I read someone who compared the stereo and mono editions of many John Mayall / Bluesbreakers records and the timings were identical, thus his theory was born. It is cheaper that's for sure.

The sound quality is great, virtually identical to the original mono pressings.

At the time I bought these, I was running Magnepan 1.6 QRs in the main system with Krell KAV amplification and CD player (no vinyl at the time, alas). After so many raunchy sounding records, this one sounded like “butta”. There was one Stones track I worked on that had massive amounts of low frequency rumble from foot stomps and of course the public has never heard it because every time it was mastered it was something that obviously needed to be filtered out.

Very cool if you ask me. The produce these “new” records, Capitol had to take the tapes they were sent—already copies at least one, perhaps two generations down from the masters—and then copy again to create the cutting masters, while at the same time adding the echo and whatever else they chose to do to make the sound more acceptable (they thought) to the “kiddies”. Discover releases, reviews, credits, songs, and more about The Rolling Stones - The Rolling Stones In Mono at Discogs. NOT trying to insult anyone- I appreciate their assessments as they hear it.

"Sympathy For The Devil" is worth the price of admission IMO. In your comments on the "Rolling Stones Now!

You compare Beatles Box with this one, but Beatles box is really from the original analog master tapes. That is, making sure the sound level was the same between tracks, the volume knob will most likely need to be adjusted between versions since the reissues are more dynamic so in turn don't sound as loud at the same volume level on any system. There's a pretty good blend with the bass module provided you keep the bass level knob on the low side and/or pull the woofer out a bit from the wall. As I recall, with the pricier models, you paid more mostly for a larger (sub)woofer and more power. And my computer speakers are discerning enough to hear differences in recordings. I wish that they would have put the same effort into this set that EMI did on the Beatles. That's not the case with the Rolling Stones. This one was recorded at Chess, RCA Hollywood and Regent in the U.K and like the debut album it’s mostly covers including Allen Touissaint’s “Pain in My Heart”, but it has three originals “What A Shame”, “Grown Up Wrong” (was on 12X5) and the sardonic “Off the Hook”. As far as the Rolling Stones in Mono goes it ROCKS!! Now, it wasn't always the case but it sure was most of the time. Citadel I find a good track to do this because there is so much going on, so many different instruments, and that bell thing testing the top end. To hear how some of it can sound, the 12" 45 rpm single reissue last year of "Satisfaction" with "Under Assistant promo guy" and "Spider and the Fly" shows that this stuff can sound pretty good, though you can't get away from the fact that Satisfaction just is not a good recording. I’m not going to write about the two “fold down” albums, Beggar’s Banquet and “Let It Bleed except to say there are real mono mixes of “Sympathy For the Devil” and “Let It Bleed” that are superb.

Maybe compared to the recent Bowie boxes. At least the sound is good unlike the recent Pink Floyd reissues that lose on both counts. I listened in the sweet spot and then again later well-off-axis, hearing how the room breathed when pressurized. You don’t have to be Phil Spector or Brian Wilson to appreciate mono sound, as anyone who’s purchased the recent mono Beatles box can attest. I'm quite certain it was taken from the same DSD transfers that this mono box was taken from.

No, no, not offended at all. For one thing, it's long been said that Bob Ludwig does no mastering for vinyl anymore and hasn't since he sold his lathe after someone royally ruined his vinyl cut of Exile in Main Street in 1994! Once people knew which was which they started saying how they preferred the originals more. But Capitol also changed the sound, adding echo and shifting the equalization, as well as producing “fake” stereo versions of some tunes for which Capitol had only been sent mono versions. One mono album is missing entirely (Got Live If You Want It). Sound engineers largely do their work with monitors in near-field situations. Or I imagined this but I don’t think so! Is it true? There’s no way to avoid that, nor is there any way for you to avoid having every record you play take on the character of your system, though of course over time you get acclimated to it and don’t hear it until you hear a familiar record on someone else’s system. The reissue has better and tighter bass, with slightly better hf extension.

master tape. To complicate things further, the box -- which runs 15 discs in its CD version, 16 LPs in its vinyl incarnation -- sometimes contains both the British and American releases of a particular title (Out of Our Heads and Aftermath), while others are available in only one iteration (Between the Buttons is only present in the U.K. version). Us young teenage Mods gathered round a Dansette or some such player. I do wonder which earlier tracks are fold downs as well, or if before Beggar's everything was a dedicated mix, rumors arise again on the internet (in the article I liked the mention of the importance of the placement of everything in the studio, above the final mixing, Dylan recently proved how beautiful that can work and I always work that way with my bands). Records in the recent mono Beatles box have noticeably superior bass compared to the originals and greater dynamic range as well and that too can be expected from The Rolling Stones box since these LPs are made to be played back on today’s high quality record players that can track the lowest bass notes and the widest dynamic range found on the original tapes. Until I realized that I would only be adding my salt to the sea. ", you mention "another Chuck Berry song "Mona", that was left off the first album." Which most certainly can handle bass. But you DO realize that personal opinion comes into play. “Tell Me (You’re Coming Back) is the Jagger/Richards original that lets you know something is happening.

For me 12X5, Aftermath and Between the buttons sound's really better in mono, the first one and second are already in mono in 2003. They were big with us as they were regarded as a "certified" Mod band that had played a couple of local gigs in South East London at the Glenlyn Ballroom ( the Who played there too originally as The Detours). A few readers requested album by album coverage but I’m going to have to pass on that. I just ordered the vinyl set from amazon and noticed it says it is an Amazon exclusive. For those who don't know, Monsoon are planar-magnetic computer speakers with a sub.

Phono stage here|>--<|Preamp (or integrated) here, Hey Michael, great review as ever mate, always an insightful read. Yes, it would be incredibly finicky, time consuming and a major effort, but given this particular bands influence on popular culture, I would argue it's worth it. The covers and the labels aren't 100% accurate compared to the originals, but so what? I don't hear it. At some point these American masters were probably copied “for safe keeping” with the copy becoming the “master” available for future reissues. My reference is my own high end hifi system, which is pretty good at picking up nuance and differences in recordings as well as different cables and power cords.

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