My enthusiasm over the Beatles mono masters does not mean that I consider mono to be superior to stereo, per se. I like these Beatles masters because:
1) Against all conventional wisdom, EMI listened to the audiophile contingent (Thanks, Michael Fremer), bucked the digitizing trend, and maintained an all-analog signal chain to remaster and release these recordings.
2) In the original sessions George Martin, Geoff Emerick, and the rest recorded, mixed, and mastered these recordings to be mono, and did the stereo mixes more as an afterthought purely for commercial purposes.
So although I prefer good stereo to mono, when mono has the superior mix and tonal balance, I'll take the mono. When the choice is 44.1 Khz digitized stereo or all-analog mono, again I'll take mono.
My all-time favorites are the 3-mic stereo labors of love from RCA Living Stereo, Mercury Living Presence, and the early Columbias (Miles Davis, Bruno Walter & CBS Symph Orch) before they got into close-mic'd multi-track recording.
1) Against all conventional wisdom, EMI listened to the audiophile contingent (Thanks, Michael Fremer), bucked the digitizing trend, and maintained an all-analog signal chain to remaster and release these recordings.
2) In the original sessions George Martin, Geoff Emerick, and the rest recorded, mixed, and mastered these recordings to be mono, and did the stereo mixes more as an afterthought purely for commercial purposes.
So although I prefer good stereo to mono, when mono has the superior mix and tonal balance, I'll take the mono. When the choice is 44.1 Khz digitized stereo or all-analog mono, again I'll take mono.
My all-time favorites are the 3-mic stereo labors of love from RCA Living Stereo, Mercury Living Presence, and the early Columbias (Miles Davis, Bruno Walter & CBS Symph Orch) before they got into close-mic'd multi-track recording.