![]() ![]() But when you open things up, they do different things. It's the same music, the same echo chamber, same everything. I would say that the mono and the stereo are two different animals. Is there anything with The Doors in particular that you feel comes to the fore a little bit more in mono? So, in some respects, mono is better when it comes to vinyl. Are you familiar with how stereo works on a record? Vertical and lateral: when they’re out of phase conditions, the cutting head has a tendency to rise up in a lot of the grooves. The mono cutting heads sound a little bit different. So it does have a different perspective to it. In mono, you can push things a little bit further back and forth and not worry that you're going over here and there. It’s just this image, just like watching a black-and-white movie where you’re not distracted by the color. He just wanted one release, so he just moved to stereo.īut the mono is it, because when we listen, there’s nowhere to hide. I think it was right after this album, Jac Holzman decided to eliminate both mono and stereo in the store. Stereo was there, but it wasn’t the format. FM wasn't any kind of reality whatsoever. It is different because you gotta realize that, when we did this album, mono was the format. You should do that, because that’s what mono is: one loudspeaker. It’s got a certain mojo to it.īruce Botnick: Did you listen out of one loudspeaker? Not two? I've seen people describe it as more “raw” and more “alive.” There's just an intangible quality to some of it, hearing things that I didn’t hear before and not hearing things that I might’ve been more used to. Then to sit right in front of your speakers and go, “Oh, there’s something just different about this.” It’s not just the channels, but hearing almost a more forwardness, a low end that I had never really known before. You hear it on the radio, you hear the songs in movies, TV, everywhere, and you become familiar with a certain sound of it. VMP: All my life, I've just known the stereo version of. ![]() This interview has been condensed and edited for clarity. Botnick returned to the original mono tapes to remaster the album for VMP’s release, and sat down with VMP’s Music Operations Coordinator and lead test pressing reviewer, Stephen Anderson, to talk about the inescapability of mono, the confluence of analog and digital audio and the zen of good mistakes. With VMP’s release of the original mono mix of The Doors as the June 2021 Essentials Record of the Month, who better to talk about what’s behind this newly reopened door of perception than Bruce Botnick? Among an astounding body of work that includes Love’s Forever Changes and The Beach Boys’ Pet Sounds, the legendary engineer and producer engineered every one of The Doors’ albums up until Jim Morrison’s passing in 1971 and has lent his discerning ear to virtually all of the group’s releases since. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
February 2023
Categories |