In fact, some producers mix up levels of mononucleosis during most of the process. This is because the mono not only gives you clarity when listening, but also the ability to detect errors in the mix. For example, mono mixing can help you detect phase problems between different waveforms. If you want professional sounding mixes, you need to know how to mix in mono.
Of course, the only problem with mono mixing is what happens when panoramic sources are used to create the stereo image. Obviously, tracks with hard curves need special care, but in general I like the results of the balance in mono better. This means that a mix that sounds good in mono will sound even better in stereo, but not the other way around. For example, you can set the initial mix to mono by adjusting the attenuation levels and possibly also using equalization to ensure that each source occupies its own spectrum and doesn't trample on anything else.
Mono adds them both into a central channel or mono channel in which the same information is reproduced on both speakers. The main reason to check the mono derived from a stereo mix is to make sure that it continues to work for mono listeners, since there can be many. I make sure to pay attention to what the mono mix sounds like when I do the tests, but I don't actively do it while mixing because you're doing things. This is not possible in mono, since each track is added up to a single mono channel and all the instruments are right in the middle.
So, if I'm working with voices that have a lot of vision, how would I approach that? Would you center all the vocal tracks (including the main ones, harmonies and notebooks, etc.) and mix them in mono? And at what point do I start adding the panorama? Do I start adding trays when I switch to stereo or before I switch to stereo when I continue mixing in mono? Do I set the vocals to the desired plane, mix them in mono and then change them to stereo? I'm not sure if you do the same, but when I'm in mono I usually work at very low volumes (~50 dBA) and I turn them up when I return to the stereo. Basically, switching to high speed bass of around 150 Hz or lower on most tracks will make room for those who really need it, making the mix sound clearer and less murky. Recently, before I started reading this book, I remembered that I will have to check my mix in mono, it was before the mixing phase, I try to mix all the stems in mono and then mix it in stereo, then mix it in stereo, then a little in mono and finally in stereo doing some checks. This step is likely to produce the best results, so take your time and make sure that each instrument has a place in the mix.
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