Mixology: The Mono/Stereo Mix Differences Podcast

Hello Friends! I've gone a little self-indulgent again on the show today, with a look at one of my favourite US-only LPs by The Dave Clark Five, 1967's 5 by 5. Issued with 'Nineteen Days' as the focus tracks, the 10 track 20 minute affair is an absolute blast, if wholly derivative of both the DC5 themselves and the music around them at the time.

What is most important though is the fact that this was the first DC5 album to receive a true stereo mix, and as such we have the usual minor differences in echo, but also some pretty major ones too, such as mixed out ad libs and entirely missing layers of instruments and backing vocals, making this an album I absolutely had to cover on the show... when the time was right. But pick up your phone - that time is now!

Happy Listening,

Frederick

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Hello Friends! This time on show we're finally returning to the Fold-Down Chronicles, looking at a further three LPs originally issued in both mono and stereo, but with mono mixes that don't entirely deserve that title. With this in mind, today we will be covering the following albums:

The Beach Boys - Beach Boys Concert (1964)

Graham Gouldman - The Graham Gouldman Thing (1968)

Michael Nesmith presents The Wichita Train Whistle Sings (1968)

With original mono and stereo pressings and transfers in hand, we set to work understanding just how these discs were assembled in their mono presentations, as well as how the stereo mixes were approached to accommodate this. Despite the simple premise, we have a lot of fascinating things to dig into today.

I want to thank Andrew Sandoval, Andrew Pemrich, and Dae Lims for their source assistance.

Happy Listening,

Frederick

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Hello Friends! After enjoying my time so much with Surfer Girl last time, I felt it only natural to continue on with it's sister LP, Little Deuce Coupe. Issued a mere 3 weeks after it's predecessor, the LP contains 8 new songs, as well as 4 tracks from previous LPs (including 2 from Surfer Girl), but in my opinion it all makes for a cracker of an LP. To top it off, while the mono mix remains supreme, the stereo only continues to improve here, with some amazing mixes that are near comparable to the mono. All-in-all, a great time that is far more than a No-Go Showboat!

Happy Listening,

Frederick

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Beach Boys Sessions: Stack-o-Tracks

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Hello Friends! It's Beach Boys time again here on the show, as we continue to enjoy the backend of the summer down under. Somewhat inspired by the recent We Gotta Groove: The Brother Studio Years box set, this album was originally issued in mono and stereo in September 1963, and thankfully has never had any form of remix, though one track did received a mildly modified master for use as a flip side. Often regarded as one of their best recorded LPs, both mixes are a treat, but what makes each one shine in it's own unique way? It's time to find out who mixed it better - Brian Wilson or Chuck Britz!

Happy Listening,

Frederick

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Beach Boys Sessions: Stack-o-Tracks

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Hello Friends! It's been a long time coming, but here it is - the Mixology look at The Velvet Underground & Nico, one of the most influential discs of all time, and one of my most requested LPs to cover. I wasn't sure what to expect when going into this album. For such a rough and ready production, stereo didn't feel like it would make sense, but after spending time picking apart both the mono and stereo mixes, and comparing them intently, both really do offer up something unique. Is one better than the other? It's hard to decide. So don't Run Run Run to All Tomorrow's Parties, I'll Be Your Mirror and guide you through all the mono and stereo differences, as well as an alternate mix and single edit of All Tomorrow's Parties!

Happy Listening,

Frederick

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Instagram - @hypnoticfred