This tends to give the playback from mono records more “space” and “air” from 2 speakers.īut, all of that changed for me. By playing in stereo, a stereo cartridge will extract part of its mono signal from each channel. Playing in stereo tended to add depth and opened up the frequency response. Using the MONO switch on my preamp caused the sound to be flat and lifeless using stereo cartridges. My dad had an M44C on his Garrard TT that he used to play all his records, mono and stereo, so I did likewise. I never saw/understood what the fuss was about in using a dedicated mono cart. But now I look for mono microgroove records at thrift stores.įor years I played them using an M44 or Stanton 500/Pickering V15 using a 0.7 mil conical or 4x7 elliptical tip. Most are part of the collection handed down to me from my parents. I’ve got hundreds of mono records, many labels. Unless it's something very rare that you might not see again for a long time. Most commonly If I have encountered an old mono LP with more noise and wear distortion in one channel only, the record is already visibly pretty shabby condition anyway, before you even play it.ĭon't buy worn out records may be some more advice for someone starting out. Best advice for someone starting out is to just wire for summed mono. It is rare that this facility is needed I think. I have, but on older 78s, not so much mono LPs. I have yet to encounter a record which sounded better using one channel than properly summed for lateral or vertical as appropriate for the record. When I designed and built my mono phono stage I provided the ability to select the right channel, the left channel, both channels summed either in phase for lateral cut mono, or out of phase for vertical cut mono records. Supposedly one side of the groove can be damaged and selecting one side of the groove may offer some advantage for such records. There has been talk of using one channel of a stereo cartridge for mono for years. My immediate response to that on first reading (as for quite a number of LD’s posts) was “BS!” But after a bit of thinking I realised that the analysis is spot-on and the Decca designs support that.ĭeccas have only 3 pins, BTW, adding to the oddity. Years ago Lucky dog posted that functionally a stereo groove is a mono lateral cut with a vertical difference component. As regards to why Decca did it like that, I’m not sure, but it could have been the path of least resistance from their mono cartridge designs. I’m not an expert but have owned a Super Gold. Lastly, 45 and older mono records do not have different size grooves, but different stylus sizes allow you to play at different depths in the groove and maybe avoid previous wear and damage. This is why the vertical components can be cancelled by wiring it appropriately.Īlso being able to choose left or right separately works because, on a mono record, each groove wall contains all the information needed for proper reproduction, however, old players often wore one side of the groove, more than the other, so the less worn side may indeed play more cleanly. The cartridge responds to movement at 45 degrees both to the left and right opposing (at right angles to each groove wall). There's talk in the posts above of vertical and lateral, but a stereo cart is not arranged like that. To get a last audible playback or to do a salvation recording from a worned out record is always something adventurous in finding any tricks that will prove optimastically beneficial with minimalistic loss as possible from the groove retrieval. And a proper MONO cartridge with a right stylus on a proper tonearm will cope better than any thing else on MONO records. To imply that MONO is worned out anyway is a bit ludicrous. The OP didn't raised the MONO question in that sense. But that's not always.Īnd so all this is not about MONO records, but about old worned out MONO records (schellac or early 45 or 33rpm ones) that have suffered from those old tonearms with heavy VTF and no anto-skate. Then the fact that the MONO records would be worned out because they would have been played on old tonearms with heavy VTF and no anti-skate device. You're talking about the MONO groove walls informations here. 23:05Also being able to choose left or right separately works because, on a mono record, each groove wall contains all the information needed for proper reproduction, however, old players often wore one side of the groove, more than the other, so the less worn side may indeed play more cleanly.
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