccurate.

CAPITOL IMPROVEMENTS OR CAPITOL CRIMES?

Before discussing the mixes appearing on the Capitol albums, it is important to understand what Capitol did and did not do. Because Capitol was not sent multi-track master tapes of Beatles recordings, its engineers could not alter the balance of the instruments and vocals to create new mixes from multi-track masters. However, the engineers could alter the sound of the recordings in other ways.

In the sixties, record companies believed that all songs on a stereo album should sound like stereo. If a stereo master was not available, companies would often create a simulated stereo mix. This was achieved by transferring the mono master to two separate channels and then boosting the low bass frequencies in one channel and emphasizing the high treble frequencies in the other. In addition to boosting the bass and tweaking the treble, Capitol often ran the separate tracks slightly out of sync and added reverb. These simulated stereo mixes were described by Capitol as "duophonic recordings."

http://www.beatlescollecting.com/the-beatl...tol-albums.html

[I have got a horsey]

In the sixties, record companies believed that all songs on a stereo album should sound like stereo. If a stereo master was not available, companies would often create a simulated stereo mix. This was achieved by transferring the mono master to two separate channels and then boosting the low bass frequencies in one channel and emphasizing the high treble frequencies in the other. In addition to boosting the bass and tweaking the treble, Capitol often ran the separate tracks slightly out of sync and added reverb. These simulated stereo mixes were described by Capitol as "duophonic recordings."

yuurgghck

I have a Capitol 1967 pressing of Magical Mystery Tour where side 2 is in mock stereo, it's terrible, unlistenable.

[Rock Action]

The Stones' early "stereo" releases were like that. Treble on one side, bass on the other. The mono recordings sounded better, to be honest.

[EpicForest]

That mono manipulation reminds me of the scene in "Back to the Future" where Marty's mothers father covered the black and white TV screen with that tri-colored filter to simulate a color TV.

I enjoy all those Beatle mixes actually, and have them all as well. I Feel Fine and She's a Woman on the Capitol Beatle's '65 sounds the worse though. Drowned in reverb to where you can't even hear the piano in She's a Woman. Glad I have it though.

[mos6507]

It was my understanding that the early original Beatles recordings were recorded live to tape to two isolated tracks so that what you hear on CD is as it was in the recording booth. This was done for the same reason you do with regular multitracks, the difference being you only have two tracks to work with so many instruments have to be blended together. So usually you'd have all the vocals and guitars on one side and the drums and bass on the other. Then the levels and EQ could at least be controlled on these instrument 'groups' after recording. The ultimate target of the mix was mono, so this 'stereo' separation was not the way it was mean to be heard.