There were tons of tasty mono treats to be sampled, including selections from Ben Webster, Dizzy, Miles, Ella, Ellington, Elvis, Sinatra, Dylan, J.J. Johnson, Nancy Wilson, Lou Rawls, Peggy Lee, Otis Reading, Pet Sounds, The Ventures, Charlie Rich, Gladys Night and the Pips, Lefty Frizell, Hank Snow, Johnny Cash, The Fendermen, Rose Maddox, Hank Williams, George Jones, Merle Haggard, John Lee Hooker, Bobby "Blue" Bland, The Budos Band, Van Morrison, Mal Waldron, John Coltrane, Jimi Hendrix and many more. Stereo also made an appearance and included a super-rare super-amazing sounding white label promo copy of Led Zeppelin IV courtesy of Andrew Klein that managed to make “Stairway to Heaven” feel like the first time. |
But don’t you miss that stereo stuff? Don’t mono records sound flat in comparison? My answers are no. In a nutshell, mono records sound as real as real can be and I am not left wanting for anything except maybe more. As a matter of fact, there’s something viscerally concrete about the mono presentation and I find myself getting lost in the performance even without the aural queues of stereo’s necessarily less concrete illusion. I dare say mono records can sound even deeper.
Illusion ain’t everything
Reproduction and illusion are not necessarily co-dependant. In other words, you don’t need to rely on illusion to provide a fulfilling reproduction. I’d also suggest that when listening to music on a hifi, we’re really interested in a musically engaging presentation which does not necessarily mean one that also conveys the aural illusion of stereophonic sound. Beyond the fact that some music never was performed live, being a product of the studio, I’ve been to concerts where if you closed your eyes, you’d be forced to imagine the band bouncing off the walls, floor and ceiling to create a visual image of their location. Yet at the same time I was never in doubt that I was witnessing a real event.
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Without getting too far off course, it’s also worth pointing out that the preference for art and its varying degrees of illusion changes with time and culture. And these changes are not linear. When looking at the history of Western Art for example, we do not see an unbroken march toward greater and greater levels of illusion. Further, these deviations are caused by among other things social, scientific and cultural events. In other words, our chosen and preferred flavor of representation is another aspect of our human condition. It follows, at least to me, that our preferred flavor of musical reproduction is also non-linear and similarly pushed and shoved by the times and world we live in as much as it is by our personal preferences; and sensitivity -- or lack thereof -- to sensory stimuli. In other words, like art, the history of hifi is not measured by a yardstick whose far end is marked “illusion”. |