Otherwise go for 0. What is more, if you do use the wrong tip, the sound will still be FAR better than using a stereo cart in a mono groove with the mono button on your phono amp pressed to mono.
All that you will lose is bass. Even then, the bass will be better than a stereo cart in mono mode. Re your examples — for what tip? Actually, Various - Digital Mono (Vinyl) think I give examples in the Beatles feature and I probably do in the Rolling Stones mono feature have you read that? Hey Paul, Really excellent writing on your part with great detail of the subject you were writing about.
You have me wanting to purchase this box set. A lot of work went into completing this box set, so it needs and has to be great. Brian Jones, one of the best! I get what your saying in your fine article on the stylus as well. Obviously the new box set of the Stones is for the. The only thing that is stopping me is the price on the Zero.
I do seek out his stereo masters and enjoy them. So it is true mono pre amp, the only way to do it right. Hi Robert — the problem with most mono carts is that they are adapted from a basic stereo design. Tweaked, if you will, at some point, in some way. The Miyajima carts are built, from the ground up, to be monos and nothing but monos.
This is the issue I have with Ortofon monos, for example. The cheapest Miyajima 1mil is a Blackwood. Excellent cart. Back to the real world and your budget?
Low cost too. Please do as much research on Various - Digital Mono (Vinyl) chosen model as possible. See what other users say about it in forums, etc. Hi Justin — indeed, which is why I made sure that I used good quality originals before I began testing. Rigby, that was a neat article. I am trying to determine which is the easiest and best investment to extend my Beatles catalog.
Hi Mark — lovely to see you and welcome to the site. Basically, it comes down to cash, of course. So, all you have to do in this case is press that mono button on your amp [if you have one] and away you go. This stereo cartridge set up will not sound as good as a dedicated mono cart, though. So, as I say, cash is a factor. If you have that cash, invest in a mono cartridge.
Because the Beatles mono reissue set is a new production, it uses a 0. So I would recommend a 0. My argument is that you really want to maximise your large investment. Also a proper mono cart will present the music as the group itself intended you to hear it.
Some labels used 1mil mono grooves up untilthen changed to 0. Some waited untilothers and so on. It depended when they could invest in new kit, not everyone had the money to do that so everyone moved over at different times. And why are there two different groove widths in the first place? Because of stereo. As I say, original mono grooves were 1mil wide. Then stereo came in and moved from a fad to an essential sales feature. A stereo groove just happens to be 0.
Because the stereo cutter produced a 0. Thank you for the quick reply. I do understand what you are saying and thank you for the details. I had no idea about the groove size until reading your posts above. Either way, I need to go find the Mono box set and go from there. If you need any more help or if you want me to explain anything else again, no worries, just ask. Good morning, Mr. I was going back to read the posts on this topic that I replied to about 6 months ago.
I did indeed find a good bargain on The Beatles Mono set. In addition, I read posts on an audiophile Various - Digital Mono (Vinyl) Steve Hoffman?? Hi Mark — thanks for your question. OK, possible solutions for you. Firstly, if you saved for a while, would you have any budget at all to play with? This is not a now or never thing is it? What I mean is, do you have the ability to save some cash for some point of time in the future? Hey Paul. Hooton, may not be too keen to another TT on the stereo cabinet.
I am very curious. No, this is not a now or never, but I would love to hear these recordings the way GOD meant for them to be heard. You mentioned saving, but I dont know what to save for…. If you want to do a job right, you need the right tools.
So, a mono cartridge, ideally, should be used to track mono records. There are plenty of mono carts around, some are more expensive than others. Now, you have issues with swooping over carts for fear of damage doing just that.
I guess the Rega is your main deck but stereo is your main format? If so, keep the stereo cart in the Rega. Buy a spare headhsell for your Technics or use the current one and make your Technics a specialist mono turntable.
Swopping a turntable over now and again should be less stressful than changing a cartridge. As for carts? Depends on available cash.
If you go the Planar 1 route? Then get a better cartridge. Talk to me it you need guidance to hero in on your target solution. Paul, thank you for the suggestions. I wish there was a replaceable stylus option to make it easier, but I am just not comfortable taking the cart in and out. In a word — yes, Mark. The right tool for the job, as I say.
As swopping carts is a bit dubious for you, I would advise two turntables and then either work out a way to place the two turntables next to each other so you end up simply swopping the cables over to your phono amp from one deck to the other or, if you have to change the turntables over to hear mono, to minimise that swopping over, might I suggest extended mono listening session of a week or so? That is, save it all up, as it where. IN this article is a table showing specs and prices of the current MONO carts atleast from a few years ago.
The VM you listed above is in the table, but with a footnote. If I read the footnote correctly, it essentially says that this cart is designed to mimic the MONO button or Y-patchcord.
That would not be the optimal solution based on other things you said. The more you spend, the better the components and the purer the sound. Spend more on a mono cart and you will find a better quality of sound from a more considered design. For example, and as an aside, none of the cartridges I mentioned to you are ground up mono designs. They are all adapted from stereo designs. Because building a mono cart from scratch is incredibly expensive.
You can test this yourself. If you see a mono cart in an arm, place it on the vinyl and watch the cantilever. So, yes, cheap mono carts can be a fudge but I advise you to spend as much as possible and get the best one you can.
The more you spend, the better the design. One more tip? Incredible value — it should be at least twice the price. Paul, thank you again for all your time and your expertise. Actually, I think in one of your occurrences, you actually spell it swoop. Anyway, I can only assume, that there are people that might actually change out the cartridge from stereo to mono to listen to their albums, even as you said, for extended period of time to take it vantage of the opportunity.
I just see Too many ways to damage either cartridge, having to unhook those for tiny wires, mount the cartridge, and then align everything over and over again. The two turntable option, unless you have a head shell that will except another stylist too many ways to damage either cartridge, having to unhook those for tiny wires, mount the cartridge, and then align everything over and over again. The two turntable option, unless you have a head shell that will except another cartridge, as the only way to do this.
I will keep in touch and let you know when I purchase a cartridge, and get everything set up and try it out. Its confidence I suppose but, like driving a car, the more you do it the less it worries you. That said, you have to feel comfortable. Another option, is it possible to have a second hi-fi in another room topped by the Technics? To have, in effect, a mono hifi system in a different part of your house?
Thanks for an excellent summation of the various Beatles box sets. There was also a Japanese set on red vinyl, beautifully pressed but clean and sterile sounding. That had the albums in stereo at Press promos, at the time, were non-existent I recall. It was a triumph to get a press release in a card folder from them.
Interesting to hear about the sound quality difference, though. Thanks for that. Paul, this is not necessarily an audio question, but would you by chance know how one might obtain the books that are sold with the CD versions of the 50th anniversary editions of Sgt Peppers, The White Album and Abbey Road??
I have the vinyl of the first two and will get Abbey Rd for Christmas. I would love to have the hardback book that come with the Deluxe CD versions that are sold, but they dont seem to offer the book separately. By the way, I enjoy your weekly newsletter. Thank you so much. Hi Mark — Having gone through this process with another reader for a different CD release, the answer seems to be to approach the record label itself.
There may be spare copies floating around out there so the label may have a contact for you. Thanks Paul. I did contact the people who run The Beatles marketing site they fill the orders and they were no help. Maybe I can go above their heads. Absolutely — often marketing sites are third party affairs, brought in for a limited time. Paul, did you see this??? By the way, Various - Digital Mono (Vinyl) reference to the question above that I asked you about, I did contact the author of the book that is included in the Deluxe CS set for Abbey Rd and he wrote me back and said it was a way to sell the Deluxe package.
However, I the Deluxe vinyl set, has no book, on any of the 50th anniversary sets. Hmmm, Various - Digital Mono (Vinyl), sorry to hear about your book experience, Mark. As for the singles set? Again, hmmmm. Underwhelmed, I have to say.
What does surprise me and I guess disappoints me is that Miles Showell was not involved in this. He is part of Abbey Road and in control of half speed mastering. Mastered by Showell in half speed. Notify me of follow-up comments by email. Notify me of new posts by email. Posted on 26th February THE U. Original CD issues. FOR: Collectable investment. FOR: Hidden alternative track rarities.
Like this: Like Loading The Beatles. By Paul Rigby. You Might Also Like. Reply Colin M 11th June at pm Very helpful — clear, concise and definitive. Reply Robert Kovler 27th June at pm Hi Paul, Thank you for your feedback and getting to my thoughts Various - Digital Mono (Vinyl) promptly. R Loading For the most part, the mastering process for vinyl and digital formats can be the same — and any guesswork around things like the stereo spread of bass frequencies is probably best left for the cutting engineer.
We run the mastering processing through the analogue chain, gain-staging so that the final capture is a louder but, as yet, unlimited version of the master. To this we can subsequently add level and required limiting. In the simplest scenario, then, this as-yet unlimited version can serve as the vinyl master, and a different version, which has had gain added, becomes the digital master. This works best when the primary focus is the vinyl, as the louder digital version benefits from the preserved dynamics in the vinyl master.
Things can get more tricky if the primary focus is the digital master, and especially when that is required to be fairly loud. This is not always the way the issue is presented: there is sometimes talk of different EQ settings and the use of elliptical filters and whatnot.
The fact is, though, that the EQ considerations offered as being necessary for vinyl are pretty much a desiderata for most decent digital masters too. But even then, if the master is going to a reputable cutter it is best to leave that decision to them. You are here Home Sound Advice Q. How does mastering differ for vinyl and digital releases? Recording By Eric James. Previous article Next article.
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