Mixing in mono is one of those production “tricks” that have solidified in my mixing routine to achieve clearer mixes. It’s a really easy shortcut to hearing levels and even frequencies of everything in your track without the distraction of stereo imaging. It also helps to figure out phase issues between closely tuned kicks and bass and correct your synth sound design too!
But sometimes the immediate benefit it gives us gets outweighed by a longterm one of improving your critical hearing skills. For example, if you use mono to hear frequency fighting between instruments, you’re undercutting your learning experience of properly working with frequencies in stereo. After all, it’s not uncommon to pan different instruments asymmetrically. Having stereo means you have two different signals that should be shaped on their own terms.
Michael is going to walk us through some of the things that mixing in mono can be used for and give some perspective on how those particular uses stack up in a more robust or specific production workflow. And, I hope this knowledge helps you in your own productions!
Fully agreed! I dig his calm demeanor quite a bit, and will definitely be checking into his other work. You make a great point about jargon: I’m not afraid of it, however, my academic background is in the social sciences. My professional audio background came from an apprenticeship-like situation, and every so often, I actually do find myself behind the curve when it comes to technical lingo.
A very fair assessment — not every discipline can be as straightforward in video tutorials with regard to assessing quality! I’m just glad Michael isn’t screaming 😂
Your synopsis was great, and I don’t see anything wrong with your writing style! Your spelling, grammar, and punctuation are pretty damn good for a random internet post, I appreciate that you included some of Michael’s major points — the latter is what got me to check out the video, and, like you said, hear his demonstrations.
Thanks for the kind words! I’ll keep 'em coming :)