Very interesting text. Mono sound apparently does not deserve all the prejudice it usually gets:
So why the attachment to single-channel audio? One clue is the other listening I’m doing a lot of right now, as live-in house engineer for Damon & Naomi. Our next album, like the previous ones, will be in stereo—but I listen to each take as it goes down, and hear them back as I edit, in mono. Which is pretty much how it goes if you overdub one instrument at a time, as we (and so many others) often do. By definition, a single mic generates a mono signal. Get fancy and set up two or more, and you still have to check them in mono to make sure they aren’t cancelling each other out rather than reinforcing one another. I’m sure I’m not alone among engineers in saying that I hardly do any stereo listening in the studio before mixing—yet then we all mix in stereo en route to the final product. What happened to mono mixing?