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PostPosted: Tue December 28th, 2010, 12:19 GMT 

Joined: Wed November 9th, 2005, 20:39 GMT
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Got the mono box for Christmas and am blown away. It's like listening to 8 new albums by Bob. Mono is the only real way to experience Bob Dylan. I will be selling my rubbish stereo copies on Ebay tonight. Real fans love mono!


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PostPosted: Tue December 28th, 2010, 16:00 GMT 

Joined: Wed June 27th, 2007, 18:13 GMT
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Location: boston
Hi Scott
thanks. Was that on cd or vinyl?


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PostPosted: Tue December 28th, 2010, 17:28 GMT 

Joined: Wed November 9th, 2005, 20:39 GMT
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CD


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PostPosted: Tue December 28th, 2010, 17:30 GMT 
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the vinyl's even better


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PostPosted: Tue December 28th, 2010, 23:49 GMT 
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scott6 wrote:
Got the mono box for Christmas and am blown away. It's like listening to 8 new albums by Bob. Mono is the only real way to experience Bob Dylan. I will be selling my rubbish stereo copies on Ebay tonight. Real fans love mono!


tellmemomma1966 wrote:
the vinyl's even better


No way - if you haven't heard Dylan on wax cylinders with a hand-turned crank, you haven't heard him at all.


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PostPosted: Wed December 29th, 2010, 00:06 GMT 

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He sold out when to went to wax cylinders. Gotta hear him on player piano.


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PostPosted: Wed December 29th, 2010, 00:10 GMT 
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Actually, a player piano filled with Dylan tunes sounds pretty cool.


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PostPosted: Wed July 16th, 2014, 00:53 GMT 
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So how do we feel about this nearly four years on? I am really feeling JWH of late, but that harmonica on the SACD can be at times be...well...harsh.
So what of the Mono? Stand alone download or box? Box download or disc?
Thanks


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PostPosted: Wed July 16th, 2014, 03:53 GMT 
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The Warren of Christmas Past wrote:
:|

...

What is this shit?

Seriously, listening to LARS bordered on physical pain. Where was the pristine definition of the SACD? It felt like the pressure that builds up in your head when you're on an airplane, everything becomes distant and compressed, the life squeezed out of it. The instruments were in a war to death, each one competing to win a battle none of them could. I had made a commitment to finish the track. I could not fulfill this commitment.

I listened to a few other songs out of obligation, but it was more of the same. I've really, really tried to see the other side of this, folks. I'd love to pride myself in understanding the appeal, but I can't. I don't see how anyone could tolerate mono, let alone view it as a revelation. Maybe Mim's approach helps. As for me, I just can't give up the clarity of the SACDs. Certainly not for this. Sorry.


The way it was is the way it still is. The set is a con, sonic sludge released as part of Sony's game to see how many times we'll buy the same stuff.


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PostPosted: Wed July 16th, 2014, 21:04 GMT 
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To be fair "the con" began with mono being re-presented as stereo.


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PostPosted: Thu July 17th, 2014, 22:35 GMT 

Joined: Sat November 2nd, 2013, 09:17 GMT
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The mono re-issues on vinyl, which you can still get, are brilliant. The only one that's a little disappointing to my ears is Highway 61 which sounds a bit muddy and less in yer face than the others. The best is John Wesley Harding which is now one of my favourite Dylan albums. Much will depend on your turntable or lack of though.


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PostPosted: Sun July 20th, 2014, 03:34 GMT 
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Williamson wrote:
The mono re-issues on vinyl, which you can still get, are brilliant. The only one that's a little disappointing to my ears is Highway 61 which sounds a bit muddy and less in yer face than the others. The best is John Wesley Harding which is now one of my favourite Dylan albums. Much will depend on your turntable or lack of though.


I have the CD set but I agree. JWH is the most essential mono release, Highway 61 is probably the weakest. The acoustic albums are probably a bit better in mono (definitely Freewheelin' for me, because of the panning in the stereo mix), more warm. BIABH and Blonde On Blonde are really great in mono, but every few months I go back and forth between the mono and the stereo as far as personal preference. Right now I happen to have the MFSL versions in my music player.

The 2003-and-beyond stereo remasters do have superior vocal clarity to the mono masters, if that's a priority.


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PostPosted: Sun July 20th, 2014, 03:52 GMT 

Joined: Wed January 7th, 2009, 06:06 GMT
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PABravesFan wrote:
So how do we feel about this nearly four years on? I am really feeling JWH of late, but that harmonica on the SACD can be at times be...well...harsh.
So what of the Mono? Stand alone download or box? Box download or disc?
Thanks


JWH, IMHO, is the most significantly "different" (I hesitate to say "improved") mono recording. It just sounds more intense.

Generally speaking, I prefer the mono recordings over the stereo ones, as I am not a fan of the weird stereo panning that was prevalent on '60's era stereo albums.


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PostPosted: Sun March 22nd, 2015, 19:01 GMT 
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$99 for the vinyl set (I hope this is current):

http://njnnetwork.com/2015/03/bob-dylan ... set-at-97/


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PostPosted: Mon March 23rd, 2015, 22:39 GMT 
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I can't get over how good the vinyl sounds-mine plays through a single speaker enclosure which I think has quite an impact on sound quality-it is all about the performance.


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PostPosted: Tue March 24th, 2015, 01:07 GMT 
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oops wrong thread :)


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PostPosted: Wed December 13th, 2017, 00:16 GMT 
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I have a digital copy of these and never really listen to them much. Once in a blue moon I'll pull out the mono version of Blonde on Blonde. Tonight, however, I've just discovered the brilliance of John Wesley Harding in mono. It really makes much more sense than the stereo where the bass and drums seem a bit detached and incongruous from Bob's acoustic and vocal. It really grooves in mono and the mix sounds much more conventional.

I've only ever heard the 2003 remaster prior to this - I've never heard the original stereo master. Apart from the annoying harmonica, is much more of a difference?

Also, was the original album primarily mixed in mono (a la sgt peppers)? That would seem to make sense to me having heard the mono. How much attention did Columbia give to the mono compared to the Stereo in 65-67? It's interesting that I've never had a problem with the stereo mixes of Blonde on Blonde, HWY61 or BIABH before, just JWH.


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PostPosted: Wed December 13th, 2017, 00:20 GMT 
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gibsona07 wrote:
I have a digital copy of these and never really listen to them much. Once in a blue moon I'll pull out the mono version of Blonde on Blonde. Tonight, however, I've just discovered the brilliance of John Wesley Harding in mono. It really makes much more sense than the stereo where the bass and drums seem a bit detached and incongruous to Bob's acoustic and vocal. It really grooves in mono and the mix sounds much more conventional. In hindsight, the stereo version sounds like an early stereo mix where the engineers are getting a bit over excited with the pan knob...

I've only ever heard the 2003 remaster prior to this - I've never heard the original stereo master. Apart from the annoying harmonica, is much more of a difference?

Also, was the original album primarily mixed in mono (a la sgt peppers)? That would seem to make sense to me having heard the mono. How much attention did Columbia give to the mono compared to the Stereo in 65-67? It's interesting that I've never had a problem with the stereo mixes of Blonde on Blonde, HWY61 or BIABH before, just JWH.


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PostPosted: Wed December 13th, 2017, 00:32 GMT 
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Oh dear... I appear to have hit quote instead of edit. Ironically, I've produced a stereo post.


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PostPosted: Wed December 13th, 2017, 01:01 GMT 
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gibsona07 wrote:
I have a digital copy of these and never really listen to them much. Once in a blue moon I'll pull out the mono version of Blonde on Blonde. Tonight, however, I've just discovered the brilliance of John Wesley Harding in mono. It really makes much more sense than the stereo where the bass and drums seem a bit detached and incongruous from Bob's acoustic and vocal. It really grooves in mono and the mix sounds much more conventional.

I've only ever heard the 2003 remaster prior to this - I've never heard the original stereo master. Apart from the annoying harmonica, is much more of a difference?

Also, was the original album primarily mixed in mono (a la sgt peppers)? That would seem to make sense to me having heard the mono. How much attention did Columbia give to the mono compared to the Stereo in 65-67? It's interesting that I've never had a problem with the stereo mixes of Blonde on Blonde, HWY61 or BIABH before, just JWH.


JWH was the last Dylan album that had a dedicated mono mix. I doubt it mattered too much to Columbia as stereo was what sold by that time. That can be borne out by the number of stereo (360 Sound label) JWH's you see (plentiful) in the used bins versus the mono (seldom seen.) Nashville Skyline exists as a mono LP issued in some countries, but it's reportedly a folded mix, a stereo mix that's simply been combined to a single channel.

For the most essential mono Dylan album its Freewheelin' not just for being among his best albums, but the panning on the stereo mix, where his harmonica would drift into the opposite channel as the guitar when he wasn't singing is re-dick. FBD is a wonderful, organic sounding mono album, perfectly suiting the music.


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PostPosted: Wed December 13th, 2017, 01:56 GMT 
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Thanks ain't talkin. I'll give freewheelin a listen. The hard panned harmonica always annoyed me too.

I've never really bothered with different mixes of Dylan records before, because I get the impression that Bob was never really that interested in the final mix, it was more about the live take, compared with say The Beatles where the mixing was more a part of the creative process.


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PostPosted: Wed December 13th, 2017, 02:19 GMT 
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Sure, Bob's always about the band take. Though overdubbing has been used here and there, Self Portrait has some.

Frank Sinatra was that way, too, insisted on being live in the room with the band.


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PostPosted: Wed December 13th, 2017, 02:36 GMT 

Joined: Fri January 6th, 2006, 05:56 GMT
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I loved this box. Previously, I'd passed off the whole mono-mixes-on-CD craze as something of a gimmick (and I still generally prefer stereo mixes for anything released after about 1967 or so), but I loved how Dylan's first few albums seemed to gain a sense of extra urgency when channeled through a single speaker--an urgency which, to me, now seems dialed back in the stereo versions.

Another reason to recommend this box: It contained virtually everything Dylan released between 1962 and 1968--one of the greatest, most important bursts of creative output that any writer and/or musician has ever had.


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PostPosted: Wed December 13th, 2017, 08:34 GMT 

Joined: Fri January 5th, 2007, 23:38 GMT
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gibsona07 wrote:
I have a digital copy of these and never really listen to them much. Once in a blue moon I'll pull out the mono version of Blonde on Blonde. Tonight, however, I've just discovered the brilliance of John Wesley Harding in mono. It really makes much more sense than the stereo where the bass and drums seem a bit detached and incongruous from Bob's acoustic and vocal. It really grooves in mono and the mix sounds much more conventional.

I've only ever heard the 2003 remaster prior to this - I've never heard the original stereo master. Apart from the annoying harmonica, is much more of a difference?

Also, was the original album primarily mixed in mono (a la sgt peppers)? That would seem to make sense to me having heard the mono. How much attention did Columbia give to the mono compared to the Stereo in 65-67? It's interesting that I've never had a problem with the stereo mixes of Blonde on Blonde, HWY61 or BIABH before, just JWH.


I have both the originally-released JWH cd and the 2003 remaster. I prefer the former, but bear in mind that wouldn't necessarily be a definitive opinion!


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PostPosted: Wed December 13th, 2017, 16:43 GMT 
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I like all the Mono albums in this collection but probably like JWH as much as any of them. I had the original Mono vinyl album and the first CD release but to my ears the album included in the Mono collection comes closest to the original album release.


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