Why mono?

In answer to an earlier question on whether I've tried summing the signal after the fact, the answer is yes, but too long ago to say anything meaningful about it.

It's worth revisiting, and I intend do so, but at the moment, it's all I can do to iron out the wrinkles in order to get the Stelvio II flying in formation in time for RMAF.

Cheers,
Thom @ Galiber

Agree with Mikelavigne. The Miyajima Mono BE-low plays wonderful in a heavy arm like the FR-66s - The Beatles Monos, never heard them like this before.

I've done some research through the mono vs. stereo threads and I'm still confused on one issue: If you play a mono record through a stereo cartridge, what is the effect of using/not using the mono switch on the preamp? What happens in either scenario in terms of signal processing? Thanks.

Acsusreus,

In my system I really didn't notice much (any) difference using the mono switch on my BAT line stage or a K&K phono stage.

I just installed a Lyra Helikon mono on a spare armwand for a Graham 2.2 The sound is really present compared to mono recordings on my stereo cart (Benz LP) with the preamp switched to mono.
I have been thinking about why. The best I can come up with is that there are phase errors in the mechanical process of pick-up from the groove, and that these are eliminated - or greatly reduced - by the geometry of the mono coil vs. the stereo coil(s) in the cart. Less degrees of freedom, less error.